LLONA’s Tour Should Remind Us What Matters
In Nigeria, the dream of international acclaim often leads artists to overlook the very foundation that can make their global journey sustainable: their hometown fans. The race to go global is tempting—touring London or showcasing in New York might seem like the golden ticket. But what’s often lost in the rush is the connection to the people who truly understand and support you.
Nigeria’s realities are tough to navigate—unpredictable venues, unreliable power, and logistics that seem designed to frustrate even the most determined. These challenges can make international ventures feel like an easy escape. After all, the smooth paths of global showcases are alluring, and the annual concerts in Lagos or Abuja doesn’t always offer the depth of engagement one might expect. But the heart of an artist’s music is often most alive at home, in the cities and towns where it all began.
That’s where LLONA, a Headies-nominated artist on the verge of international success, is making a bold, almost rebellious move: he’s staying grounded. Instead of rushing into international showcases, LLONA has embarked on a self-funded, relentless tour across Nigeria. Cities like Makurdi, Kaduna, and Owerri—places often relegated to lyrics about “the trenches”—are now his stomping grounds.
“The first time we played Makurdi, I realized this is something,” LLONA’s manager shares. “We had planned to perform five songs, but when we got there, we saw it was a crazy crowd. They sang the songs word for word. And that’s when we decided, why not preach the gospel to more people?”
What followed was a tour that is still taking LLONA to cities many artists wouldn’t even consider. The energy in places like Kaduna, where over 3,000 fans turned out for his show, was electrifying. The anticipation had been modest based on ticket sales, but the reality was a packed venue and an unforgettable experience.
But this isn’t just about crowds or sold-out shows. It’s about the long game.
If we’re serious about building a music industry that thrives, we can’t keep bypassing our own ecosystem. Nigerian artists need to stop treating home as a stepping stone and start seeing it as the foundation. That includes more than just performing locally—it means engaging with and helping to strengthen the very structures that keep the industry alive.
Award shows like the Headies, which should hold massive cultural value, have become a punchline in the past five years—not because the concept is flawed, but because the artists who should be anchoring these platforms have checked out. It’s not just embarrassing; it’s unsustainable. These are not just events—they’re institutions, and artists must invest in them, not just with money, but with presence, effort, and credibility.
You can’t build a global legacy by skipping the home chapters.
The artists who last—are those who built homes before palaces. LLONA isn’t just playing shows; he’s planting flags. And when he finally steps onto global stages, he won’t be representing just himself—but the thousands who’ve already crowned him king at home.
“You want to be a global artist? First, be a Nigerian one.”
That means pulling up—not just when it’s convenient or when the brand deal aligns—but when it matters. It means showing up in Calabar, in Jos, in Ilorin. It means building the kind of legacy that doesn’t rely on imported validation.
Because here’s the truth: global recognition without local roots is fleeting. The world may applaud you, but only your people can truly anchor you. And for an industry still finding its infrastructure, that anchor is everything.
So the next time someone says “Afrobeats to the world,” let it be rooted in more than just strategy. Let it be a celebration of artists who didn’t skip the steps. Who grew in real time, with real people, in real cities.
