December is only a few days away, concert lineups are rolling out, and Nigerians are already talking about ticket prices. For some of our biggest artists, tickets look more like rent than entertainment. The detective in me could not sit this one out, so I decided to look into Nigeria’s concert culture, and after some research, I found out why prices are what they are.

I started by comparing how much Nigerian artists charge for concerts abroad versus what promoters charge at home. Most of the attention online is on Flytime Fest, so that was my focus. The 2025 December lineup includes Rema, Central Cee, Asake, Davido, Flavour and Olamide, and it has sparked a lot of discussion.  

Here is the confirmed December 2025 Flytime Fest lineup at Eko Convention Centre: 

1. Dec 21: Rhythm Unplugged — Rema & Central Cee
VIP Standing: ₦400,000 for Central Cee, ₦250,000 for Rema

2. Dec 22: Flavour
VIP Standing: ₦120,000

3. Dec 23: Olamide
VIP Standing: ₦120,000

4. Dec 24: Asake
VIP Standing: ₦300,000

5. Dec 25: Davido
VIP Standing: ₦250,000

Looking at these figures alongside Nigeria’s current economy and minimum wage, it is clear why Nigerians are talking. Regular tickets are limited because of crowd control. The Eko Convention Centre can only hold 6,000 to 7,000 people, which is small for artists of this scale. Promoters push VIP tickets because of this limit and because people buy them. That is the system in place, and that is how it operates.

When comparing local and international prices, I noticed something interesting. Abroad, tickets are often cheaper.

• Rema has performed in Europe for €40–€70 for regular tickets, about ₦60,000–₦120,000.

• Asake’s U.S. tour tickets ranged from $50–$150, about ₦45,000–₦140,000.

• Davido’s North American shows usually sit between $75–$200, about ₦70,000–₦190,000.

• Olamide, performing less abroad, rarely exceeds $100, about ₦90,000.

Here in Lagos, the same artists have VIP tickets for ₦120,000 to ₦400,000. Not seating, not meet-and-greet, just standing. Abroad, venues are larger, organizers are structured, and the market is predictable. In Lagos, venues are smaller, demand is high, and VIP culture drives ticket pricing. That is the current situation. VIP culture in Nigeria is also a factor. It is about comfort and status. In Lagos, everything seems to have a premium section. Promoters know people want to be seen in the right spot, and they are willing to pay for it. Combined with limited regular tickets, VIP prices rise. That is the structure of concerts here, and it is the way the system works.

In a country where the minimum wage is still low, a concert costing ₦250,000 or more is considered high. Fans who grew up supporting these artists sometimes cannot attend, while others buy VIP tickets. This does not mean the system is wrong. It is simply how concerts operate in Nigeria. After looking at all the numbers, the venues, and the demand, it is clear: concerts in Lagos are expensive, and that is how it is. Limited spaces, high demand, VIP culture, and the economy all shape pricing. Regular tickets are few, VIP tickets are premium, and fans who can pay do so. So when you see a ₦400,000 or ₦250,000 ticket, it is not a mistake or injustice. It is a reflection of how the concert scene works in Lagos. Concerts are still experiences that connect fans to music and culture, but they also reflect the realities of space, economics, and social dynamics. That is the reality of Lagos concert pricing this December.