Platforms that support familiar local payment methods often perform better than those that depend on international cards alone. This does not mean consumers have no protection, though the level of oversight can vary. Similar frameworks are still developing in several African markets. European platforms often appear in international search results even when their services focus on a domestic market. Digital platforms can reach users across national borders with less friction than traditional businesses.

Consequently, it experimented with different pricing models, regional launches, and partnerships to sustain growth. Furthermore, irokoTV’s journey highlights the challenges and rewards of building entertainment-tech from Africa for a global audience. Moreover, it built a global audience for Nigerian films long before most people could access them easily online. Furthermore, Boomplay invests in editorial teams and partnerships to spotlight rising African artists. Furthermore, the platform publishes regular reports on listener trends, giving brands and artists insight into changing tastes. Secondly, Mdundo, based in Kenya and operating across multiple African countries, targets the mass market with simple, mobile-first music access.

Moreover, they reshape how value flows between artists, fans, and brands, using technology as the bridge. Additionally, they host local creators who share stories, interviews, and commentary rooted in African realities. Consequently, creators can fund tours, video shoots, studio time, or marketing campaigns without giving up full control to labels.

Connectivity is expanding digital audiences, advertising is becoming more sophisticated, and consumers are engaging with content across an increasingly diverse mix of platforms, formats, and experiences. Pricing, advertising-supported models, bundling, and flexible propositions can help services reach wider audiences without relying exclusively on subscription growth. Streaming, social media, short-form video, and audio services increasingly help audiences discover films, artists, events, and cultural experiences. Payment fragmentation remains a genuine challenge, M-Pesa dominates East Africa, but MTN Mobile Money, Opay, and Palmpay each serve different markets, meaning platforms that want continental reach need to integrate multiple payment systems. Locally relevant content and effective discovery can also help services differentiate as consumers gain access to more viewing options.

Six African markets pull most continental FDI

Ultimately, BuuPass reflects a wider trend where African startups reuse proven rails to enter entertainment value chains. Consequently, fans get a single, trusted interface for different kinds of tickets, which improves adoption. Moreover, as it grows, the same technology stack can power ticketing for events and experiences, especially where mobility and entertainment overlap. Ultimately, this kind of infrastructure is vital for making African concerts and festivals smoother, safer, and more profitable.

Perspectives from the Global Entertainment & Media Outlook 2026–2030

Regional partnerships are being signed more frequently. It is influencing trends across the continent. For many people, that conversation is part of the real entertainment.

• Furthermore, global streaming giants still dominate headlines, but they rarely capture the full depth of African creativity.
• Moreover, we focus on platforms for music and film streaming, ticketing, fan engagement, and creator monetisation.
• The value of AI will not be determined by how much content it produces, but by whether that content becomes more relevant, discoverable, and commercially valuable.
• As digital entertainment grows, regulators across Africa are working to establish appropriate frameworks.
• In addition, they help creators earn more, audiences discover new talent, and brands tap into engaged communities.
• With an estimated 60 million people engaging with some form of digital gaming or online entertainment daily, the market's scale reflects a population that treats the phone as its primary leisure device.
• Additionally, this is not a complete list of every strong company, but it captures key leaders and signals across the continent.
• Ultimately, Showmax shows how entertainment-tech can strengthen creative ecosystems through commissioning and distribution.
• The infrastructure that M-Pesa built for financial inclusion did not just change how Africans manage money.
• What makes Africa’s digital entertainment boom particularly significant is its demographic foundation.

Where the leisure spending is going

The demand, mobile-connected consumers who want accessible digital entertainment. Its gaming market alone reached $153 million and is projected to keep expanding at 6.9% annually through 2029. Recent industry analysis has increasingly pointed to fintech innovation and mobile payment adoption as one of the key forces accelerating Africa’s mobile gaming and digital entertainment boom. The infrastructure that was built for financial inclusion quietly became the infrastructure for digital entertainment, and the industry is only now catching up to what that means. Human oversight remains essential where AI affects content, creative rights, audiences, or brand trust.

