ALEC 2026 in Joburg spotlights push to strengthen Africa’s live entertainment sector

ALEC positions itself as a pan-African platform focused on developing the commercial foundations of live entertainment across the continent. Its broader ambition is to facilitate strategic partnerships, influence policy through sustained engagement, and elevate the visibility and viability of Africa’s live entertainment sector and its stakeholders.

The 2026 edition featured keynote addresses, panel discussions, and networking sessions, drawing a notable mix of artists, executives, practitioners, and policymakers from countries including Nigeria, South Africa, Kenya, Ghana, and Senegal. The diversity of participants underscored both the scale of interest in Africa’s live entertainment economy and the complexity of building cohesive systems across multiple markets.

Day one centred on the theme Building the System, with discussions exploring the realities of touring within Africa. Speakers reflected on persistent logistical constraints, uneven infrastructure, and the difficulties artists and organisers face when attempting to secure reliable venues. Practical concerns around production capacity and the absence of integrated touring frameworks were recurring points of focus.

The second day, themed Execution, Deals, and the Next Five Years, shifted attention to the operational and financial mechanics of the industry. Panels examined the legal structures governing live events and touring, alongside conversations on funding models and long-term profitability. The emphasis was firmly on sustainability, with contributors highlighting the need for more transparent deal-making processes and stronger institutional support.

The final day placed a deliberate spotlight on gender representation within the sector, featuring an almost entirely female line-up of panellists. One of the key sessions, Exporting African Talent Without Losing Ownership, interrogated the dynamics between African creatives and international industry partners. Discussions centred on concerns around intellectual property, unequal power relations, and the risk of African artists losing control of their work as they enter global markets. The panel also raised questions about disparities in production standards between African and international contexts.

The closing session, Touring Without Borders, turned to the idea of greater continental mobility for artists and productions. Speakers emphasised the importance of strengthening intra-African touring circuits, building stronger regional partnerships, and addressing regulatory and logistical barriers that hinder the movement of equipment and talent across borders.

In a brief interview with a Music In Africa Foundation representative, ALEC founder and lead organiser Anthonia “Sasha P” Alabi reflected on the event’s impact. She described the conference as a space for meaningful connection and exchange, noting her satisfaction at seeing relationships form and conversations deepen across the industry. Alabi characterised ALEC’s work as “the sowing of a seed” aimed at positioning African live entertainment more prominently within global industry conversations.

Overall, ALEC 2026 was marked by strong attendance and sustained engagement across its programme. The event was professionally executed and succeeded in creating a platform that not only highlighted the sector’s challenges but also encouraged practical, solution-driven dialogue.