Tyla’s Cancelled Lagos Show Sparks Conversation About Xenophobia

South African singer Tyla was scheduled to perform in Lagos on December 22, 2026, as part of her A*POP World Tour. But on July 31, the Lagos date disappeared from the tour itinerary following days of backlash and calls from some Nigerians to boycott the concert. Neither Tyla nor her management has publicly explained why the Lagos show was cancelled.

That silence has become a major part of the controversy. The backlash was fuelled by renewed concerns over xenophobic attacks against Nigerians and other African migrants in South Africa.

Many Nigerians questioned why Tyla should be welcomed to perform in Lagos while Nigerians continue to report hostility and discrimination in South Africa. For some, cancelling the show without addressing the xenophobia felt like choosing to avoid the controversy rather than acknowledging it.

The reaction was also tied to the experience of Nigerian singer Ayra Starr in South Africa. Ayra Starr’s planned South African performances became entangled in visa problems, with organisers previously saying that she and her team had been denied visas. South Africa’s Consul-General to Nigeria has since disputed this, saying authorities have no record of a visa application or rejection involving Starr and asking for evidence to verify the claim.

Some Nigerians have therefore called for reciprocity, including reviewing visa arrangements for South African entertainers. Tyla is an individual artist and cannot be held personally responsible for the actions of the South African government or individuals involved in xenophobic attacks.

Others, however, argue that artists with significant influence have a platform and can use it to speak against discrimination especially when their careers benefit from audiences across the continent. For these Nigerians, the disappointment is not simply that Tyla cancelled. It is that she cancelled without saying anything about the issue.

Afrobeats, Amapiano and African pop music have created an increasingly interconnected market where Nigerian, South African and other African artists depend on audiences across borders. But cultural exchange cannot thrive on one-sided openness. African music may be crossing borders faster than African solidarity is.

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