On Thursday, December 26, 2025, Adekunle Kosoko, known globally as Adekunle Gold, did more than host a concert. He opened a new chapter. The singer became the first artist to headline a show at the newly renovated National Theatre, now renamed the Wole Soyinka Centre, Lagos, marking a major cultural moment for Nigerian entertainment.
The sold-out concert, held on Boxing Day, signaled the return of large-scale live performances to one of Nigeria’s most iconic venues. Reopened in October 2025 after years of redevelopment, the theatre found its first true test in Adekunle Gold’s hands and the night delivered. Thousands of fans filled the venue, drawn by a promise of music, spectacle, and a full-circle homecoming for an artist whose career has been defined by steady evolution.
Backed by a 55-piece MUSON Orchestra and his band, The 79th Element, Adekunle Gold staged a performance that felt deliberate, polished, and deeply personal. Titled Adekunle Gold Live at the National Theatre, the concert blended Afropop, Fuji influences, and orchestral arrangements, giving familiar songs new texture and weight. The dress code was Black Tie, but the energy remained warm and inclusive, grand without feeling distant.
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A Night of Music, Memory, and Meaning
One of the most talked-about moments of the night came early, when Olamide stepped on stage to introduce Adekunle Gold. In a theatrical and humorous delivery that instantly energized the crowd, the YBNL founder praised AG Baby’s refinement, finesse, and artistic growth, before ushering him on stage to roaring cheers.
The moment carried history. Adekunle Gold joined Olamide’s YBNL Nation in 2015 after the success of Sade, released his debut album Gold, and later went independent in 2016. Seeing both artists on the same stage again felt less like nostalgia and more like a respectful nod to shared roots.
As the night unfolded, surprises kept coming. Davido appeared to perform their collaboration Only God Can Save Me, sending the audience into a frenzy. Later, music legends Adewale Ayuba and Yinka Ayefele joined Adekunle Gold on stage for Many People, a performance that bridged generations and genres with ease.
Throughout the set, Adekunle Gold moved confidently through songs spanning his career, from Gold to Tequila Ever After, each elevated by lush orchestral arrangements. The orchestra didn’t overpower the music; it expanded it, adding elegance and emotional depth rarely seen in mainstream live shows.
A Cultural Reset for the Wole Soyinka Centre
Beyond the music, the night carried symbolic weight. The National Theatre, now the Wole Soyinka Centre, has long represented Nigeria’s cultural ambition. Adekunle Gold’s sold-out headline show set a high bar for what the renewed space can become; a home for ambitious, world-class performances rooted in Nigerian identity.
The audience reflected the scale of the moment. Political leaders, industry executives, and entertainment royalty turned out in full force, including Governor Babajide Sanwo-Olu, Chief of Staff Femi Gbajabiamila, Seyi Tinubu, Hakeem Muri-Okunola, and Kola Adesina, alongside artists like Olamide, Davido, Yinka Ayefele, and Adewale Ayuba.Addressing the crowd near the end of the night, Adekunle Gold shared a simple message: don’t stop dreaming, dare to be different, and move on your own terms. Then he smiled, signed off as Eja Nla, and promised to see everyone next year.
With that, Adekunle Gold didn’t just headline a venue. He inaugurated a new era.
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When Legacy Meets the Future
As the final notes faded and the lights dimmed, one thing felt clear: this was bigger than a concert. Adekunle Gold didn’t just perform at the Wole Soyinka Centre, he activated it. He showed what’s possible when artistry meets intention, when history isn’t treated as nostalgia but as a foundation for what comes next.
From the orchestral arrangements to the carefully chosen collaborators, the night felt like a statement about where Nigerian live music is headed. Elevated. Thoughtful. Global, yet unmistakably rooted. If this is the standard being set for performances at the renovated National Theatre, then Lagos is entering a new era of cultural experiences, and Adekunle Gold just wrote the opening chapter.
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