Over the years, Nigerian artists have developed a complicated relationship with live performances in their home country. From late arrivals and shortened sets to cancelled appearances and chaotic venues, concert culture in Nigeria, especially during Detty December, has become increasingly controversial.
Every festive season, fans show up in large numbers, eager to experience their favorite artists live. Yet, many leave disappointed after hours of waiting, rushed performances, or being denied entry altogether. As Detty December continues to grow into a global attraction, these recurring issues raise questions about accountability, professionalism, and respect for Nigerian audiences.
Burna Boy and the Normalisation of Late Arrivals
Burna Boy is one of the most prominent Nigerian artists whose concert history in Nigeria has been repeatedly criticized for extreme lateness. Over the years, fans have come to expect delayed appearances from the Grammy-winning singer.
In 2021, Burna Boy reportedly arrived around 4 a.m. for a concert scheduled to begin at 9 p.m. Fans had waited on their feet for hours, only to receive a short performance with no apology or explanation. Incidents like this have fueled conversations about how Nigerian audiences are often expected to tolerate behavior that would be unacceptable elsewhere.
Mavo and the Debate Around Performance Standards
Fast-rising artist Mavo has also faced backlash over his recent live performances. Despite gaining significant traction this year through his music, fans have expressed disappointment over what they described as an underwhelming stage presence and delivery.
In response to criticism, Mavo took to X to defend himself, stating that he was not Michael Jackson and that his performance style was unique. He went on to suggest that fans who were dissatisfied should leave his shows. The response sparked further outrage, with many arguing that artistry does not excuse poor live performance, especially when fans pay to attend concerts.
Fola’s Overcrowded Headline Concert
Detty December also proved challenging for up-and-coming singer Fola, whose first headline concert on December 15, 2025, ended abruptly due to overcrowding.
The concert, hosted by Mainland Block Party, was plagued by complaints of poor organization and unsafe crowd levels. Many ticket holders reported being stuck outside the venue, while those inside struggled with discomfort. Fola was only able to perform briefly before leaving the stage. He later apologized on X, acknowledging the disorganization and the unpleasant experience fans endured.
BNXN Fans Denied Entry Despite Valid Tickets
Afrobeats singer BNXN faced backlash after ticket-holding fans were denied entry to his concert at the Landmark Centre on December 9. Attendees flooded social media with complaints, claiming they were turned away after being told the venue had reached full capacity.
Some fans accused the organizers of overselling tickets and mismanaging the crowd. BNXN later addressed the situation on X, issuing an apology and clarifying that the fault lay entirely with the event organizers. Despite this, the incident added to the growing frustration surrounding concert experiences during Detty December.
Adekunle Gold’s Cancelled Performance
Adekunle Gold also found himself at the center of a Detty December controversy after announcing the cancellation of his performance at Music Central Fest. The singer cited the organizers’ failure to meet key obligations outlined by his management.
While some fans sympathized with his position, many expressed disappointment, noting that they had purchased tickets specifically to see him perform. The mixed reactions highlighted a recurring issue: Nigerian audiences frequently bear the cost of disputes between artists and event organizers.
Here’s What We Think
While not all these incidents can be placed solely at the feet of the artists, the consistency of such controversies has significantly weakened trust between Nigerian performers and their local audiences. Year after year, similar complaints resurface, creating a sense of detachment and disappointment among fans.
As Detty December increasingly caters to tourists and diasporans unfamiliar with Nigeria’s concert culture, the core Nigerian audience appears to be sidelined. Until professionalism, crowd management, and accountability are taken more seriously, the festive season will continue to be marked by excitement tempered with frustration.
