The Chief Executive Officer (CEO) of Crux Global, Rodney Kofi Kyei, says staging international shows and tours can be very costly for Ghanaian artistes seeking to expand their reach and audiences.
The Chief Executive Officer (CEO) of Crux Global, Rodney Kofi Kyei, says staging international shows and tours can be very costly for Ghanaian artistes seeking to expand their reach and audiences.
Speaking on Primetime with George and Mercury Quaye on August 26, 2026, he said the cost of putting together an international show goes beyond simply flying an artiste to another country.
“It’s not easy; it’s also the promotion and working to get the best show possible. Artistes fly in their friends to come and do the show. That’s not easy; they have to work on the production as well,” he said.
He added that although some people may offer support, businesses hosting artistes also have to consider their own costs.
“And maybe there’ll be some people that will support, but at the same time, anyone that owns their business also wants to make sure that they can support any talent that’s coming to them,” Mr Kyei said.
Despite the cost, he believes international shows are necessary for artistes, particularly established names, because of the opportunity to connect directly with their audiences.
“When you’re an artiste like KiDi, King Promise, Sarkodie or Stonebwoy, it’s important to touch your fans, because those are your advocates. Those are the people that are going to go and tell their friends.”
Rodney Kofi Kyei also said Ghanaian artistes can expand their international reach by gradually moving through different audience groups.
“You start with the first circle of audience, which is your local audience. Then you go to your second circle, which tends to be your surrounding countries—Nigeria, The Gambia, Sierra Leone, etc. Then you go to the next circle, which is just Africa.”
“Then we go to the diaspora, which is your gateway to the rest of the world.”
According to Mr Kyei, the Ghanaian diaspora can play a key role in taking artistes’ music to audiences outside Africa.
“Those are the people that are proud to be Ghanaians, proud to be a fan of you. And these are the people that have friends that are different nationalities and from different cultures, and there’s nothing more powerful than word-of-mouth marketing.”
He said international shows should, therefore, not be viewed as isolated events but as part of a long-term strategy to grow an artiste’s audience.
“So, if someone is able to do a show in another country where they can invite diasporans, the likelihood is these diasporans will bring their friends; there’ll also be media that will also carry the story,” he said.
“And it’s not about just doing one show; it’s about touring consistently and building, going to bigger venues every time, you know, and making it bigger.”
Mr Kyei cited Sarkodie’s international performances as an example of this progression.
“Like, Sarkodie is now going to the O2 Arena. He did Royal Albert, and now he’s going to the O2 Indigo. So, he’s keeping the pressure on and growing that audience while using the buzz from that show to go into another show.”
Sarkodie performed his Rapperholic UK show at London’s Royal Albert Hall on March 6, 2026, before announcing the next edition for The O2 Arena on March 6, 2027. The 2026 Royal Albert Hall show was sold out.
He also pointed to the growth of Nigerian artiste Burna Boy, noting that major international performances are often the result of a gradual build-up.
“Burna Boy’s first show was at Hammersmith Apollo, which has a 4,500 to 5,000 capacity. And his last show was at West Ham Stadium. To get to West Ham Stadium, he had to go and do other shows and do O2 a few times,” he said.
The CEO also highlighted upcoming performances by Ghanaian acts R2Bees and KiDi in London.
“R2Bees is about to do Indigo in London on the 11th of September. It’s going to be an amazing show, and people in the UK are so excited.”
Mr Kyei also mentioned KiDi’s upcoming London performance, saying, “KiDi is also doing Indigo on the 18th of September as well.”
The CEO said the process also involves continually releasing new music and converting new listeners into fans.
“Younger artistes go in a cycle; usually by the time they get a new audience, they drop another album. That album will bring them even more fans—it’s a strategy.”
He stressed that the value of live performances ultimately comes from the connection created between artistes and their fans.
