For the average Nigerian music lover, seeing their favourite artist perform live is a dream that might never come true. To enjoy such an experience, one often has to live in Lagos or another major city, reside in a country where these artists frequently tour, or settle for snapshots and clips of performances shared on social media or YouTube. However, relying on online performances or saving up for the annual Detty December concerts in Lagos or Abuja creates a disconnect between artists and their fans. It makes it difficult for both parties to truly bond or create lasting memories of live shows.

As someone who grew up in Badagry, I mostly listened to the radio or CDs to hear my favourite artists. On the rare occasions they performed in town, the shows often started late and ended abruptly. But during my university days, campus events like the Trace Campus Tour, the Indomie Music Show, and Pepsi-sponsored concerts brought artists like Falz, Peruzzi, Rema, and 9ice right to my doorstep. It was then I finally experienced the magic of a live performance. Live music should be accessible to everyone, regardless of where they live. As these performances are unforgettable memories and deepens the emotional bond between an artist and a fan in a way no recording ever could.

But touring locally isn’t something that is greatly explored in the Nigerian music industry. Over the years, most artists have cited the country’s insecurity, economic challenges, and lack of touring venues as major reasons why they don’t tour outside major cities like Lagos, Abuja, or Ibadan. However, if no one takes the step to take that risk, then the young man in Sokoto might never experience a live performance from his favourite artist.

To date, music lovers in such states still struggle to see artists perform live. However, there seems to be a change, as artists like Llona and Odumodublvck are actively working to bridge the local touring gap by spearheading the “Homeless Nationwide Tour” and the “Greatest School Tour Ever,” respectively. Together, they are creating unforgettable moments for their fans in states like Kaduna, Cross River, Osun, Niger, Nasarawa, and others—showing that the impossible can be achieved with deliberate planning, the right team, and a clear vision to connect with and build a solid fanbase regardless of location. These artists are intentionally bringing their music to the grassroots, solidifying their presence both locally and within the larger Nigerian music industry, while building their legacy and success.

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Why These Tours Matter

These campus and local tours aren’t exactly new—with artists like Davido and Lynxx headlining the “Back to Basics” and “Lynxx and Friends” tours—in recent times, it appears that artists have shifted their focus to performing on international stages or wrapping up the year with a single major concert. This shift makes the recent tours by Llona and Odumodublvck a refreshing development amid the declining number of local tours by Nigerian artists.

But why do these tours matter in the industry, and what can artists learn from them? Nigerian African creative entrepreneur and branding expert, Oreoluwa Peters, popularly known as Mr. Rollout, believes that these artist-led tours highlight the possibilities of local touring in Nigeria. He sees it as a necessary risk for the growth of the music industry. Reflecting on the importance of touring locally, he also emphasized the increased visibility it provides for artists.

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Streaming apps, social media, and traditional media have played a role in placing artists directly in front of audiences, but touring helps artists penetrate new circles where their music has never been heard. In certain states where popular artists are well-known and easily recognized, emerging artists—especially those without viral hits or connections to media personnel in those regions—often struggle to remain top of mind among audiences outside major cities. Touring provides these artists with the opportunity to take their music directly to those audiences—literally.

Even established artists still need support from fans in remote areas to amplify their sound and build a concrete fanbase that actively promotes their records. Some artists may disparage the Nigerian audience for its perceived lack of economic power or limited impact on streaming numbers, but this audience is passionate and notoriously known for loudly supporting their favorite acts.

Mr. Rollout asserts that the Nigerian audience offers more than just streaming numbers: “We might not have pocket power or economic power, but in terms of support and having that physical presence, the Nigerian audience can provide that.”

With Llona and Odumodublvck’s current tours, both artists are individually increasing visibility for their projects—Homeless and The Machine is Coming Mixtape—as well as for future releases, thereby boosting listenership and audience engagement. In the videos shared from their tours, the audiences appear deeply invested in their performances. The more these artists perform and connect with fans, the more their music resonates.

The songs become soundtracks to some of the most exciting moments in these fans' lives, and the artists become portals through which those memories are created. In the long run, the people they’ve reached through touring—who have experienced their musicality first hand—are the ones who will champion and defend their music in everyday music conversations.

Local touring also plays a significant role in increasing brand identity. One key benefit of touring locally is that it puts a face and personality to the carefully curated online profile of the artist. It gives listeners a chance to connect with the artist on a personal level and see them in their element, making it easier to identify and relate to the artist’s brand. As Llona and Odumodublvck continue to tour, their brand identity will inevitably grow and become more relatable. These tours are not just about building a narrative around their brand; they are also inspiring other artists to create experiences tailored specifically for Nigerian audiences. With the success of these tours, we can hopefully expect more of them.

