Lagos State Government Spends ₦8.4bn on Festivals Amid Bigger Economic Woes—Justified or Extravagant?

 

Lagos Government Under Scrutiny for ₦8.4bn Cultural Spend in One Year

The Lagos State Government has revealed that it disbursed a staggering ₦8.4 billion over the past year to fund cultural events, festivals, and creative initiatives—raising eyebrows among observers who question whether such lavish spending is the most prudent use of public funds in a time of pressing economic needs.

Commissioner for Tourism, Arts and Culture, Mrs. Toke Benson-Awoyinka, made the announcement during the 2025 Ministerial Briefing in Ikeja, commemorating Governor Babajide Sanwo-Olu’s second year into his second term. According to her, the Ministry bankrolled over 143 events and cultural programmes between May 2024 and May 2025, backed by the Creative Arts Department.

The total spend? An eye-catching ₦8,475,238,265.

Benson-Awoyinka described the funding as a strategic investment in Lagos’s positioning as Africa’s creative and cultural capital. She also noted that over 124 endorsement letters were issued to stakeholders in the creative sector to aid their efforts in seeking private sponsorships. While the Ministry touts this as an economic driver, questions persist about the transparency, effectiveness, and priority of these disbursements.

Critics are asking: In a state grappling with housing shortages, rising unemployment, and mounting infrastructure needs, does it make sense to commit such vast sums to festivals and entertainment events?

The commissioner listed a wide variety of events and festivals supported by the government, including the Brazilian Descendant Arts & Culture Association (BDACA), Lagos Shopping Festival, Sango World Festival, Nigeria Soup Festival, and Kenny Saint Ogungbe’s concert, among others. While such events are celebrated for their cultural value, some citizens are left wondering whether these initiatives deliver sufficient returns on investment to justify such expenditure.

Even though the Ministry argues that these events foster job creation, youth empowerment, tourism inflow, and global media visibility, there has been little publicly available data or independent audit to show measurable outcomes for the billions spent.

Beyond funding, the Ministry has also leaned heavily on stakeholder engagement as a strategy for sector development. According to Benson-Awoyinka, sessions were held with key figures like Mr. Nkereweum Onung of the Federation of Tourism Associations of Nigeria (FTAN) and Mrs. Bolaji Mustapha of the Nigeria Association of Tour Operators (NATOP). While collaborative efforts are commendable, critics note that these sessions appear more focused on optics than solving systemic challenges in the sector.

A notable case in point is the May 30, 2024, forum that gathered hospitality operators—hotel managers, bar and nightclub owners, and resort representatives—to discuss issues ranging from policy reviews to global tourism trends. One major concern raised was the problem of multiple taxation, which operators say stifles business and discourages investment. The Ministry claims it has begun engaging with regulatory bodies to address the issue, but there’s little evidence of concrete reform yet.

Skeptics argue that while the government paints a picture of strategic alignment with its THEMES Plus agenda—particularly its focus on Entertainment and Tourism—the massive cash injection into cultural events may reflect misplaced priorities at best, and a lack of fiscal discipline at worst.

Questions also linger around who benefits most from these government-backed festivals. Are they genuinely inclusive platforms for local artists and entrepreneurs, or do they primarily serve politically connected organizers and influencers within the industry?

As Lagos continues to market itself as Africa’s cultural capital, some citizens and civil society observers are calling for greater transparency, outcome-based reporting, and a clearer demonstration of how such extravagant cultural spending aligns with the broader needs of the people.

While cultural investment is certainly important in any modern city, the scale of the allocation—over ₦8 billion in just one year—may require deeper scrutiny, especially in a socio-economic climate where basic services remain underfunded and development goals remain unmet.