Asake announces ‘In God We Trust’ World Tour supporting M$NEY album
Just weeks after releasing his fourth studio album, M$NEY, Nigerian superstar Asake is preparing to take his latest era global. The singer has officially announced the In God We Trust World Tour, a multi-continent run that will see him headline arenas and major venues across Europe and North America beginning in July 2026.
The tour opens on July 4 with a headline appearance at Afro Nation in Portimão, Portugal — one of the world’s biggest Afrobeats festivals — before moving into an extensive North American leg in August. Stops include Chicago’s Credit Union 1 Arena, Toronto’s Scotiabank Arena, Brooklyn’s Barclays Center, Atlanta’s State Farm Arena, Houston’s Toyota Center, and Los Angeles’ Greek Theatre. The European leg follows in October with major dates including London’s O2 Arena and Paris’ Accor Arena.
South African amapiano star Uncle Waffles is slated to join Asake on most North American dates, extending the chemistry between Afrobeats and amapiano that has increasingly shaped African pop’s international sound over the last few years.
The announcement arrives during a defining transition period in Asake’s career. M$NEY, released on May 1 through his newly established Giran Republic imprint in partnership with EMPIRE, marked his first full-length project outside Olamide’s YBNL system — the label that helped propel him from Lagos street-pop breakout to global streaming phenomenon.
Commercially, the album has already made a major impact. Within its opening week, M$NEY reportedly broke the record for the biggest first-week streaming numbers for an African album on Nigeria Spotify, surpassing previous milestones set by Wizkid’s Morayo.
But beyond the numbers, the project also signalled a subtle evolution in Asake’s artistry. While his earlier work thrived on chaotic energy, street chants, and explosive fújì-infused amapiano production, M$NEY leans into a more reflective and atmospheric direction. Themes of spirituality, gratitude, wealth, and personal transformation run heavily through the album, particularly on records like “WORSHIP”, “Amen”, and “Forgiveness”.
In announcing the tour, Asake described the shows as an extension of those themes—a live representation of “gratitude and growth”. It is a framing that aligns with the broader aesthetic of this era: spiritually coded visuals, marble-inspired artwork, and a more measured public persona compared to the relentless momentum of his earlier runs.
The scale of the venues also reflects just how rapidly Asake’s touring profile has grown. His previous Lungu Boy tour in 2024 included sold-out dates at Madison Square Garden, Barclays Center, and London’s O2 Arena, establishing him as one of the few Afrobeats artists capable of consistently moving arena-level crowds outside Africa.
Now, with In God We Trust, he appears to be doubling down on that ambition. Unlike many African artists still testing overseas waters through theatre circuits or festival slots, Asake’s routing positions him directly inside major live entertainment spaces.
There is also something telling about the timing. The tour comes amid an increasingly competitive phase for Afrobeats globally, where artists are building long-term touring ecosystems and international fan communities. Arena runs, not streaming spikes, are becoming the clearest marker of global permanence.
For Asake, whose rise once felt almost unbelievably fast, this new phase appears more focused on scaling his reach. From Lagos street anthems to sold-out international arenas in under half a decade, the trajectory has become difficult to ignore.
