In the past decade, Nigeria's live concert scene has bustled from the ripple effect of "Afrobeats" global success. Yet, despite the financial investments that have flooded, the promises of premium experiences, and the euphorically-edited social media clips from these concerts, the consensus amongst patrons i.e. concert attendees, even for "VIP' and "VIP" ticket purchasers who pay an arm and a leg, is that the majority of concerts in Nigeria are not worth the Naira you pay. This is particularly because, when compared to concerts in Europe or America, headlined by the same artistes, the value and experience received are thousands of miles apart. Are the performers or the organisers the problem, or is the pertinent question whether the time is ripe to put some regulatory guardrails on the live concert experience in Nigeria?

It is rational to conceive some apprehension towards regulating a niche like this, especially considering the tendencies to stifle creativity, innovation, and spontaneity, but not if we strike the right chord with regulation, perhaps through light touch regulation.' In this article, we will delve into the peculiar hitches associated with live concerts in Nigeria and explore why it may be necessary to consider regulatory solutions to these problems.

We will also examine the roles of performers and concert organisers in shaping the live concert landscape and discuss how regulation may aid their efforts for the benefit of