AY says Nigerian artists charge up to 200 million

There was a time when an artiste could show up at a comedy show because of friendship, collect some money for logistics and simply support a fellow entertainer. Apparently, those days are gone.

According to popular comedian and filmmaker AY Makun, booking some of Nigeria’s biggest music stars for his AY Live comedy show has become a completely different financial conversation, with some artistes now demanding as much as ₦200 million for an appearance. And that is not the only figure raising eyebrows. AY claims that another artiste could ask for ₦120 million, while even some emerging artistes who have yet to become major stars are demanding as much as ₦80 million.

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His comments have opened up a bigger conversation about just how much the Nigerian entertainment industry has changed.

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AY: “Today, Nigerian musicians charge ₦200m, ₦120m, ₦80m”

Reflecting on the evolution of AY Live, AY said several of Nigeria’s biggest music stars have appeared at the comedy show over the years. He mentioned Wizkid, Davido, Burna Boy, Tiwa Savage and Olamide, among others.

According to him, their appearances were much easier to arrange in the early days because personal relationships and friendships often played a major role. An artiste could accept a reasonable amount to cover logistics and still make an appearance because the relationship and mutual support were considered important.

But AY says the economics have changed dramatically. Today, he claims, some Nigerian musicians command fees of ₦200 million, ₦120 million and ₦80 million simply to appear at his show.

And his comments did not stop there.

Even upcoming artistes are asking for millions

Perhaps the statement that will generate the biggest debate is AY’s claim about emerging artistes. “Even the upcoming artists wey never blow dey ask for N80 million,” he said.

That raises an interesting question about the new economics of Nigerian music. How much should an artiste who is still building a career be able to command for a live appearance? And what determines that price? Fan base? Streaming numbers? Social media following? Hit records? International bookings? Or simply demand?

There is no single public rate card that determines what every Nigerian artiste should charge. Performance fees can vary according to the artiste, event, location, timing, exclusivity and other contractual terms.

 

Why have Nigerian artistes become so expensive?

AY’s explanation is straightforward. The Nigerian music industry has grown beyond the traditional local entertainment market. Nigerian artistes now make money through streaming, international endorsements, tours, festivals and other opportunities that can generate income in foreign currencies.

That has changed the bargaining power of successful musicians. An artiste who once needed a comedy show for visibility may no longer need that exposure.

Today, that same artiste could be performing in London one weekend, appearing at an international festival the next and earning from streaming and endorsement deals at the same time.

AY said this is one reason musicians no longer depend on comedy shows for visibility.

From supporting each other to negotiating millions

The evolution of AY Live itself reflects the wider transformation of Nigerian entertainment. When the show began, music and comedy were closely connected. A comedian could call an artiste personally. An artiste could appear because of friendship. Everybody was still trying to grow.

But Nigerian music has since become a major global commercial industry. Afrobeats has created international stars whose value is no longer determined solely by what they can command at a Nigerian event.  Their audiences are global. Their revenue streams are global. And increasingly, their fees reflect that reality.

But where does this leave comedy shows?

This is where AY’s argument becomes particularly interesting. The comedian acknowledged that Nigerian musicians deserve to charge what their craft commands. However, he also argued that comedy promoters need to be able to build sustainable shows without being forced to spend enormous amounts simply to put famous musicians on the bill.

He suggested that perhaps the success of a comedy show should not be measured by how many musicians appear on the lineup. His point is simple. If people buy a ticket to a comedy show, the primary promise should be comedy.  “Let comedy be enough,” AY said.

The economics behind the entertainment

There is another side to the conversation that is easy to overlook. The artiste’s appearance fee is only one part of the cost of putting on a major entertainment event. Organizers still have to pay for venues, sound, lighting, screens, security, publicity, staff, logistics and production. If a headline artiste costs ₦200 million, the organizer has to find a way to recover that money while still paying for everything else.

That eventually raises another question. Who ultimately pays for the star power? The promoter, Sponsors, Or the audience through ticket prices?

So, are Nigerian artistes now too expensive?

That is the question AY’s revelation leaves behind. For established global stars, huge appearance fees may simply reflect their market value and the opportunities available to them. For emerging artistes, however, AY’s claim of ₦80 million raises a different conversation about expectations, market value and the changing economics of becoming a Nigerian music star.

Perhaps the bigger question is not whether artistes should charge more. It is whether promoters, comedians, musicians and audiences are ready for an entertainment industry where every appearance has become a serious business negotiation.

One thing is certain. The days when an artiste could simply show up at AY Live because “we are friends” appear to be becoming a thing of the past.