Storipod (Pan-African) – Audio, Storytelling and Community

• Therefore, use it as a starting point to discover more players, trends, and opportunities.
• The operators and platforms that understand this, and build accordingly are the ones gaining traction.
• South Africa’s scale is supported by an advanced communications infrastructure, a sophisticated advertising ecosystem, and high levels of digital adoption.
• It is a collection of distinct national markets, each with its own regulatory framework, payment infrastructure, and cultural preferences.
• The commercial value of shared experiences therefore extends beyond ticket or box-office revenue.
• Human oversight remains essential where AI affects content, creative rights, audiences, or brand trust.
• The demand, mobile-connected consumers who want accessible digital entertainment.
• Mobile gaming, casual, social, and increasingly competitive, is expanding rapidly across all three major markets, with esports beginning to attract meaningful investment in South Africa and Nigeria.
• Local films accounted for almost half of Nigeria’s box-office revenue in 2025.
• European platforms often appear in international search results even when their services focus on a domestic market.
• Locally relevant content and effective discovery can also help services differentiate as consumers gain access to more viewing options.
• Additionally, we link to resources and wider coverage so you can explore more across African tech and culture.
• South Africa is experiencing the clearest reallocation of video revenue, with OTT growing while traditional television declines.
• Streamers, moderators, designers, support staff, data analysts, and marketing teams all benefit.
• The Reserve Bank has supported faster payment systems such as PayShap, which have helped a lot.
• Africa's digital economy is expanding quickly as more people gain access to smartphones, mobile internet and digital payment services.
• Mobile and fixed services remain the largest E&M revenue pool in all three markets.
• Today it pays for streaming subscriptions, gaming top-ups, and online platform access across Kenya, Tanzania, Uganda and beyond.

Additionally, they help creators turn engagement into income through better contracts, data-driven deals, and targeted campaigns. Moreover, they give artists tools for rights management, finance, and audience building that used to be locked inside big labels. Ultimately, smart ticketing forms the backbone of modern entertainment, and African startups are building it to fit local realities. Additionally, they prioritise African catalogues and languages, giving regional content prime placement rather than side categories.

According to the GSMA Mobile Economy report, mobile technologies and services now account for a significant share of sub-Saharan Africa’s economy, with smartphone adoption climbing year after year. Unlike Western markets where desktop computers led the way, the African internet experience has been mobile-first from the start. Mobile internet access has kept growing over time. It is a collection of distinct national markets, each with its own regulatory framework, payment infrastructure, and cultural preferences.

In Kenya, you do not need a bank account to pay for your evening's entertainment. Africa Technology, Media and Telecommunications Industry Leader, PwC South Africa Get 12 months of access to data and commentary for segments across 53 countries and territories, and access to dashboards and visualisations, including heat maps and comparisons of GDP and growth rates. Dive into our Global Perspectives report for key findings and insights into the global E&M industry.

Therefore, Africa’s entertainment-tech story is not just about apps; it is about power shifting toward the people who make and love the culture. Furthermore, if you enjoyed this deep dive into African entertainment tech startups, you will find plenty more stories on our platform. Consequently, these tools help emerging stars move from viral clips to sustainable careers with predictable revenue. Furthermore, South African Amapiano producers and DJs rely on streaming data and fan insights to target new cities and audiences.

The Numbers Behind the Shift

Consequently, listeners discover African voices in technology, culture, comedy, and lifestyle without relying only on global apps. In addition, brands and platforms gain from a healthier, better-financed creator base that can produce more content. Additionally, CREATIVE CREDITAI analyses creator revenue streams and risk, then links users to suitable lenders and products. Additionally, its work with operators and mobile money shows how digital rails can serve multiple sectors. Additionally, Ticketpro integrates with online and retail channels so fans can buy in ways that suit them best.

Why do shared experiences retain their value?

Trusted first-party data, effective activation, and credible measurement will become more important as attention fragments across broadcasters, publishers, retailers, streaming platforms, creators, and social media. In South Africa, connected television is expected to play a more prominent role as smart-TV penetration and streaming adoption increase. Growth is shifting towards formats that offer stronger audience insight and clearer links to commercial outcomes.

How are video and gaming changing audience behaviour?

The phone is often enough, and many people are frequently plugged in. Smartphones have turned living rooms, taxi rides, shop queues, and lunch breaks into places where people often consume entertainment. These days, a night at home with a charged phone, enough data, and a good streaming app is exactly what a lot of people want to do. In Africa, Business, Culture, Entertainment, Gaming, South Africa, Technology

uduX (Nigeria) – Localised Music Streaming for African Audiences

Moreover, they reveal a future where African fans enjoy world-class digital experiences built around their tastes, payment habits, and communities. Ultimately, the top 10 African entertainment tech startups highlighted here show how quickly the landscape is evolving. Ultimately, the earlier you plug into this ecosystem, the more you benefit from its rapid growth. Additionally, follow funding updates from platforms like Disrupt Africa to see which entertainment-tech startups raise capital next.

