If you haven’t already, be sure to read Part 1. In Part 2, we delve into the real barriers, logistical, economic, and infrastructural.
Why Is Africa Left Out of “World” Tours?
Infrastructure Gaps
Big shows require equally big spaces. And while Africa might not have the O2 Arena or Madison Square Garden, we do have the Lagos Arena (12,000 capacity), Moshood Abiola National Stadium Abuja (50,000+), FNB Stadium in Johannesburg (94,000), and Dakar Arena, Senegal (15,000). All of these are large-scale venues that meet international standards.
So, if the venues exist, the next question is: can the cities support a Large influx of fans? Think transportation, lodging, amenities, and security? Will the city hold up, or will it buckle under the pressure?
Fingers point to the lack of supportive infrastructure, especially coordinated security for these events. Effective collaboration between law enforcement and event organizers to ensure the protection of lives and property. While we work towards that, governments and private sector stakeholders can invest in upgrading venues and putting in place sustainable infrastructure.
Sports tournaments show that it is not impossible. Is there room for improvement? Of course. But there is potential, that much is evident.
Logistical and Operational Challenges
For events such as these, artists need more than large-capacity arenas. They need quality sound, lighting, backup Power, and “tight” logistics. In cities where venues lack built-in resources, organizers must provide everything, from stage rigs to tech gear.
That means navigating customs for touring equipment, arranging travel and safety for crew members, and planning for contingencies. Even with support from local vendors, there are still provisions to be made; all these cost quite a penny. And this brings us to the next point.
Economics and Financial Barriers
Let’s talk money. Promoters are often reluctant to bring tours to Africa because of the significant financial risk involved. With so much upfront investment required, many hesitate. What if the tickets don’t sell? What if they can’t break even? A thousand “what ifs” later, and large-scale concerts on the continents remain few and far between.
Now, have you seen concert ticket prices lately? (laughs in inflation and limited disposable income). Prices have to stay relatively affordable, but that also means thinner profit margins compared to Europe or North America. Factor in the costs of flights, shipping equipment, visas, accommodation, and labor, especially when touring multiple cities, and it adds up quickly. If reliable equipment can’t be sourced locally, the math becomes even harder to justify.
Data Deficiency and Royalty Management
Then there’s the data, or lack thereof, the reason piracy is such a problem. One of the biggest side effects of piracy isn’t just lost revenue, it’s lost insight. Without data, it’s hard for artists to map out where their fans are or how profitable a tour stop might be. No numbers? No justification. Quite literally flying blind.
This is where tools like Royalti.io become invaluable, offering artists a window into fan locations, engagement patterns, and untapped markets for touring.
The Future of African Concerts
To build a future where Africa is an essential stop on every world tour, we need long-term investment in the continent’s creative infrastructure. That means public-private partnerships, funding mechanisms that reduce the risk for promoters, and data systems that give artists a clearer picture of their global audience.
A concert isn’t just a show, it’s jobs, tourism, local businesses booming, and cultural exchange. Every skipped tour stop is a missed opportunity.
With global music companies like Sony Music continuing to invest in African talent, most recently signing Nigerian musician Bright Chimezie, the vision of African cities as regular stops on world tours is no longer far-fetched.
It’s overdue.
