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Potentially boding well for the Macquarie forecast are at least two factors. First, there are signs of turnover increases across a variety of yes/no exchanges. Second, volume surged to start September with those spikes arriving even before the NFL season kicked off.
As Macquarie analyst Chad Beynon points out, prediction markets generated $4.3 billion in taker volume during the first week of September without any help from the NFL, building on momentum from the 2026 World Cup. However, the NFL’s impact was immediate, with taker volume hitting a daily record during Week 1 of the campaign.
With all that in mind, it’s not surprising that Macquarie expects sports event contracts will drive approximately 80% of taker volume this year, but Beynon sees other categories growing over the long term.
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Rossi believes the ISC in Peru is an example of a government implementing new taxes without truly understanding how the industry works, and the potential impacts on channelisation to licensed offerings.
“Peru has been quite successful in channelling customers into the regulated framework,” Rossi comments. “The risk is that this channelisation can decrease in favour of the black market. We know the black market won’t have any consumption tax.
“There should be, in my opinion, a review of the whole ISC or consumption tax framework and find a kind of alignment or a better way to get an income in terms of taxes, but that should be balanced in order to avoid the disruption of businesses and a migration of customers to the illegal market.”
How to play El Vigilante
While thousands of new casino games reach the market every year – with research suggesting the number of releases is growing by around 10% each quarter – volume does not necessarily equate to variety. Developing something genuinely different means taking a risk, while the industry’s familiar practice of reskinning existing games, or adapting mechanics and concepts that have already proved successful, offers a much safer commercial proposition.
For James Curwen, chief executive at Yggdrasil, the tension between the industry’s need for fresh content and the commercial realities of producing it goes to the heart of the challenge.
“The industry has a content problem,” he says. “There are thousands of games being released and too many of them are variations of something that already exists.