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This wider reach creates questions about jurisdiction, taxation, licensing and consumer protection. Language, payment methods, internet costs and local media habits all influence how people use a platform. The consumers who thrive in this environment are those who approach it deliberately — understanding what they are paying for, how much time they are investing, and what the actual odds and outcomes of their choices are. According to reporting by Reuters, governments across emerging markets are grappling with how to regulate fast-evolving digital services without stifling the innovation and economic activity they generate. This reflects a broader and healthier shift toward informed, calculated engagement with online entertainment — the same analytical mindset that financial literacy advocates have long encouraged consumers to apply to their money.

Local films accounted for almost half of Nigeria’s box-office revenue in 2025. Nigeria records the strongest growth at 22.8% a year, although cinema remains a relatively small category in absolute terms. OTT grows faster but remains below traditional TV through 20230

The Mobile-Native Consumer

The growth of digital entertainment carries a financial dimension that consumer advocates increasingly emphasise. Streaming is growing, Kenya's OTT market is projected to nearly double in revenue by 2029, supported by ad-funded tiers that keep costs accessible. In many markets, digital adoption is accelerating while traditional formats continue to attract audiences and advertising investment. Local content can create value through intellectual property, licensing, sponsorship, live experiences, commerce, and distribution across markets. These applications are particularly relevant in markets where linguistic diversity and fragmented audiences can limit content reach.

Consequently, emerging musicians gain access to marketing tools and analytics that help them grow their fan bases. Specifically, the following ten African entertainment tech startups stand out for their impact on streaming, ticketing, and fan engagement. On the other hand, creators want fairer monetisation and tools that help them move beyond traditional labels and studios. However, local innovators now build products tailored to African payment systems, languages, and fan behaviour.

The operators and platforms that understand this, and build accordingly are the ones gaining traction. Africa's digital leisure market is not a single thing. But they are engineering and compliance problems, not fundamental barriers to growth. Africa's digital boom is not happening in spite of its consumer base, it is being shaped by it.

• Digital engagement is strengthening audience discovery, but it is not replacing the demand for collective entertainment.
• South Africa’s music, radio, and podcasts market is also forecast to grow from R8.0bn in 2025 to R10.6bn in 2030.
• The operators and platforms that understand this, and build accordingly are the ones gaining traction.
• Its gaming market alone reached $153 million and is projected to keep expanding at 6.9% annually through 2029.
• This requires trusted first-party data, clear audience definitions, effective activation, transparent media spending, and measurement frameworks that extend beyond impressions and reach
• However, local innovators now build products tailored to African payment systems, languages, and fan behaviour.
• For many people, that conversation is part of the real entertainment.
• Nigeria records the strongest growth at 22.8% a year, although cinema remains a relatively small category in absolute terms.
• In addition, advertisers tap into focused, loyal audiences who value authenticity and depth.
• Across Nigeria and the wider African continent, the way people spend their leisure time has shifted dramatically over the past decade.
• Affordability remains one of the most important factors influencing digital media adoption across Africa.
• Users need to understand the difference between a platform being accessible and a platform being licensed for their location.
• What makes Africa’s digital entertainment boom particularly significant is its demographic foundation.

Top 10 African Entertainment Tech Startups Redefining Fan Engagement

What makes Africa’s digital entertainment boom particularly significant is its demographic foundation. But until those frameworks mature fully, much of the responsibility for making sound decisions rests with individual users. As digital entertainment grows, regulators across Africa are working to establish appropriate frameworks. Knowing the numbers, tracking spending, and making deliberate rather than impulsive decisions are skills that transfer directly from informed digital entertainment to sound personal finance. Microtransactions, in-app purchases, and subscription models are designed to feel small and frictionless, but they accumulate. These games have attracted a growing audience precisely because they reward understanding rather than pure luck.

