For a long time, debates have gone back and forth about which city truly deserves the crown as Africa’s cultural capital. From Lagos to Accra, Nairobi to Dakar, several cities are boldly putting their hands up. But while the continent is thriving with creative energy, one nation is stepping forward with the infrastructure, influence, and global pull to back its claim: South Africa. In recent years, South Africa has emerged as the continent’s leading destination for international touring artists from Beyoncé and Kendrick Lamar to Chris Brown and Travis Scott. This surge is not a coincidence, but rather the result of decades-long socio-political transformation, strategic infrastructure investment, and the global rise of its cultural exports, particularly in music.

During the apartheid era, South Africa was effectively cut off from global cultural exchange. As the world rallied against racial segregation, the country was subjected to widespread cultural boycotts endorsed by the United Nations that barred international artists from performing in the country. Legendary South African artists such as Miriam Makeba, Hugh Masekela, and Abdullah Ibrahim were forced into exile, using their music as a vehicle of resistance and global advocacy against the apartheid regime.

The end of apartheid in 1994, marked by Nelson Mandela’s election as president, catalyzed the country’s reintegration into the global community. The first multiracial elections, the establishment of the Truth and Reconciliation Commission, and the drafting of a new constitution signified a rebirth. Cultural sanctions were lifted, allowing South Africa to reconnect with the global entertainment industry and open its doors to international artists and organizations.

THE SPORTING EVENTS THAT DOUBLED AS AUDITIONS

Taking place a year after the end of apartheid, the 1995 Rugby World Cup was a watershed moment for the country. Not only did South Africa host and win the tournament, but it also demonstrated to the world that the country was ready politically and infrastructurally to host large-scale events. This precedent was solidified with the 2010 FIFA World Cup, the first to be held on African soil. According to FIFA, the event generated an estimated $3.6 billion in economic impact and brought more than 300,000 visitors to South Africa. The event also resulted in the construction and upgrading of world-class stadiums like FNB Stadium, which now routinely hosts concerts with a capacity exceeding 90,000 attendees.

South Africa’s robust transport networks, stadiums, and hospitality infrastructure set it apart from many African nations. Major cities such as Johannesburg, Cape Town, and Durban boast international-standard airports, luxury accommodations, and modern venues. The Gautrain rapid rail system, high-end shopping districts, and extensive event support services make logistics relatively seamless for international acts.

AMAPIANO AND CULTURAL CAPITAL

Beyond infrastructure, South Africa’s appeal lies in its burgeoning cultural capital. Amapiano–a homegrown subgenre of house music–has exploded globally, in part due to TikTok and YouTube virality since the COVID-19 pandemic. In 2019, Amapiano saw 34 million streams on Spotify; by the end of 2020, that number had surged to over 102 million. Songs like “Mnike” by Tyler ICU and “Tshwala Bam” by Tito M and Yuppe have broken beyond South Africa’s borders, becoming global anthems that dominate dance floors and playlists worldwide. Platforms like Major League DJz’s Balcony Mix and viral hits like “Ke Star” Remix (featuring Nigerian superstar Davido) helped export the genre globally. Meanwhile, vocalist Sha Sha made history in 2020 by becoming the first Amapiano artist to win a BET Award. Also, South African acts like DJ Maphorisa, Kabza De Small, Uncle Waffles, and  DBN Gogo have become a permanent fixture on international festival stages.

Tyla’s 2024 Grammy win for “Water” further underscores South Africa’s relevance on the global music scene. With 33 Grammy Awards and 113 nominations to date, South Africa’s musical prowess is long-established. From artists like Black Coffee and Zakes Bantwini to the harmonies of Ladysmith Black Mambazo, the country has an international pedigree that stands it in good stead. 

South Africa’s youth are among the most active on platforms like TikTok on the continent. According to DataReportal’s 2024 report, South Africa has over 17.4 million TikTok users, making it one of Africa’s top content creation hubs. Viral dance challenges and music trends often originate or gain traction in South Africa before spreading across the continent and beyond, establishing the country as a tastemaker in digital culture.

BIG BRANDS AND BIG BUDGETS

According to the World Bank’s Doing Business Report, South Africa consistently ranks among the top three sub-Saharan African nations for ease of doing business. Its legal frameworks, visa policies (notably the artist visa), and established IP laws make it a favorable environment for touring companies and artists.

Additionally, South Africa has a well-developed creative industry ecosystem supported by both local and multinational corporations. Live Nation and Big Concerts regularly book global stars for South African legs of their tours. The DSTV Delicious International Food and Music Festival has hosted artists like Jill Scott and Busta Rhymes, while the Global Citizen Festival brought Beyoncé and Jay-Z in 2018, in partnership with the Motsepe Foundation. Corporate brands like Heineken, Jameson, and Flying Fish have also curated branded concerts and pop-ups with acts such as Gunna, J.I.D., and Anderson.Paak

In 2024, Chris Brown’s Breezy Tour drew over 180,000 attendees at FNB Stadium over two nights and generated an estimated R900 million (approximately $48 million) for Gauteng’s economy, while creating more than 6,000 temporary jobs. These figures highlight how the entertainment industry is becoming a key driver of tourism and youth employment in South Africa.

Still, it’s not always smooth sailing. “There are so many hurdles,” says Dale de Ruig, Managing Director of Steyn Entertainment, the force behind festivals like Rocking the Daisies, In the City, and the award-winning label Stay Low. “[Between] the ever-weakening currency, agents who want to extract as much money as possible without regard for local spending power, it’s probably the only industry where you pay, but the talent is treated like the customer. It’s very nuanced and takes real experience to navigate.” Despite the challenges, the interest keeps growing. “Everyone seems to want to perform in Africa,” De Ruig explains. “And with our infrastructure, South Africa becomes the key destination. Artists who are flexible and willing to make it work are coming down in their droves.” 

South Africa’s trajectory from cultural isolation to global entertainment magnet is one of strategic investment in infrastructure, policy reform, and cultural capital. The rise of Amapiano, the global acclaim of artists like Tyla, and the country’s unmatched capacity to host large-scale events signal that South Africa deserves its spot as a global cultural landmark. As the world looks toward Africa as the next frontier of cultural and economic growth, South Africa’s model offers a compelling blueprint for other nations on the continent.