Ayra Starr, Asake, Others: Why Nigerian Music Stars Are Moving Abroad

When Ayra Starr arrived in New York, the reality of her new home fell far short of the glamorous picture often associated with a global music star's relocation. The Nigerian singer found herself battling the unfamiliar cold and spending time in an unfurnished apartment as she adjusted to a city she had long wanted to experience, but she said the discomfort eventually “got me hungry.”

For Ayra, the move was not simply about changing her address. In an interview with Hot 93.7 Hartford, she explained that she had always felt connected to New York and wanted the city to become part of her creative journey.

“I moved in, definitely, to broaden my sound,” she said, adding that she wanted to make Nigerians proud while carrying her culture and history wherever she went. “I want to be able to carry my culture wherever I go.”

Her explanation reflects a development becoming increasingly visible in Nigeria’s music industry. As Afrobeats continues to expand internationally, some of the artistes at the centre of its global rise are spending more time in cities such as London, Los Angeles and New York, where they can access international collaborators, audiences, entertainment companies and wider professional networks.

But as more stars establish bases abroad, another question follows: what happens to the Nigerian music ecosystem that helped produce them?

A new destination for Nigerian music stars

Ayra Starr is not alone. In December 2025, Asake confirmed his relocation to Los Angeles, with the media reporting that the move was motivated by career considerations.

Yet the singer did not describe the change as a complete transformation of his life or music. In an interview with Office Magazine, he explained that people everywhere were essentially pursuing similar dreams, while acknowledging that his new environment had exposed him to people and experiences outside what he was accustomed to.

He said,

“To be honest, it’s still the same thing. Humans are the same. People are trying to make it in Nigeria. People are trying to make it in America. The only thing I can say is I just get to meet new people and have more exposure like from what I’ve been used to.”

That distinction matters because not every Nigerian star with an international base can accurately be described as having abandoned Nigeria.

Burna Boy, for instance, has maintained Lagos as an important base while developing strong ties to London. In a 2022 interview with The Standard, he described London as his second home and explained why the city continued to inspire him.

“There’s something about the energy there that reminds me of my hometown,” he said, adding that he had “pretty solid roots” in London and that his “creative juices are always gingered” there.

Wizkid has also maintained a strong connection to Lagos while operating within the global music circuit. In an interview with British Vogue, he said, “Everything I’ve learned, I learned from Lagos,” even while describing London as a special place for him.

The pattern suggests that international relocation is increasingly becoming part of the career strategy of globally successful African musicians rather than necessarily representing a complete break from home.

What artistes gain — and what Nigeria may lose

For artistes, the attraction is clear. London, New York and Los Angeles provide proximity to producers, songwriters, record executives, entertainment lawyers, publishers, creative agencies, global brands and large diaspora communities. Being physically present in those markets can also make collaborations, networking and international performances easier.

Ayra Starr's explanation is particularly revealing. She told Hot 93.7 that New York reminded her of Lagos because of its large Nigerian and African population, but beyond the familiarity, she saw the city as an opportunity to broaden her sound.

Asake similarly identified exposure as one of the benefits of his move. His comment about meeting new people points to something that is difficult to obtain from a distance: access to networks simply by being physically present in a major creative centre.

But the movement also raises economic questions for Nigeria.

If an artiste increasingly records, rehearses, manages business affairs, shoots content or builds professional relationships abroad, some of the economic activity surrounding that career can also move abroad. That does not mean every activity conducted overseas represents money Nigeria has lost, nor does it mean artistes should remain in the country.

Rather, the concern is whether Nigeria has strong enough structures to ensure that its musicians continue contributing to the domestic creative economy regardless of where they live.

The music industry extends far beyond the artistes themselves. Producers, sound engineers, dancers, stylists, videographers, photographers, lawyers, managers, publicists, event organisers and venue operators all depend on the industry.

If major productions increasingly happen outside Nigeria, local professionals may miss opportunities. But relocation can also produce the opposite result when artistes use their international networks to bring collaborations, investment, knowledge and opportunities back home.

Experts warn of structural gaps

Industry experts have increasingly argued that Nigeria’s larger challenge is not where its artistes live but whether the country has systems capable of capturing more of the economic value generated by its music globally.

At the 2026 BusinessDay Creative Entertainment Summit, stakeholders discussed issues including ownership, contracts, royalties, data and policy as major weaknesses affecting the music business.

Michael Odiong, CEO of Premier Records and Premier Music Publishing, highlighted the contradiction between Nigeria’s cultural influence and its economic returns.

“We are exporters of Afrobeats, but as a country we don’t make a dime,” Odiong said while discussing weaknesses in the country’s royalty and music-business systems.

The concern is not necessarily that Nigerian artistes are working abroad, but that the infrastructure around them may not be strong enough to retain a significant portion of the value created by their global success.

That is why Tiwa Savage’s story provides an important counterpoint. After spending years developing professionally abroad, Savage returned to Nigeria because she believed Afrobeats was entering a major period of growth and wanted to participate directly in it.

Her international experience later became part of her efforts to develop talent at home. In 2026, Berklee and the Tiwa Savage Music Foundation announced an intensive Lagos programme covering performance, songwriting, music production and music business.

“There are so many women with the same drive and potential, but without access to the right tools or network,” Savage said of the need for greater opportunities for women in music.

Her journey shows how international exposure can be converted into domestic opportunities when the connection between an artiste and the Nigerian ecosystem remains strong.

Building an ecosystem strong enough to travel

Nigeria’s music industry has already shown that talent can emerge from a relatively weak domestic system and become globally influential. The rise of Wizkid, Burna Boy, Davido, Tiwa Savage, Tems, Ayra Starr and Asake demonstrates that Nigerian music can travel far beyond the country while retaining its cultural identity.

The next challenge is ensuring that Nigeria captures more of the economic value created by that global influence.

That requires stronger copyright administration, transparent royalty collection, music publishing, professional management, reliable data, financing, modern venues and better touring infrastructure. It also requires making Nigerian cities attractive places for global artistes to record, collaborate, launch businesses, hold major concerts and develop new talent.

The relocation of Nigerian musicians is unlikely to stop. As Afrobeats becomes more global, its biggest stars will naturally spend time in cities where their audiences, collaborators and business partners are located.

The question, therefore, is not simply whether Nigerian artistes should stay home.

It is whether Nigeria can make home an increasingly important part of their global careers.

For Ayra Starr, New York offers an opportunity to broaden her sound. For Asake, Los Angeles has provided new people and exposure. For Burna Boy, London remains a second home while Lagos continues to be important to his creative process. For Tiwa Savage, international experience has become part of her effort to create opportunities for the next generation.

Their stories show that relocation is neither automatically a loss nor automatically a gain for Nigerian music. The bigger issue is what Nigeria builds around its stars.

The country has already proved that it can produce music capable of conquering the world. The next challenge is ensuring that when its artistes go global, the ecosystem that produced them grows with them.

Asake speaks on relationship with Olamide

In a previous report, Legit.ng disclosed that Asake reacted to rumours of a feud between him and his former record label boss, Olamide.

A few years ago, Asake left his record label, Yahoo Boy No Laptop (YBNL), and eventually relocated abroad.

Before he left Nigeria, rumours spread that he and Olamide were no longer on good terms.