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Additionally, Mdundo’s ad-supported model helps keep costs low while paying artists through revenue share. In addition, fans discover new songs and genres through editorial playlists and social features. Additionally, this is not a complete list of every strong company, but it captures key leaders and signals across the continent. Additionally, major events like Africa Tech Festival now include tracks focused on content, media, and creator economies.

Consequently, it experimented with different pricing models, regional launches, and partnerships to sustain growth. Furthermore, irokoTV’s journey highlights the challenges and rewards of building entertainment-tech from Africa for a global audience. Moreover, it built a global audience for Nigerian films long before most people could access them easily online. Furthermore, Boomplay invests in editorial teams and partnerships to spotlight rising African artists. Furthermore, the platform publishes regular reports on listener trends, giving brands and artists insight into changing tastes. Secondly, Mdundo, based in Kenya and operating across multiple African countries, targets the mass market with simple, mobile-first music access.

Distinctive local content can strengthen audience loyalty, extend engagement across multiple channels, and create new monetisation opportunities beyond a single platform or format. Technology is lowering barriers to content creation, allowing more creators, publishers, podcasters, and independent production companies to participate. Smartphones allow consumers to participate without a console or dedicated gaming computer, while connecting gaming with social interaction, payments, commerce, and wider media consumption. Gaming revenue is forecast to grow faster than the global market in all three countries, reaching US$698m (R12.7bn) in South Africa, US$133m in Kenya, and US$431m in Nigeria by 2030. Pricing, bundling, advertising-supported models, and flexible content propositions will remain central to market development. Average OTT revenue per subscription in 2030 is forecast at US$76 in South Africa, US$54 in Kenya, and US$42 in Nigeria, compared with a global average above US$100.

Introduction: African Entertainment Tech Startups Are Rewriting the Rules

Moreover, many African celebrities and creators already leverage these platforms to scale their careers. Thirdly, platforms like Shamba Records, CREATIVE CREDITAI, and Storipod focus on the link between creators and their communities. In addition, they integrate with social and messaging platforms to drive last-minute sales or updates. Consequently, they can price better, plan marketing, and design VIP or group offers that match fan demand.

Tenthly, Storipod appears in lists of emerging African startups to watch and focuses on audio storytelling and podcast-style content. Moreover, many African artists and influencers struggle to access formal finance because banks do not understand their income patterns. In addition, investors and partners gain confidence when they see clean, verifiable data. Consequently, artists can prove what they are owed and track how often their works are used. Furthermore, by giving creatives clearer records, the platform supports fairer payouts and contract negotiations.

• Additionally, Ticketpro integrates with online and retail channels so fans can buy in ways that suit them best.
• Ultimately, Mdundo shows how entertainment-tech can scale by respecting on-the-ground realities, especially in East Africa.
• Trusted first-party data, effective activation, and credible measurement will become more important as attention fragments across broadcasters, publishers, retailers, streaming platforms, creators, and social media.
• The growth of digital entertainment carries a financial dimension that consumer advocates increasingly emphasise.
• This example shows why consumers should check where a platform is licensed before creating an account, sharing personal information or making a payment.
• Similar frameworks are still developing in several African markets.
• Additionally, they help creators turn engagement into income through better contracts, data-driven deals, and targeted campaigns.
• Mobile money, for instance, achieved mainstream adoption in East Africa years before similar systems gained traction elsewhere.
• Ultimately, the earlier you plug into this ecosystem, the more you benefit from its rapid growth.
• Local content can create value through intellectual property, licensing, sponsorship, live experiences, commerce, and distribution across markets.
• That model maps almost exactly onto what African consumers are now demanding from digital leisure platforms.
• Audio can draw audiences into wider entertainment ecosystems encompassing live events, sponsorship, creator communities, social engagement, and commerce.
• In addition, brands seeking authentic partnerships can work through organised systems rather than ad-hoc deals.
• Ultimately, entertainment-tech is not only about front-end apps; it is also about back-end tools like Shamba Records that protect creative value.

