With the global spotlight increasingly focused on the African continent, more artists are achieving a milestone that every musician dreams of—embarking on an international tour. Recently, a growing number of independent African artists have taken this bold step, connecting with fans across continents. Despite challenges ranging from financial hurdles to the lingering effects of COVID-19, these artists are breaking new ground. Anabel Rose from the iMullar team sits down with three such artists—Tommy WÁ, Lady Donli, and the collective SuperJazzClub—who have ventured beyond the continent, sharing their experiences and insights on what it takes to connect with fans across the globe.
Meet the Artists
Born in Nigeria but based in Accra and Kumasi, singer-songwriter, poet, and visual storyteller Tommy WÁ explores soundscapes of Jazz, Highlife, Blues, and Hip-Hop through the lens of Afro-indie and Folk music. After a successful UK tour in May, he’s set to return in September.
Tommy WÁ: “I’m not too concerned with labels. My music represents Africans with a different reality than what’s mainstream. Music became the strongest way for me to bring people together, which is the main purpose of what I do.”
The effervescent Pan-African Rockstar, Lady Donli, has been sculpting fresh fusions of Jazz, R&B, Highlife, Hip-Hop, and Afrobeat since 2014. Her latest album, Pan-African Rockstar, recently launched her on a tour across Africa, North America, and Europe.
Lady Donli: “I’ve always enjoyed being on stage. In high school, I was the president of the Press Club, and people loved my charisma on stage. Although I’m introverted and shy in real life, the stage allowed me to express myself fully. Over time, I enjoyed performing more and improved my skills.”
The final piece of the trio is the Ghanaian creative collective, SuperJazzClub—epitomizing the power of collaboration and experimentation in art. With a sound that keeps evolving through a blend of Hip-Hop, R&B, Jazz, Alté, and Jungle, the supergroup has had an eventful year of tours, with their first European headline tour set for October 2024.
The Independent Artist Experience
For many artists, choosing to remain independent is a mixture of circumstance, a conscious decision to retain control over their creative vision, and the conviction to find the perfect fit when it comes to working situations. It is filled with challenges, from building a supportive team to navigating the business side of music. Yet, for these artists, the rewards of independence outweigh the difficulties of finding motivation in their purpose, the freedom to experiment, and the direct connection they maintain with their audiences.
Tommy WÁ: I started recording music when I was 21. At that time, no one understood what I was doing, and it felt like a waste to put my destiny in the hands of others who might try to shape me into something I wasn’t. It became a conscious choice to remain independent rather than not having a choice at all. It was more about understanding myself and the music I wanted to create rather than being anti-industry. Finding a label that truly supports and understands my sound has been challenging. So, remaining independent was a way for me to stay true to my vision and continue developing my music on my terms.
Lady Donli: “I’ve always wanted to make music, and being independent just happened because I haven’t found the right situation for me yet. If a good record deal came along, I’d consider it. I’m not opposed to signing if it’s the right fit. Yes, creative freedom is crucial. I’m open to input and help, but I don’t want to lose myself in the process. I value ownership of my music and prefer to maintain control over my artistic vision. I always need to think about what comes next because it helps me stay motivated and productive.”
SuperJazzClub: “Purpose, the only thing that can inspire you to keep going is within. If you truly believe in what you think you were brought to the earth for, then the world will be yours for the taking.”
With non-stop hard work and the constant effort to build a supportive network, Tommy WÁ and Lady Donli reflect on their experiences, revealing how resilience and the meaningful impact of their music on others keep them moving forward.
Tommy WÁ: I’ve been doing this independently for seven years, and it has been a hard grind. Building a team that understands and respects you takes time and patience. It’s not just about finding people with experience; it’s about finding those who truly care and can support you in the right way. In 10 or 15 years, I hope to guide other independent artists or those who might not be understood. I want to be able to tell them, “This is what I did; you can try this too.”
Lady Donli: The feedback from fans is a major motivator. Hearing that my music has positively impacted someone’s life is powerful. Also, I’ve been making music since I was a child, so it’s hard for me to imagine doing anything else. Even when I feel like giving up, something always reignites my passion.
How It Started
The journey to international touring for independent artists often starts with a blend of serendipity, strategic planning, and a relentless pursuit of opportunity. Beginning with local gigs and gradually expands as artists test new waters, form more connections and reach new milestones.
Tommy WÁ: I’ve done a lot of shows and organized events. The first significant experience I had was in 2018 in Accra, where I performed in four different spaces. Then in 2020, I started the Living Room Tour, where I went to different people’s houses and performed in places like Kumasi, Abuja, and Lagos. That was a strong point for me, performing to diverse audiences including Ghanaians, Nigerians, Europeans, and people from the States. I realized there was an appeal.
