For decades, broadcasting networks have been the primary source of the World Cup experience, attracting fans to their screens for live matches or later highlights. In the UK, the BBC and ITV have historically controlled the narrative around football’s biggest event.
Despite this traditional framework continuing to thrive, with millions still tuning in to televised games, a new wave of football media is emerging, spearheaded by independent content creators.
As television crews travel across North America to report on the matches, independent creators are crafting their own interpretations of the World Cup online. Some facilitate live watch-along events, while others offer daily analysis on platforms like YouTube. Many are documenting fan culture, sharing stories from diaspora communities, and highlighting narratives that extend beyond just the 90 minutes of play. For a growing number of fans, especially younger ones, the World Cup is now experienced through the lens of these creators at every stage—before, during, and after the matches. Jide Maduako is a prime example of this trend, undertaking the ambitious goal of visiting every country participating in the World Cup to document its surrounding football culture.
“I make documentaries where I immerse myself in the culture of a football team,” he explains. “Whenever I land somewhere, I am on a mission to become a local. The World Cup has been pretty inaccessible for a lot of people. If people can’t make it to the World Cup, I want to bring the World Cup to the people.”
His daily activities consist of filming, livestreaming, and attending local viewing parties. Much of this content is shared live on Twitch, enabling viewers to engage directly with the coverage. “What I have realised with livestreaming is, it is actually better to take people along the journey. Some of my audience will say, ‘You should do this,’ ‘You should eat this.’ They give me recommendations.”
This method provides a markedly different experience compared to conventional television broadcasts. Instead of presenting a polished product, the content develops in real-time, influenced by audience interactions. This distinction is vital to understanding the increasing impact of creators within the football media landscape.
“People trust us as well – and not just in terms of my audience,” Bouzidi explains. “Whether I am in Brooklyn or somewhere in Africa, because I’m a black man and I look like I should be there, it allows me to get a more authentic story. Unlike media companies, who have to get authorisation to go to certain places, we don’t have walls., Traditional media can be so corporate that the process is longer. By that point the story is gone.“I see myself as an independent journalist. I’m making content that’s more mission-driven. I’ve always called it edutainment – education for entertainment.”
This sentiment resonates with Manny Brown, a content creator for nearly 15 years. During this World Cup, he is hosting The Build Up, a YouTube show produced in collaboration with the Lego Group, blending discussions, games, and audience interaction, featuring guests like Harry Aikines-Aryeetey, Harry Pinero, and Lauren Hemp. Brown views creator-led programs as a way for fans to connect more meaningfully with the tournament. “It is a different purpose,” he states. “It’s to get people engaged and hyped up for the games. It has that potential to go alongside traditional media.”
Brown believes there’s an increasing appetite among viewers for distinctive personalities and viewpoints that enhance live broadcasts. “People always flock to what is fresh and then they’ll stick around when it caters to what they’re looking for,” he notes. “You have a lot of big creators that have come through and people are watching their coverage because they’re showing a different perspective that you wouldn’t otherwise have on the World Cup.”
Lyés Bouzidi, who creates content for his own platforms while collaborating with Sports Illustrated and a FIFA-affiliated program, shares this perspective. A dedicated supporter of Algeria and Manchester United, he navigates the space between traditional broadcasting and independent creator culture.
“I’m not arrogant enough to ever think that, no matter how many viewers I conjure up, I can ever compete with historic powerhouses like the BBC and ITV,” he remarks. “The day I start thinking that is the day someone needs to slap me on the back of the head. I view them as the standard. But they exist in their own space and I exist in my own.”
This distinction affords him benefits that traditional broadcasters may struggle to provide: editorial independence. “That is one advantage of having your own platform. I have complete freedom to talk about anything.” he adds. “If we translate that to me being critical of Fifa or critical of the US not allowing people to enter the country and their treatment of the Iranian team … I am fully aware that how opinionated I am blocks blessings in terms of me wanting to go to games via Fifa or me working with Fifa in any capacity. But that is a con to the many pros I have.” He recognizes that this independence comes with its own challenges. “The amount of options that someone has after a game to go and hear someone’s thoughts is almost infinite,”
This autonomy is a significant factor in the growing attraction of creators for audiences. “That’s not to say that if you’re watching a content creator rather than the post-match on BBC or ITV, the content creator is coming with better information. But maybe viewers want a fan’s point of view rather than an ex-player speaking about something from a lens that they just never could understand. “I was watching Algeria on ITV. And with all due respect to the broadcasters and commentators – they did the best job they could – I know, deep down, none of those guys know more about Algeria than I do. There will always be a difference between someone who breathes the team and someone who is just getting to grips with them the night before.”
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