Nigerian music icon Femi Kuti bemoans the terrible state of touring in Nigeria. While speaking on the Afropolitan Podcast, the veteran Afrobeat star shared that the inability to tour Nigeria and Africa has forced musicians to perform in foreign countries.
The 63-year-old musician recently completed 24 stops in his 1 month North American tour, stating that if Nigeria were a nation where the touring circuit was functional, he would have spent months performing in different parts of the country.
“Unfortunately for us in a country like Nigeria, we don’t tour. If Africa were the continent it should be, I should spend 2 months touring in Nigeria,” the multi-award-winning icon said on what touring across multiple Nigerian cities should be like.
The remarks of the 5 time Grammy-nominated musician reflect the terrible state of music touring in Nigeria, where the biggest stars are unwilling to tour the country, and those willing face infrastructure and security challenges.
Femi Kuti is not the only member of the Kuti family bemoaning what touring can be in Nigeria.
In an interview with Pulse Nigeria, Grammy-nominated star Made Kuti shared that he was willing to tour the country if he got the right offer.
For stars who have dazzled international audiences with their music, Nigerian audiences have to wait till the annual Detty-December festivities before they can enjoy live performances from these stars.
Matters Arising: The poor state of music touring in Nigeria
Touring in Nigeria used to be a major part of the industry, with multinationals investing and sponsoring nationwide concerts that gave fans the chance to enjoy live music from their favourite stars.
The economic, security, and infrastructural challenges confronting the Nigerian music industry have made local touring largely undesirable for most artists, who now prioritize their foreign-paying audience.
At the moment, touring in Nigeria takes grit, defying economic challenges and security concerns, and a strong desire to connect with the fans.
Touring is still in its formative stage in Nigeria. It’s far below the level it needs to be if the local scene is to be profitable and capable of leveraging Afrobeats’ international success.
To get the job done, there must first be more commitment from all stakeholders. The government, private equity, the labels, the artists, and the consumers must all play their part.
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Despite these challenges, the success of Llona‘s Homeless Tour and Odumodublvck‘s Greatest Campus Tour is evidence of the possibility of touring in Nigeria, which is in desperate need of commitment from more superstars whose profiles can command the injection of private equity.
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Femi Kuti’s statement on the state of touring in Nigeria serves as a reminder of the job required to fix the ecosystem, especially for the government to create policies that would give listeners the disposable income to afford concert tickets. The authorities must also quell insecurity and provide transport infrastructure for logistical ease.
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