Anghami’s $99M year is a distribution signal, not a stock headline
Anghami closed FY2025 with $99.3 million in revenue, up 27% year on year, on 3.5 million paying subscribers and more than 130 million registered users across the Middle East and North Africa. The figures came from the company’s own FY2025 filing at the end of April 2026.
For an independent artist in Cairo, Beirut or Amman, that is not a stock story. It is a shelf-space story.
MENA is growing faster than the market you optimize for
IFPI means the International Federation of the Phonographic Industry, the body that tallies global recorded-music revenue. Its 2026 Global Music Report put MENA up 15.2% in 2025, the joint second-fastest-growing region in the world.
Streaming is 97.5% of that market. In 2024, the same region grew 22.8% and led the planet outright, per Billboard.
Most catalogs still route as if the only markets that pay are the US, UK and Germany. The growth is somewhere else.
The catch: a lot of that MENA revenue does not flow through Spotify. It flows through Anghami.
Why Anghami is the coverage gap
Anghami is the region’s homegrown DSP. DSP means Digital Service Provider, the platforms that license and stream your catalog.
It converts because it is wired into how the region actually pays:
- 45 telco operator integrations across MENA, so subscriptions bill straight to a phone plan.
- Deep Arabic-language catalog and editorial, including a dedicated mahraganat vertical.
- A Warner Bros. Discovery-backed video tier, OSN+, that keeps users inside the app.
Regional charts show mahraganat, Egypt’s raw electronic street sound, sitting near the top of Anghami’s most-streamed genres. Seven of MENA’s ten most-played songs in IFPI’s data were by regional artists, a home-market audience most global distributors treat as an afterthought.
The independent opening
Anghami is not just a pipe. Its Sawt Jdeed accelerator has pushed rising independents like Jordanian-Palestinian singer Zeyne and Egyptian artist Malak Al Hussainy with produced sessions and month-long promo runs.
New Lines Magazine has documented how Egyptian indie artists now reach listeners without a legacy label, using distribution as the bridge to the platform.
But the bridge only works if your distributor actually delivers there. Many of the biggest names in Western distribution ship to Spotify and Apple Music, then stop.
What this means for how you distribute
If you make Arabic-language music, or you run a label with MENA artists, run three checks before you sign anything:
- Confirm the distributor delivers to Anghami as a first-class DSP, not a “partner network” afterthought.
- Confirm your Arabic metadata and script survive delivery so editorial can find you.
- Confirm royalties from telco-billed streams reconcile in a currency and cadence you can read.
This is where regional coverage stops being a marketing line. InterSpace Distribution delivers to Anghami, Boomplay, Audiomack and JioSaavn through DDEX-native pipelines. DDEX means Digital Data Exchange, the metadata standard DSPs use to ingest releases cleanly.
Splits land in wallet.interspace.ink, so a producer in Cairo and a vocalist in Amman see the same numbers at the same time.
The takeaway
MENA is not the “next” market. It grew 15.2% last year, and its biggest regional DSP just cleared $99 million.
The artists winning there are regional, independent, and streaming on a platform your distributor may not even reach. Fix the delivery, and the fastest-growing audience in the world becomes addressable.