However, while more tours are encouraged, they require artists to be intentional and strategic—not simply copy an existing template. Imitation can lead to a failure to curate a unique and authentic experience for their fan base.

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Mr. Rollout posits that local tours are a welcome development. However, he warns against a one-size-fits-all approach: “It is a new trend, and while everyone is doing local or campus tours, others just follow a template and miss the essence or the point behind it. They turn it into just another money-making venture. Hopefully, that is not misconstrued or taken advantage of in a negative way. Rather, let us embrace the positive side of touring.”

We no longer live in a world where artists rely solely on their record labels and PR teams to write their stories and craft their narratives. Today, artists can find their own ways to document their growth and musical journey—often through their tours. These tours serve as a road map, illustrating where they started. And when they eventually reach international stages or higher levels in their careers, there is a clear path that reflects their musical evolution.

They’re not just connecting with audiences; they’re also documenting their experiences over the years. These experiences lay a strong foundation for future success, showing that they have consistently put in the work.

For the Nigerian music industry in general, the significance of these tours lies in their potential as a new way of generating revenue—not just for the artists, their teams, or record labels, but also for show promoters, organizers, and local vendors. These stakeholders can earn through various channels such as merchandise sales, which in turn adds value to the artist. There is a rising trend of local tours in the industry, marking a shift from the usual focus on international tours. It reflects new possibilities and serves as an indicator of what can be achieved when an artist takes the risk of touring locally. Furthermore, recognition from several music industry professionals reinforces the idea that local tours are highly recommended for Nigerian artists.

While these tours are important to an artist’s growth and the overall music industry, the challenges of touring in Nigeria also serve as a roadblock.

Economic challenges, poor infrastructural development, insecurity, and, more recently, police brutality—such as the tragic incident involving Ahenjir Emmanuella, who was allegedly shot by the police while returning from Llona’s show in Benue State—highlight the urgent need for safer environments and better support for local tours. As the industry continues to evolve, addressing these challenges thoughtfully and proactively will be essential to ensure these tours can thrive and safely bring music to all corners of Nigeria.

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Lessons from Llona and Odudumodublvck’s Tours

A major lesson that can be learned from Llona and Odumodublvck is the overall possibility of it. They have shown the entire music industry that, despite the challenges, artists can tour successfully in Nigeria. Another point is that local tours are an effective way to promote music and build anticipation for future releases. For instance, these artists are promoting their music projects—Llona is pushing the Homeless album, while Odumodublvck is spreading the message of his latest mixtape, The Machine is Coming, and generating buzz around his highly anticipated debut album.

It is important to note that the success of these ongoing tours isn’t solely hinged on the artists' performances; the planning by their teams also plays a major role. If an artist has a vision but lacks a team to figure out the “how” factor, then that vision can easily become mere imagination.

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Steps to Planning a Local Tour

The first step in planning a local tour is having a clear goal in mind — what do you hope to achieve at the end of the day? Having a goal directs an artist and their team on where to focus their energy, from the choice of venues to song selection, seeking brand sponsorships, choosing artist collaborations, and deciding the theme of the tour. As Mr. Rollout says, “Let’s remove all those vanity and frivolous metrics that have crowded the Afrobeats space. Yes, there’s the music business part, there’s the numbers part — it’s good for optics — but let us gear towards the actual impact, the actual objective of the tour. Ask questions like, ‘What do I want to do with this tour?’ ‘What is the actual goal?’ Chase that, and you will reap the rewards of local touring in Nigeria.”

Another technique for artists to adopt is collaborating with another artist on a tour. Recently, Llona announced that he would be performing in Ibadan alongside Bella Shmurda. This collaboration is a smart move, as Shmurda has built a strong reputation in Ibadan with his “Tension Rave” shows, which have attracted large crowds over the years. This partnership between the two artists will bring their individual fan bases together, thereby ensuring a large turnout for the show. Collaborative tours ease the pressure on artists and also guarantee a bigger audience.

The logistics of the tour must also be properly planned to avoid delays. Securing brand sponsorships and government support is important, as they help cover some of the financial responsibilities.

As the planning progresses, the artist and their team should also work with radio stations, other media outlets, and influential personalities in the selected states they want to tour, as these collaborators help raise awareness and increase publicity.

Ultimately, Llona and Odumodublvck have shown the industry that local touring is not just possible—it’s necessary. It reminds us that the foundation of building communities, connecting with the audience, and delivering unforgettable music experiences are moments that should be created in every corner of Nigeria.

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