Country Profile: Nigeria

The first-of-its-kind, 12,000-seat Lagos Arena, reportedly under construction, is poised to redefine Nigeria’s live music space. Spearheaded by a consortium led by Live Nation, the Persianas Group, and the Nigerian Sovereign Investment Authority, the project is expected to better Nigeria’s chance as an unparalleled entertainment hub.

Preceding this long- overdue development in one of Africa’s most vibrant music scenes is Flytime Promotions, helmed by Cecil and Keke Hammond. For over two decades, Flytime has consistently been the beating heart of Nigeria’s live music scene.

From the renowned Rhythm Unplugged to an array of Flytime Fests featuring international stars like Craig David, Megan Thee Stallion, Ne-Yo, and Koffee, Keke Hammond reflects on how the Nigerian live music scene has come of age: “We’ve seen a marked improvement in the quality of venues, sound systems, and technical support.” However, she points out, there are still areas where infrastructure requires substantial investment to meet international standards. “The focus is shifting towards creating purpose-built venues with acoustics and facilities designed specifically for live events, a step forward from the previous reliance on multipurpose spaces,” she says.

“We’ve seen a marked improvement in the quality of venues, sound systems, and technical support.”

Despite the improvements, certain concerns remain – especially the high costs of securing international talent. “Booking fees, travel, and accommodation costs are significant, and fluctuating exchange rates make it harder to meet these costs through local ticket sales alone,” Keke explains. Logistical issues, such as obtaining visas, managing equipment customs, and ensuring high-quality technical production that meets international standards, add to the complexity. However, Nigeria’s youth-driven appetite for live events inspires Flytime to be nimble. “We often implement tiered pricing to make it more accessible while still offering every attendee that premium entertainment experience,”
she says.

Flytime’s success isn’t just about the music. It consistently seeks to raise the bar by creating immersive experiences around each concert. While platforms like Instagram, TikTok, and YouTube have been pivotal for digital engagement and marketing, “we also create immersive cultural moments through partnerships with brands like Coca-Cola and Moet & Chandon,” Keke explains.

“We invest heavily in digital content creation, ensuring that there’s a steady stream of behind-the- scenes footage, interviews, and performance highlights to keep audiences engaged year-round.” This holistic approach extends to building artists’ presence in Nigeria. “We invest in grassroots marketing and tailored experiences that resonate with local audiences while amplifying the artist’s global appeal,” Keke says.

“We invest in grassroots marketing and tailored experiences that resonate with local audiences while amplifying the artist’s global appeal”

Roddy Ricch’s 2023 visit to Lagos for Rhythm Unplugged is a prime example of this strategy. “What stood out was his eagerness to immerse himself in local culture and connect with his fanbase here,” Keke recalls.

As genres like Afrobeats and Amapiano dominate, the appetite for immersive festival experiences is growing. “We’re seeing more demand for festivals that blend music with fashion, art, and tech,” Keke notes. Although traditional genres like highlife and jazz have declined in popularity among younger audiences, there are opportunities for revival through contemporary collaborations. She credits artists like Asake, who infuse Fuji into their music, as examples of how older genres can be revitalised through modern interpretations.

Keke sees a bright future for Nigeria’s live music scene, with more developments like “the creation of a continent-wide touring network, which will streamline logistics for artists moving across African borders.” This initiative, including tech-driven innovations like virtual ticketing platforms, will open up new markets and reduce costs, encouraging more international acts to include Africa in their global tours.

“We don’t just promote concerts; we are cultural curators.”

Flytime events, like Rhythm Unplugged, acts as a launchpad for emerging artists. Pairing newcomer artists with more established acts is a staple at Flytime events. However, Keke emphasises the need for more robust structures surrounding artist development, mentorship, and industry education.

With over 20 years of operation in the Nigerian live music space, Flytime has not only maintained its esteemed status as a market leader but is also cementing its legacy through its “ability to consistently deliver world-class experiences while deeply understanding local cultures,” as Keke puts it. “We don’t just promote concerts; we are cultural curators.”

Other Nigerian promoters working with international artists include Eclipse Live and Livespot.