Afrobeats fans priced out as concert costs hit a new pitch

Ticket prices for major Afrobeats concerts in Nigeria have surged to unprecedented levels, locking out several local fans from live shows that once felt within reach.

Flytime Fest, which is Lagos’ biggest Detty December event featuring Davido, Asake, Rema, Central Cee, Flavour and Olamide, now charges rates that exceed what many earn in a month.

For the 2025 edition, VIP standing tickets cost N250,000 for Davido on December 25, N300,000 for Asake on December 24, N250,000 for Rema and Central Cee at Rhythm Unplugged, N120,000 for Flavour, and N120,000 for Olamide on December 23. These prices mark a rise from previous years. In 2024, top headliner tickets at Flytime sold for N120,000 to N180,000. Earlier years saw prices between N50,000 and N80,000.

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The increase stems from higher operational costs and artist fees, driven by economic factors such as inflation and supply chain issues. Promoters face expenses for venues, production, security, and international talent, which have all gone up. Despite this, the prices have sparked debate among fans who feel excluded from events they once enjoyed.

Nigeria’s current realities deepen the divide. With a minimum wage of N70,000 and inflation at 16 percent, a single N300,000 Asake ticket costs more than four months of salary for minimum-wage earners.

Even for middle-income earners, buying tickets for a family or group becomes difficult. Spotify data shows local music consumption in Nigeria rose 82 percent in 2025 compared to 2024, with daily streams up 23 percent. This indicates music plays a bigger role in daily life, but the growth in streaming does not translate to affordable live access for many.

Fans have voiced frustration on social media, highlighting how the prices disconnect artists from their core audience. One user, @Dagigabox, posted: “I used to really get excited about Flytime Fest especially for my wife but you see those headliner ticket prices, they are not for people earning naira. That’s just 1 ticket now imagine two!! We Stream the music!” This post captures the sentiment of many who opt for streaming instead of attending.

Another fan, @MAXPOWERR10, questioned the value: “…let me understand something, after i have streamed all their songs and have made them serious money online..i will still pay N300,000 to stand …all the money they make from streaming can be used am subsidize show…” This reflects a view that artists benefit from streams but do not make live shows more accessible.

@7thgod__ noted the historical jump: “…can someone actually explain to me how we went from 5k tickets to 300k.” This points to how prices have escalated over time, from affordable levels to current highs.

These reactions show a common theme: fans feel priced out despite their support through streams and social media promotion. Many argue that live shows should reward loyal listeners, not exclude them.

A comparison with foreign tours shows why affordability feels worse at home. Davido’s VIP ticket in Lagos costs roughly N250,000 (about $172 at N1,450/$1). But on his 5ive Alive U.S. tour, average tickets cost $424 (N615,000), ranging from $92 (N133,400) to more than $2,000 (N2.9 million). Burna Boy’s No Sign of Weakness Tour averages $247 (N358,000), with VIP packages hitting $5,220 (N7.5 million). While Nigerian prices look cheaper in dollar terms, they remain punishing to local fans due to poor wages.

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Despite the backlash, Flytime has sold out some ticket zones, especially for Asake’s show, the most expensive at N300,000. This suggests demand from those who can afford it, including high-income locals, celebrities, and diaspora groups. Promoters argue the pricing reflects costs and ensures quality production, but it risks alienating the broader fanbase that built Afrobeats’ popularity.

The surge affects the inclusive vibe of Detty December, where music events once brought people together. Now, many may turn to house parties, free streams, cheaper shows or smaller gatherings. This could impact the industry’s growth if average fans disengage from live experiences.

Opportunities for lower-tier Afrobeats artists:

Lower-tier Afrobeats artists have a chance to attract fans unable to pay over N100,000 for tickets. By offering cheaper options, they can fill the gap left by high-end events like Flytime. Several December shows demonstrate this approach.

BNXN’s show at Iconic Fest is priced at N50,000. This includes headliners such as Chike and Plutomania (Shallipopi, Zerrydl, and Famous Pluto). These prices allow access for more people, drawing crowds who skip pricier events.

Johnny Drille’s Room show costs N20,000, making it one of the lowest. Juma Jux, a Tanzanian singer, prices his at N30,000. Kizz Daniel’s live concert is N50,000, Victony’s Burnfire Experience is priced at N30,000, Cavemen at N27,100, and Fireboy DML at N35,000.

These affordable tickets target average listeners, building loyalty among priced-out fans. Artists gain exposure and revenue from higher attendance volumes. For example, selling more N30,000 tickets can match earnings from fewer high-priced ones, especially with sponsorships or merchandise.

Adeola Akinyemi, founder of Make Music Lagos, highlighted ways emerging artists can tap in. Her platform supports live performances without miming, offering events like Battle of the Bands and Make Music Live. Such initiatives help lower-tier acts connect with audiences seeking value.

In broader terms, the pricing surge prompts reflection on Afrobeats’ direction. The genre, rooted in Nigerian streets, has gone global, with artists such as Davido, Wizkid, Burna Boy, and Rema filling arenas worldwide. Yet, high local prices risk disconnecting from original fans.

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The situation underscores economic divides in Nigeria. While diaspora inflows boost tourism (hotels earned N54 billion last Detty December), local fans feel sidelined.

Anthony Udugba is a seasoned entertainment business journalist at BusinessDay Media, boasting over four years of experience in the creative industry. With a proven track record of delivering insightful analysis and in-depth coverage, he leverages industry data, expert opinions, and stakeholder insights to craft compelling stories that shed light on the dynamic creative ecosystem.

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