Spotify brought fans closer to Tems and Runtown across two nights of Surround Sound in Lagos, inviting selected Premium listeners based on their listening behaviour to experience the artists and music they care about in an intimate, in-the-round setting.
Held at Livespot in Lagos on 25 and 26 September, the performances brought two distinct catalogue stories into the room. Tems revisited For Broken Ears, while Runtown placed Mad Over You at the centre of a career-spanning set.

Surround Sound is Spotify’s live performance format, launched from Sub-Saharan Africa, which brings artists and fans together at close range and captures those performances as full-length music films for Spotify. Lagos provides the cultural context for these stories, with Nigerian artists and listeners at their centre.

Tems performed For Broken Ears tracks including Ice T and Damages, alongside earlier singles Mr Rebel and Try Me and later material such as Love Me JeJe and What You Need, tracing different chapters of her catalogue.

Ahead of the performance, she reflected on the beginnings of that journey: “I remember making Free Mind on my bed, on my laptop, experimenting with chords and seeing what stuck. The first two chords sounded so good, and it ignited melodies in me. Those melodies I made on my bed are what is in the song right now.”

Spotify’s relationship with Tems also reaches back to that period. In September 2020, shortly after the release of For Broken Ears, she became the third artist to join Spotify’s RADAR Africa programme, following South African singer Elaine and rapper Willy Cardiac. Six years later, Surround Sound revisited that early chapter of her catalogue in Lagos.

During the performance, Tems turned towards the audience and invited them to sing along, making the fans’ voices part of the experience. The following night, Runtown opened with Lagos to Kampala and Gallardo, moving through For Life, International Badman Killa and Unleash. The set also included Kini Issue, drawing together different parts of his catalogue.

Mad Over You became a shared moment between artist and audience. Runtown performed the song during the set before returning to it a second time to close the show, with fans singing along.

Speaking ahead of the performance, Runtown said: “This is the first time in 10 years I am performing with my band, and I am looking forward to seeing my fans.”

Spotify’s September 2026 analysis offers context for the continuing relationship with this music. Of the listeners who played For Broken Ears in January 2022, 21.6% also listened in August 2026. Meanwhile, Mad Over You appeared in more than three million user-created playlists at the time of the analysis.

Surround Sound connected that existing relationship with an opportunity to experience the artists live. There was no public ticket sale; Spotify invited selected Premium listeners directly through the platform, using listening behaviour to identify fans for the experience.

The live room is intentionally intimate and has a fixed capacity,” said Rifumo Mdaka of Spotify. “We use listening signals to reach selected Spotify Premium listeners in Lagos directly rather than running a public ticket sale. The aim is to create a close artist-fan experience while keeping the room suitable for the performance and film capture.”

Across both nights, Premium’s fan value took a tangible form: selected listeners had the opportunity to hear familiar music performed up close, with the audience’s responses becoming part of the experience.Both performances were filmed for Spotify.

Afrobeat icon Davido, Rema and Fally Ipupa will headline Afro Nation Portugal 2027, with Omah Lay, Victony and other stars also confirmed for the festival, continuing Nigeria’s dominant run at one of the world’s biggest celebrations of Afrobeats and Amapiano. The festival takes place in Portimão from 9 to 11 June 2027, on the sands of Praia da Rocha, running about a month earlier than it has in recent years.

The first wave of roughly 30 confirmations describes Davido, Rema and Fally Ipupa as “three giants of African music,” all returning to the festival. Also confirmed for the Lit stage are Omah Lay, Odeal, Shenseea, Valiant, Victony, Bamby and Miimii KDS, with South Gidi (the live project from DJ Tunez and DJ Maphorisa featuring Wizkid and Mavo) closing out the final night.

The Piano People stage returns, led by amapiano pioneer Kabza De Small and duo TxC, with Dlala Thukzin joining as a special guest, alongside 031Choppa, 2woBunnies, Benzo, Thatohatsi, Uncool MC, W4DE, Xduppy B2B Al Xapo, Young Stunna and Zee Nxumalo.

The lineup extends a pattern that has defined Afro Nation Portugal since it launched in 2019 with Nigerian superstars taking the centre stage nearly every year. Past headliners have included Burna Boy, Wizkid, Davido, Megan Thee Stallion, 50 Cent, Chris Brown and Nicki Minaj, with the festival credited with helping push Afrobeats and Amapiano onto global stages.

This year’s edition, the sixth, wrapped in July with Wizkid and Asake leading the lineup, alongside Burna Boy, who launched his album No Sign of Weakness from the festival’s beach stage in 2025. Uncle Waffles headlined the Piano People stage, with Gunna and Kehlani appearing as special guests.

Rema is no stranger to the show either; he headlined the 2024 edition alongside Asake, J Hus and Tyla, riding the global success of ‘Calm Down.’ Davido, meanwhile, returns to a festival he has previously headlined, while Fally Ipupa comes back after main-stage appearances in recent years, including 2024.

Since its debut, Afro Nation has expanded beyond Portugal to Ghana, Puerto Rico, Miami and Detroit, but the Portugal edition remains its flagship, drawing tens of thousands of fans from across the world each summer for a weekend built around African music.

Former Lagos State University Vice-Chancellor Professor Ibiyemi Olatunji-Bello, has proposed a minimum annual tuition of ₦1 million for public universities seeking financial independence.

She proposed this while reflecting on her five-year tenure as LASU vice-chancellor, which ended on September 19, 2026. She said the rising cost of running a university has made it difficult for institutions to depend on internally generated revenue alone. According to Olatunji-Bello, LASU’s internally generated revenue increased from about ₦3 billion when she assumed office in 2021 to ₦13 billion during her tenure. But even that increase, she said, is not enough to meet the university’s financial obligations.

“Right now, LASU does not have financial self-sustainability,” she said, adding that the university’s monthly payroll is now more than ₦1 billion.

Her argument is that universities seeking financial independence would have to charge substantially higher fees.

Olatunji-Bello pointed to the difference between what some secondary schools charge and the fees paid by students at some public universities. While some secondary schools charge more than ₦1 million per term, she noted that some universities still collect around ₦100,000 annually.

“So, any public university that wants to sustain financial independence will have to charge school fees of not less than N1 million per student,” she said.

She also argued that maintaining academic standards requires significant investment, telling parents to prioritise their children’s education. But the ₦1 million proposal comes at a time when the Federal Government is also asking universities to look beyond tuition for additional funding.

Education Minister Maruf Tunji Alausa recently urged vice-chancellors to diversify their revenue sources, saying government funding alone cannot sustain universities. The National Universities Commission said Alausa disclosed that only four of Nigeria’s 68 federal universities were making meaningful use of alternative funding opportunities, including research grants, endowments, alumni donations, philanthropy and partnerships with industry.

That means the funding debate is not simply about how much students should pay. Universities are also being pushed to become better at raising money from research, alumni, businesses and other sources. During her tenure, Olatunji-Bello said LASU increased its revenue by introducing new academic programmes, expanding postgraduate education, digitalising services and developing other income-generating activities.