For many years, broadcasting networks controlled the narrative surrounding the World Cup, with fans either tuning in live or catching highlights later. In the UK, the BBC and ITV shaped the stories told, influencing how audiences engaged with football’s premier event.
This landscape persists, with millions still watching live broadcasts, and traditional media holding sway over rights and access. However, a new realm of football media has emerged, offering fans alternative ways to connect.
While television crews traverse North America to cover matches, content creators are crafting their own versions of the World Cup online. Some host live watch-alongs, while others provide daily analyses on platforms like YouTube. Many creators focus on fan culture, diaspora communities, and narratives that extend beyond the action on the field. For an increasing number of supporters, especially younger audiences, the World Cup is more than just a sporting event; it’s an experience enriched by creators before, during, and after the matches. One notable figure in this dynamic is Jide Maduako, who has taken on the ambitious goal of visiting every participating nation to document football culture during the tournament.
“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.”
This approach leads to a distinctly different experience compared to conventional television coverage. Instead of a polished product, the content evolves in real-time, shaped by audience engagement. This fundamental difference is key to the growing influence of creators in football media.
This perspective resonates with Manny Brown, a content creator with nearly 15 years of experience. During the World Cup, he is hosting ‘The Build Up,’ a YouTube show produced in collaboration with the Lego Group that combines discussions, games, and audience interaction, featuring guests such as Harry Aikines-Aryeetey, Harry Pinero, and Lauren Hemp. Brown views creator-driven programs as a means for fans to engage with the tournament. “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.” he states. “People trust us as well – and not just in terms of my audience,”
Brown believes viewers now seek diverse personalities and viewpoints in addition to live broadcasts. “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.” he notes. “It is a different purpose,”
Lyés Bouzidi, who is also present at the World Cup producing content for Sports Illustrated and a FIFA-affiliated program, echoes this sentiment. His work straddles the line between traditional broadcasting and independent creator culture, and he openly shares his opinions as a supporter of Algeria and Manchester United.
“It’s to get people engaged and hyped up for the games. It has that potential to go alongside traditional media.” he admits. “People always flock to what is fresh and then they’ll stick around when it caters to what they’re looking for,”
This distinction allows him to offer something that traditional broadcasters may struggle to provide: editorial freedom. “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.” he reveals. “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 acknowledges that this comes with challenges. “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 independence is a key reason audiences increasingly turn to content creators. “That is one advantage of having your own platform. I have complete freedom to talk about anything.” Bouzidi points out. “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.”
“The amount of options that someone has after a game to go and hear someone’s thoughts is almost infinite,”
Brown also observes this shift in how fans watch football. “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.” he notes. “Younger fans consume football in bursts,”
“People are consuming football through social media or through the eyes of a content creator, whether that’s a watchalong or highlights, rather than just sitting watching a 90-minute football game. “If we look at mainstream media, they’re trying to follow that mould. They’re getting characters that you might not see in traditional media. Creators are massively part of the tournament and it’s only a matter of time before bodies like Fifa implement more. Five or six years ago creators still weren’t being taken seriously. The way they are covering this World Cup is something we’ve never seen before.”
