It’s not for lack of globally recognized talent. The world itself has testified, we have that in abundance. It is not due to a shortage of numbers or target audience; Africa is the second most populous continent, with a predominantly young population between the ages of 18 and 35. It’s certainly not from a lack of interest. If events like The Experience concert, the Hallelujah Challenge Festival, Calabar Festival, and free Christmas concerts have shown us anything, it’s that Nigerians and Africans at large will show up for what they value.
The phrase “World tour” promises a musical experience that crosses borders, cultures, and continents.
World Tours Without Africa
So, please, why? Why is it that whenever “world tours” are announced, an entire continent is often skipped? At best, we get one stop, maybe two if we’re lucky. The rest? Radio silence. Not even a fan meet. For many artists, including African artists, a “world tour” often means Europe, North America, and Asia, with Africa conspicuously left out.
This, despite the fact that African music like highlife, Afrobeats, and Amapiano is no longer niche, but mainstream. So why do major music tours still overlook the continent? What needs to change?
A Cultural Paradox
Despite the current buzz around African music, the globalization of our genres, the democratization of industry events, and the popularization of fan-powered engagement, there is still a glaring absence of international artists performing live in Africa. That got us curious: Is the continent still viewed as high-risk, low-reward by record labels and tour organizers?
We don’t believe that is the case. The data says otherwise. In 2024, Nigerian artists generated over ₦58 billion in streaming revenue on Spotify alone. South African artists earned nearly R400 million in the same period. And though these numbers may not yet rival those of Western markets, put that against previous years, and they reflect a steady and promising upward trend. Investors are paying attention. The Nigerian music industry’s revenues, for example, grew by an impressive 63% from 2021 to 2022.
So no, the African music market’s profitability is not in question.
The African Fan Experience
Fans are not passive consumers. Like evangelists, they share the music, promote their favourite artists, and introduce them to new audiences. A dedicated fan base is a force to be reckoned with. Just ask Davido’s 30BG, Taylor Swift’s Swifties, or BTS’s ARMYs. For these fans, their stars can do no wrong.
And a concert is more than a show. For many fans, seeing an artist live is a life-changing experience. It’s why they save, travel for miles to experience a concert. With widely documented successes of live events, you’d expect artists, especially those benefiting from African fan bases, to extend that experience to African cities.
Burna Boy made history by selling out Madison Square Garden. Wizkid headlines Coachella. Beyoncé’s Cowboy Carter tour kicked off in April 2025, across major U.S. cities, London, and Paris. Taylor Swift just concluded her Eras Tour in December 2024, after a two-year run.
But Africa? Beyoncé’s last performance in Africa was back in 2009, in Egypt and Ethiopia. Chris Brown headlined at FNB Stadium in South Africa in 2023. John Legend performed in Kigali for Global Citizen’s “Move Afrika” series the same year. Rema’s Heis World Tour has stops in North America, Europe, Asia, and just two African countries: Morocco and Mauritius.
So, what is the African fan experience? You tell us.
In Part 2, we’ll explore the barriers that stand in the way of Africa becoming a regular stop on world tours.
