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Rwanda, 30 years after one of history’s darkest chapters, is rewriting its narrative – not just through reconciliation and economic growth but by using live music and entertainment as powerful tools. From newly renovated venues to hosting world-class events, the country is crafting a new identity, attracting international artists like Kendrick Lamar, Tayc, and Boys II Men.
“We want to make Rwanda the hub of sports and entertainment on the continent,” Uwase Mutimura, head of marketing for QA Venue Solutions (QAVS), says. At the heart of this vision is the QAVS-managed BK Arena, the largest indoor arena in East and Southern Africa, with a 10,000-person capacity, built in just six months.
It has already hosted major events like the Global Citizen concert, FIFA Congress, and the Basketball Africa League finals. Situated nearby, Amahoro Stadium – once a UN-protected site during the 1994 genocide – has also been revamped, expanding its capacity to 45,000.
“When you’re looking at a $500,000 price tag for an artist, it’s difficult to recoup those costs through ticket sales alone.”
Mutimura credits the government’s efforts to double down on sports and entertainment tourism following the success of the MICE strategy. However, certain deterrents persist. “The biggest issue is cost,” she admits. “When you’re looking at a $500,000 price tag for an artist, it’s difficult to recoup those costs through ticket sales alone.”
While sponsorships help, QAVS is also looking to master regional routing with cities like Cape Town, Nairobi, and Kampala to reduce costs and attract more international acts. “We’ll facilitate the whole process, and negotiations will be on a continental level – not a singular market level. That would give us a lot more negotiating power, and it would also be far more attractive to the management of these artists,” Mutimura says.
Looking ahead, the vision extends to the Kigali Sports City concept, which will integrate the trio of BK Arena, Amahoro Stadium, and the upcoming Zaria Court. “We want to create a programme where events flow seamlessly from one venue to the next,” Mutimura explains. “We could have a massive game at the stadium, and once it’s done, we can host a concert at the arena or have pre-event drinks at Zaria Court.” Their recent successes exemplify QAVS’ capability to bring this vision to life. “People couldn’t believe they were seeing Boys II Men in Rwanda,” she recalls.
“We want to create a programme where events flow seamlessly from one venue to the next”
Rwanda’s live music scene has seen growing interest in Afrobeats, Amapiano, and even EDM. “People are looking for experiences that go beyond traditional nightlife,” Mutimura notes, pointing to themed events like Reminisce and Rhythm and Brunch.
As Rwanda’s live music scene benefits from requisite infrastructural and strategic support from its government, companies like QAVS can focus intently on other important aspects of the live value chain, unlike their counterparts in other regions who are burdened with the need to improvise and create their own venues. “We want people to say, ‘I saw this incredible artist in Rwanda,’ and not be surprised by it,” Mutimura says.
Positive Production is another key player in Rwanda’s live music scene that works with international artists.