The first time I left West Africa was in 2021 when I went to South Africa to perform at the Access Conference. It wasn’t something I had planned; it just happened. I felt a need to level up and gain more perspective so I made a list of venues and shows I wanted to play, including Glastonbury. I started working towards these goals mentally whilst using the Spotify for Artists backend, which has been a great tool for understanding my audience, tracking my progress and planning my 2020 tour and subsequent shows.
Lady Donli: Performing with artists like Tomi Thomas and The Cavemen helped me see the potential in live music and motivated me to take it more seriously. I eventually formed The Lagos Panic to continue developing my craft. Finding out there was a demand for my music outside happened when I looked at the data and saw that there were listeners in various cities. Promoters and fans reached out, asking when I’d visit their city. This tour was an opportunity to test the waters and see how I could connect with new audiences.
The Process
Planning and executing international tours involves more than just performing; it requires managing logistics, and finances, and maintaining a connection with fans.
Tommy WÁ: The first confidence for touring for me was the release of Road Man and Folks in 2023. My manager and Tom Russell started chatting about exploring Europe. We got invited to open for Y’akoto during her Germany tour. She could have chosen anybody based in Germany, which would have been easier. But she chose me, which was a great opportunity to explore the industry. The flights, the hotel, and all that logistics. I had my manager, my family, and friends. Community is important, if you can afford hotels, stay with a friend. It was beautiful to experience Germany and to open. People were graceful, listening well, and buying stuff. The UK tour was great. We played in London, Manchester, and Scotland and it was an interesting experience to be on tour with my guitar. As an independent artist, you can’t afford to travel with your whole band; it’s an extreme cost. It was beautiful to experience it as an African artist, a Nigerian, and to see other independent artists on stage. Lady Donli was also touring Europe at that time and it felt like a movement. It wasn’t just about being independent; it was about not making mainstream music. It was important to see all these things come together.
Lady Donli: I work with booking agents in Europe and North America. They help with the logistics and coordination. Before announcing the tour, we had promoters reaching out from various cities. It was an experiment to see what I could achieve and to gauge the demand for my music. Every day, I was busy—looking for musicians, rehearsing, promoting the tour. It was hectic and gave me anxiety because I had to constantly talk about the tour. When it ended, I was relieved to take a break from social media. Now, I’m missing the road, but I also appreciate this time to relax and reflect. As an independent artist, I handle a lot on my own, so the tour was overwhelming. But now I have time to reassess and prepare for future goals.
SuperJazzClub: The point where we realized that there were people who were consistently listening to us in these specific countries. We had an audience. When that became very evident, it made sense to reinforce that by taking the music to them through touring.
Challenges
Independent touring comes with significant financial and logistical challenges, from managing expenses to entering a wider pool of talent.
Tommy WÁ: It’s hard. Economics is going crazy right now worldwide, with the dollar against the cedi, and the cedi against the pound. There’s no real competition in that. You’re competing with people who have been doing this all their lives, with industry structures. It’s not competition, but you’re placed side by side with people who have been playing the guitar for years, and who have access to good sound stages, practice spaces, studios, and equipment. The challenge was to come back better, to do anything I could to be better.
Lady Donli: Finances. Touring is very expensive, especially for independent artists. From covering accommodation costs to hiring musicians and dealing with logistical issues, it’s a financial strain. Unlike signed artists with tour budgets, I have to manage everything on my own and often end up spending more than I make.
SuperJazzClub: Funding, we’d say! It’s super expensive to just travel from Africa to other parts of the world. Flights, trains, hotels/Airbnb, rehearsals, food etc are just so expensive even for a solo artist so when you have to do that as a collective, we’ll leave you to figure out how that goes!
Memorable Moments
Despite the many challenges and obstacles faced, once they can make it to that stage and connect with the people they went through those struggles for, it not only affirms the impact of their music but also creates memories that remind them why they began in the first place.
Tommy WÁ: I didn’t realize the music was reaching so far, beyond Africa. I was in Berlin during COVID. I had no voice before the show, but I decided not to cancel it. Performing and seeing the energy from start to finish was incredible. The audience was singing every word, and that was a very beautiful experience. Another was performing in front of the industry’s top dogs. My goal was to make them feel something in the 30 minutes I had. It was fulfilling to hear top executives say I made them cry. That was a powerful moment for me.
During my UK tour, this guy—he’s a musician—was in the audience. He had his drum in his bag, which I didn’t even know and as the show went on, he was like, “Can I play?”. I was like, “Yeah, let’s go!” It turned into a jam session. It wasn’t just a show; it was a jam, and that’s something I’ll never forget. It’s not about me as a musician anymore; it’s about us.
