In recent times, when prominent African pop musicians announce world tours, cities like Paris, New York, Toronto, and Amsterdam are typically featured in their itineraries. Notably, multiple performances at London’s O2 Arena have become commonplace, highlighting its status as a key venue for Nigerian pop talent. These events showcase impressive, multi-million dollar stage setups, large LED displays, and expertly choreographed performances by globally recognized artists such as Burna Boy, Wizkid, Asake, Rema, Tyla, and Tems.
However, it is uncommon to find a detailed list of tour dates that includes cities like Accra, Nairobi, Johannesburg, Kigali, or Luanda—places that are the cultural heartlands of these artists. This represents a significant irony in the current rise of African music: despite being the continent’s most significant cultural exports, these musical talents face challenges when performing consistently for local audiences across Africa.
This disconnect has led to a notable cultural divide. Music plays a vital role in reshaping the global perception of young Africans, replacing outdated stereotypes with vibrant representations of contemporary African life. Yet, when an artist creates a song that reflects the harsh realities of Lagos but only performs it in Berlin, the essence of that connection is compromised. As a result, many young Africans are left to experience their own culture primarily through digital platforms.
Over the past five years, pop music has been transformed by influences from West and Southern Africa. The continent’s pop stars are no longer viewed as peripheral “world music” acts by Western media; rather, they have secured a central position in global pop culture. Genres such as Afrobeats, amapiano, and alternative music, along with their local variations, have amassed billions of streams. Yet, coordinating a cohesive and profitable multi-country arena tour in Africa remains an arduous task. For instance, Rema’s 2022 Rave & Roses world tour featured extensive runs in North America and Europe, but only included three stops on the African leg, situated in Zambia, Kenya, and South Africa.
Adesegun Adeosun Jr, known as British-Nigerian promoter King Smade, explains, “One of the biggest misconceptions is that artists are choosing not to perform at home. In reality, most artists are eager to connect with their audiences across the continent. The difficulty lies not in the demand but in the logistics.” As the head of Smade Entertainment and co-founder of Afro Nation, the largest Afrobeats festival franchise worldwide, Adeosun has organized over 1,000 events. Among these was the landmark 2018 Afro Republik concert in London, where Wizkid became the first African artist to sell out the 20,000-capacity O2 Arena, marking a significant milestone for African performers in major Western venues.
Unfortunately, the necessary infrastructure is lacking within the continent. The absence of a robust African touring circuit reflects the enduring effects of colonial borders, the high costs associated with intra-African travel, a lack of standardized venues and ticketing systems, and a fragmented live events economy. “Touring necessitates consistency across various cities, and if even a few stops do not meet the technical or financial criteria, it jeopardizes the entire tour’s feasibility,” Adeosun notes.
While artists on European tours can easily travel by sleeper bus from one city to another, the roadways between key cultural centers in Africa are often inadequate or present significant security challenges. A high-profile convoy transporting expensive equipment is particularly susceptible to theft and extortion in regions with lax law enforcement and porous borders. Consequently, flying becomes the only viable option, yet Africa is one of the most expensive regions for air travel. Intra-African flight costs can be 40% to 60% higher than those for comparable European routes, a situation exacerbated by protectionist taxes and fuel prices that exceed the global average by 21% to 30%. The lack of an open skies agreement further complicates matters, as a fully realized pan-African policy would ease air travel restrictions and deregulate airspace between nations.
The current African aviation framework was largely established during the colonial period to facilitate resource extraction to Europe rather than to foster connectivity among African countries. It is often more economical to fly from Lagos to London than from Lagos to certain neighboring capitals in West Africa. Thus, when a promoter plans for a crew of, say, 50 members—including musicians, backup singers, dancers, technical personnel, and security—to travel across five cities, the costs of air travel can drastically impact profit margins. Additionally, visa expenses present another hurdle. Unlike in the European Union, the African Union has yet to achieve a truly borderless environment.
If an artist successfully secures the necessary funding and visas to embark on a tour, they may still face the challenge of limited venue options. While Africa boasts large football stadiums designed for events like the Africa Cup of Nations, there is a critical shortage of mid-sized, purpose-built indoor venues that can accommodate 10,000 to 20,000 attendees—facilities that are essential for successful global tours. Although an Afcon-level stadium could technically host a concert, the local purchasing power often makes it difficult to sell enough tickets at a profitable rate. Filling a 50,000-capacity venue with only 10,000 attendees can dampen the concert experience. While international superstars could absorb the costs, they cannot magically enhance the atmosphere.
This situation forces promoters to convert open-air locations, such as fields or hotel parking lots, into concert venues, necessitating the construction of infrastructure from the ground up and the rental of essential equipment like stages, barriers, and generators. In numerous African cities, high-quality audio and lighting systems are often unavailable for rent.
Lastly, artists must consider whether touring is financially viable. Top Afrobeats performers now command substantial international booking fees, which can complicate their ability to tour within Africa effectively.
