Burna Boy’s international success casts shadow over local touring industry

As Damini Ebunoluwa Ogulu (Burna Boy) shatters records in the United States, making history as the highest-grossing African artist in arena concert sales, the stark contrast with Nigeria’s dwindling music festival scene is hard to ignore.

While the Grammy-winning singer raked in over $1.7 million at the Capital One Arena in Washington D.C., it is hard to imagine if Burna Boy could make half the amount if he had to perform consecutively for six months in a country where music festivals are struggling to stay afloat.

None of Burna’s ‘I Told Them’ tours could be held in Nigeria because many fans who sang, danced, and cheered him to global fame would struggle to pay the dollar fees his management now demands from every category of clients.

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Oyinkansola Sarah Aderibigbe, known as Ayra Starr, recently released her sophomore album and is hitting the road for a North American tour this summer. Her concerts, which kicked off on June 17th in Brooklyn, New York, would wrap up on July 13th in Liège, Belgium.

In between, she has multiple shows in Canada, including Toronto, where she will perform for two nights. Tickets for these concerts sell as high as N326,000 per show.

There are no signs of a headline Nigerian show by the Mavin star, as local fans may have to wait till the end of the year for event organisers like Flytime, Q21, or Livespot to host artists for the Detty December shows.

Tochukwu Gbubemi Ojogwu, also known as Odumodublvck, recently embarked on his debut tour in the US following the release of his first album with DefJam Records.

Similarly, Divine Ikubor, known professionally as Rema, recently completed tours in Los Angeles and New York and a sold-out concert at London’s O2 Arena but hasn’t had a single tour in Nigeria for his last album.

This trend is not unique, as artists like Temilade Openiyi (Tems) and Adekunle Almoruf Kosoko (Adekunle Gold) have all had shows outside Nigeria in the last year without a single headline show in their home country. This is despite the recent boom on the local entertainment scene, which grew its GDP contribution to N728.80 billion in the first quarter of 2024.

The juxtaposition between Burna Boy’s international success and that of his fellow Nigerian musical contemporaries versus the struggles of their country’s music festival scene raises questions as to why Nigerian artists prefer to tour the international markets. Can Nigeria’s music festival scene be salvaged, or is it too late?

Live music thrives in Nigeria but has a distinct character compared to the festival-centric scene in the US and other countries. Here, concerts are more intimate, often held in arenas like Eko Hotel or private beaches. A maximum of 5000 people are in attendance per show, and there are limited dates from the end of December to the first week of January.

Furthermore, the volatile Nigerian economy and the declining value of the naira against the dollar have significantly reduced citizens’ disposable income and spending power. The economic instability has led to a recent nationwide strike by the National Labour Congress, demanding a fair minimum wage for civil servants.

This economic uncertainty and reduced purchasing power will likely impact the music industry, making it even more challenging for artists to organise successful tours and concerts in Nigeria.

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The financial disparity between streaming payouts in the US and other developed countries compared to Nigeria is another major factor driving artists to international tours. While fans in Nigeria support their local artists, subscription fees on platforms like Spotify are significantly lower here ($2.19) compared to the US ($10.99).

Artists strategically tour these countries as data identifies them as high-paying streaming regions. This allows them to connect with fans and build a loyal base that translates to greater streaming revenue. Therefore, the economics of music streaming incentivises Nigerian artists to focus their touring efforts abroad.

Nigeria’s live music scene faces another hurdle: the lack of large, secure, high-capacity arenas. While renovated stadiums exist in Lagos, Uyo, and Asaba, their complex logistics and potential security concerns discourage artists and local event organisers. These limitations can damage an artist’s career or an organiser’s reputation.

However, there is a reason for optimism, in Lagos at least. The state recently commissioned the construction of ‘The Lagos Arena,’ a 12,000-capacity indoor event center inspired by global standards. Located at the Palms Mall in Lekki, Lagos, this arena aims to elevate Lagos to the forefront of the global events scene and is scheduled for completion in December 2025.