Lady Donli: I think that the first encore I got, which was in Amsterdam, was really beautiful for me. I was like, “Wow, the energy in the building was shaking.” People are impacted by this thing that I’m doing,” and that made me happy. It was my favourite city because I had the least expectations. I didn’t think people were going to come out for me in that capacity. I was just like, “Yeah, whatever. I’m going to do my best as I always do.” So, it’s the city that surprised me, and that’s why it was the best for me.
SuperJazzClub: The food, the feedback and sharing the stage with some of the coolest people from Accra have been some of our favourite parts about touring. Our favourite city to have performed so far is Switzerland. The landscape is beautiful.
Lessons Learned
The experience of touring constantly teaches valuable lessons, from the importance of a strong team, how to be sustainable, and the deeper connections music can create.
Tommy WÁ: I’ve learned a lot, but I don’t know if I wish I knew them from the start because there was no way I could have known them. The territory I was operating in didn’t have these structures but I’ve learned the power of a team. You can wing it for so long, but at some point, you need to be professional. My Accra show, which sold out before the show, was a key moment for me. We were able to do a show without running at a loss, without a sponsor, as an independent artist. We pulled it off with guidance from my manager, Kwame, who was also the promoter. We built momentum, sold tickets, sent out email lists, and learned how to be sustainable. The gift of merchandise— Invest in it. Make it minimalistic. I made merchandise from recycled materials and sold it. If you’re not making money from the show, you can fall back on merchandise. We sold out in Lagos, and Abuja, and merchandise sales were enough to pay for vendors, sound, and other things. So, planning the show ahead of time, getting people to buy tickets, investing in merchandise, and thinking about sustainable ways to make money without going into the red—these are the lessons I’ve learned.
Lady Donli: I guess the most important lesson I’ve learned is that I don’t know anything. It’s a lesson. You know, most days—I think about all the things I’ve learned and tell myself, “Oh, I wish I had known that 10 years ago.” Instead of focusing on what I wish I had known, I think everything I’ve learned has been part of the journey that has created the artist I am today. I’ve had to learn a lot of lessons, and one of those lessons is patience. Because I want to do something one way. I’m an Earth sign, very strong-headed. I always feel like I know it all, very stubborn. These days, I’m beginning to be more open to help and learning.
SuperJazzClub: The few years we’ve spent on tour have taught us and made us realize that music creates a spiritual connection. It brings people together, regardless of their race, and you gain new fans along the way. We used to think it was all about the music and having fans, but we’ve realized it goes way beyond that, and we wish we had known that earlier.
The Future of Touring
As the music industry evolves, independent artists are navigating new opportunities and challenges in international touring. While the landscape is shifting, these artists remain hopeful and innovative, finding ways to connect with global audiences and build their careers on their terms with an emphasis on development right on their home turfs.
Tommy WÁ: We need to create our opportunities and build our systems. Labels aren’t investing in artist development the way they used to. Independent artists have to be resourceful and find ways to make things work without waiting for external support. The gap is big. And you have to also face the economic factors and make money somehow. If you’re not privileged, you’ve got to find a side job, which is a distraction, but a financial necessity to still stand as an artist. That won’t change for independent artists. There’s also a need for more music venues in West Africa. We need spaces specifically for live performances; stages, performance areas, studios, so we don’t look like fools out there. It’ll also attract foreign influences. If we have proper live stages, artists on world tours might consider stopping here. Right now, they skip West Africa.
Lady Donli: I don’t see a future for touring right now because it’s in a really bad place. The industry is in a terrible state right now, regardless of whether you’re independent or not. It’s part of the effects of COVID-19 and other factors. There are fewer festivals, less money, and a general recession. One thing we might prioritize more is focusing on our respective cities or continents rather than international tours. That’s where I see things right now.
I do love where we are as Nigerian and African creators. We’re in a good place worldwide. There’s recognition, and that’s great. Even though I’m not a mainstream artist in Nigeria, I’m getting opportunities in many different spaces, and I see other artists from various countries in Africa getting experiences and invitations as well. It’s beautiful that people are now recognizing artists from Nigeria, Ghana, and other countries.
SuperJazzClub: Touring has very little to do with achievements in general and everything to do with what the data is saying. You have no business touring across countries if there’s no demand for your music or if there’s no demand for you as a live act! You’d end up spending money you shouldn’t be spending just yet. Unless of course, you have the resources at your disposal to go into these markets and create a fan base out of your live performance from scratch then by all means go ahead. But if not then, it’s always advisable to create your product, use the internet to distribute it across the world for some time and when the data starts showing that certain markets are beginning to patronize you enough, then you can begin thinking of ways to be physically present in those places.
We see the future of touring becoming more accessible, but only by getting more hands on deck. Making it more and more about them and their audience; them taking advantage of their creative control.
Written by Anabel Rose Kubabom