The takeaway for consumers

• Ultimately, entertainment-tech strengthens influencer culture by treating creators as entrepreneurs, not just talent.
• Ultimately, smart ticketing forms the backbone of modern entertainment, and African startups are building it to fit local realities.
• Users need to understand the difference between a platform being accessible and a platform being licensed for their location.
• Additionally, irokoTV’s archives include classics and popular hits, giving fans deep access to Nollywood history.
• Consequently, fans in Tanzania, Nigeria, or Uganda see content that feels local, not imported.
• Additionally, this kind of infrastructure matters deeply for musicians, filmmakers, and content creators seeking transparency.
• A new wave of African entertainment tech startups is transforming streaming, ticketing and fan engagement across Nigeria, South Africa, Kenya and Ghana.
• Consequently, artists and promoters gain clearer insight into attendance trends and fan demographics.
• Notably, this brings founders, investors, and artists into the same rooms to shape the future of African entertainment.
• Online betting accounted for 60% of gross gambling revenue.
• Moreover, it focuses on low-data usage and easy downloads, which fit users who rely on affordable Android phones and prepaid data.
• Understanding this shift matters, because it is reshaping not only how people relax, but how they spend their money.

Fixed broadband is growing faster than mobile services, expanding the audience for streaming, gaming, connected television, and other data-intensive experiences. Additionally, they point toward actions that support positive African innovation while benefiting your own goals. Ultimately, the more creators adopt entertainment-tech, the stronger Africa’s cultural influence becomes globally. In addition, brands seeking authentic partnerships can work through organised systems rather than ad-hoc deals. Consequently, African content creators on TikTok, Instagram, and YouTube gain additional ways to structure their businesses.

Moreover, four main hubs – Nigeria, South Africa, Kenya, and Ghana – anchor much of the continent’s entertainment-tech innovation. Ultimately, Storipod and similar startups expand the definition of entertainment-tech beyond music and film into everyday storytelling. Furthermore, podcasters and spoken-word artists gain a home that understands their needs and constraints. Therefore, Storipod sits at the intersection of entertainment, education, and community building.

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Online betting accounted for 60% of gross gambling revenue. Social media engagement is among the highest in the world by time spent, particularly on TikTok and YouTube. Kenya's broader entertainment and media sector grew 7.1% in 2024, outperforming global averages. Africa's shift from passive consumer to active digital participant is happening faster than most analysts predicted, and it is being driven not by desktop broadband but by the smartphone in someone's pocket on a Nairobi matatu or a Lagos bus. Today it pays for streaming subscriptions, gaming top-ups, and online platform access across Kenya, Tanzania, Uganda and beyond. That single fact — unremarkable to millions of Kenyans — explains more about Africa's digital leisure revolution than any market report.

By 2030, 5G penetration is forecast to digital platform UX in Southern Africa reach 86.8% in South Africa, 51.6% in Kenya, and 35.3% in Nigeria.

• Its gaming market alone reached $153 million and is projected to keep expanding at 6.9% annually through 2029.
• Trusted first-party data, effective activation, and credible measurement will become more important as attention fragments across broadcasters, publishers, retailers, streaming platforms, creators, and social media.
• Ultimately, Boomplay’s growth reinforces the idea that African-built or African-focused platforms can compete with global giants on home turf.
• All of that means more people can watch, play, and browse whenever they want, wherever they are.
• As a result, you get a clear view of the landscape, plus practical signals to follow if you want to invest, collaborate, or build in this space.
• Firstly, uduX is a Nigerian music streaming platform that focuses on African catalogues and local user behaviour.
• Ultimately, the top 10 African entertainment tech startups highlighted here show how quickly the landscape is evolving.
• What makes Africa’s digital entertainment boom particularly significant is its demographic foundation.
• Studies of digital consumer behaviour consistently show that people underestimate how much they spend on small, frequent digital transactions.
• Additionally, they help creators turn engagement into income through better contracts, data-driven deals, and targeted campaigns.
• Consequently, emerging musicians gain access to marketing tools and analytics that help them grow their fan bases.

Showmax (South Africa, Pan-African) – Homegrown Film and Series Streaming

Lightweight mobile games, data-friendly streaming, and browser-based services have flourished precisely because they fit these constraints. Entertainment products that succeed in Africa are those optimised for smaller screens, lower data consumption, and intermittent connectivity. For millions of Nigerians, the smartphone is not a secondary screen — it is the primary, and often only, gateway to the internet. Understanding this shift matters, because it is reshaping not only how people relax, but how they spend their money. Streaming services, mobile gaming, social platforms, and online communities now occupy hours that were once spent on radio, television, or offline pursuits.

