Nigerian singer, entrepreneur and founder of the Detty Rave concert series, , has made a bold investment pitch in Ghana’s creative economy, publicly calling on the (GTA) to support his vision for a purpose-built entertainment infrastructure project in the country.
Mr. Eazi made the announcement during his appearance at the latest edition of , where he addressed a charged crowd of music lovers and industry stakeholders. Speaking on stage, the award-winning artiste revealed plans to acquire land in Ghana to develop a world-class entertainment venue that would include both outdoor and indoor facilities.
According to him, the proposed project is aimed at addressing long-standing gaps in Ghana’s live entertainment infrastructure and positioning the country as a premier destination for large-scale concerts, festivals and cultural events. He disclosed that he is prepared to commit an initial investment of up to US$2 million to kick-start the project.
“I am ready to invest seriously in Ghana’s entertainment space,” Mr. Eazi told the audience. “We need a purpose-built venue that can host world-class shows, festivals and cultural experiences. I am prepared to put my money into this, but we also need the right support and partnerships to make it happen.”
His remarks were met with loud applause from patrons, many of whom described the announcement as a strong vote of confidence in Ghana’s creative, tourism and events sectors. For several industry players, the public declaration signalled a growing willingness among African artistes to invest beyond music and into long-term infrastructure that can sustain the industry.
Mr. Eazi explained that the envisioned facility would not only serve as a hub for live performances but would also support tourism growth and job creation. He noted that a modern entertainment complex could stimulate ancillary businesses such as hospitality, transportation, event production, merchandising and food services, while creating employment opportunities for young people across the value chain.
Ghana has in recent years positioned itself as a leading destination for entertainment and cultural tourism in Africa, driven largely by flagship initiatives such as . The annual festive-season programme has attracted thousands of visitors from across Africa, Europe and North America, boosting hotel occupancy, nightlife, concerts and cultural showcases.
However, stakeholders have consistently pointed to the lack of purpose-built, large-capacity entertainment venues as a major challenge limiting the sector’s growth. Many large concerts and festivals are often staged on temporary grounds, sports stadia or open fields, which come with logistical, safety and technical limitations.
Industry analysts say Mr. Eazi’s proposal speaks directly to this challenge and could mark a turning point if backed by strong public–private collaboration. His call on the Ghana Tourism Authority has therefore sparked renewed conversations around how government agencies can support private investment in creative infrastructure through land access, incentives, regulatory facilitation and strategic partnerships.
The singer, who has deep personal and professional ties to Ghana, emphasised that his interest in the country goes beyond performance appearances. Over the years, Mr. Eazi has built a reputation not only as a hitmaker but also as a savvy entrepreneur with investments spanning music technology, artist development and venture capital. His Detty Rave brand has grown into one of the most recognisable concert series in West Africa, regularly drawing thousands of patrons during Ghana’s festive season.
He noted that Ghana’s stability, cultural richness and growing global visibility make it an ideal location for long-term entertainment investment. “Ghana has everything it takes to be the entertainment capital of Africa,” he said. “What we need now is infrastructure that matches the global attention the country is already receiving.”
Within the creative industry, the announcement has been welcomed as a sign of maturity and confidence. Several promoters and artistes believe that a permanent, professionally designed entertainment venue would reduce production costs, improve safety standards and attract more international acts to Ghana.
Tourism and culture advocates also argue that such a facility could complement national tourism goals by offering year-round attractions beyond the December peak season. By hosting conferences, exhibitions, cultural fairs and multi-genre festivals, a dedicated entertainment complex could help smooth seasonal fluctuations in tourism and revenue generation.
While the Ghana Tourism Authority has yet to publicly respond to Mr. Eazi’s call, sources within the industry say discussions are already underway about how public institutions can better engage private investors in the creative space. Observers note that successful implementation would require clear policy alignment, transparent processes and a shared vision between government and the private sector.
As conversations continue, Mr. Eazi has reiterated his readiness to collaborate with relevant authorities and stakeholders to turn the vision into reality. For many young creatives and entrepreneurs, his bold investment pledge represents not just a personal business move, but a broader statement about Africans taking ownership of the continent’s cultural infrastructure.
If realised, the proposed entertainment venue could become a landmark project in Ghana’s creative economy, reinforcing the country’s status as a hub for music, culture and tourism in Africa.
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