Moreover, it uses digital tools and, in some cases, blockchain-inspired approaches to track creative outputs and transactions. Consequently, artists and promoters gain clearer insight into attendance trends and fan demographics. Furthermore, digital ticketing reduces fraud and improves security at venues, which boosts trust between organisers and fans. Ultimately, platforms like irokoTV prove that African stories can win loyal viewers worldwide. Ultimately, Showmax shows how entertainment-tech can strengthen creative ecosystems through commissioning and distribution.

How can organisations turn audience growth into long-term value? Increasingly, competitive advantage comes from understanding the audience relationship. The pace of change varies by market, requiring businesses to manage both established and emerging channels simultaneously.

Notably, this brings founders, investors, and artists into the same rooms to shape the future of African entertainment. As a result, startups that solve these needs quickly gain loyal users and regional scale. As a result, you get a clear view of the landscape, plus practical signals to follow if you want to invest, collaborate, or build in this space. Moreover, we focus on platforms for music and film streaming, ticketing, fan engagement, and creator monetisation. Furthermore, global streaming giants still dominate headlines, but they rarely capture the full depth of African creativity. Ultimately, if you care about music, film, live events, and influencer culture, this is the ecosystem you need to watch.

Ultimately, entertainment-tech strengthens influencer culture by treating creators as entrepreneurs, not just talent. Furthermore, these startups sit alongside a wider wave of influencer platforms, creator marketplaces, and community apps. Additionally, they fight fraud by generating secure digital tickets and tracking entries accurately. In addition, artists and rights owners gain clearer insights into who listens or watches their work. Moreover, this raises visibility and helps startups secure strategic partnerships with telcos, media houses, and brands. In addition, advertisers tap into focused, loyal audiences who value authenticity and depth.

Moreover, it uses digital tools and, in some cases, blockchain-inspired approaches to track creative outputs and transactions. Consequently, artists and promoters gain clearer insight into attendance trends and fan demographics. Furthermore, digital ticketing reduces fraud and improves security at venues, which boosts trust between organisers and fans. Ultimately, platforms like irokoTV prove that African stories can win loyal viewers worldwide. Ultimately, Showmax shows how entertainment-tech can strengthen creative ecosystems through commissioning and distribution.

For consumers, this evolving regulatory landscape means a gradual increase in protections — clearer terms, better transparency, and stronger safeguards against predatory practices. Issues around consumer protection, data privacy, and responsible spending are increasingly on the agenda. Studies of digital consumer behaviour consistently show that people underestimate how much they spend on small, frequent digital transactions. Players who grasp the underlying odds tend to make better decisions, and a new category of analytical tools has emerged to support them. Mobile money platforms have been crucial enablers here, allowing users to make small digital payments without traditional bank accounts. Streamers, moderators, designers, support staff, data analysts, and marketing teams all benefit.

Consequently, many Afrobeats and Amapiano stars use it as a core channel for new releases and fan engagement. Moreover, it comes bundled on millions of Transsion smartphones (Tecno, Infinix, Itel), giving it strong distribution across the continent. Ultimately, Mdundo shows how entertainment-tech can scale by respecting on-the-ground realities, especially in East Africa. Moreover, it focuses on low-data usage and easy downloads, which fit users who rely on affordable Android phones and prepaid data.

By 2030, 5G penetration is forecast to reach 86.8% in South Africa, 51.6% in Kenya, and 35.3% in Nigeria.

Moreover, a new wave of African entertainment tech startups is transforming how you stream music, buy tickets, and connect with your favourite stars. Discover 10 standout platforms powering music, film, live events and creator monetisation, and see how they are reshaping Africa’s entertainment future. Publishers named above each report are responsible for their own content, which AllAfrica does not have the legal right to edit or correct. Distributed by AllAfrica Global Media (allAfrica.com).

In addition, its brand remains a strong reference point for film-focused African startups looking at subscription video services. In addition, the platform offers data tools that help labels track performance across multiple markets. In addition, they help creators earn more, audiences discover new talent, and brands tap into engaged communities. As digital markets grow, regulators face the task of protecting consumers without blocking useful services. This growth is creating a larger market for streaming, gaming, online shopping, financial services and other forms of digital entertainment.

Successful services study these differences instead of treating Africa as one uniform market. Digital services do not grow in exactly the same way across the continent. A platform that loads slowly may lose users before its content even appears. A large share of consumers rarely use a desktop computer.