I Go Save Slams Nigerians Celebrating Burna Boy’s Cancelled U.S. Shows, Calls It “Witchcraft”
Nigerian comedian I Go Save has taken a strong swipe at Nigerians who are jubilating over the recent cancellation of Burna Boy’s U.S. shows. The criticism follows the ongoing controversy surrounding the singer’s clash with a female fan during one of his performances weeks ago.
Recall that Burna Boy had paused his performance mid-show after spotting a female fan asleep in the audience. Interpreting the act as disrespectful, he ordered security to escort her out of the venue. The incident sparked massive online debate, especially among Nigerians abroad, with some calling for a boycott of his concerts.
Two days ago, shows scheduled for Chicago and Minneapolis were officially cancelled due to poor ticket sales—a development many online users celebrated with enthusiasm.
Reacting via his Instagram Stories, I Go Save condemned the celebratory reactions, describing them as a form of “witchcraft.” According to him, rejoicing over the downfall or setback of a fellow Nigerian—especially one representing the nation on a global stage—reflects a worrying mindset.
OPINION: A Moment That Exposes Nigeria’s Love-Hate Relationship With Its Stars
The backlash surrounding Burna Boy’s cancelled shows goes beyond a single incident with a sleeping fan—it exposes the fragile relationship between Nigerian celebrities and the public that made them.
While Burna Boy’s reaction at the concert drew understandable criticism, the celebratory mood that followed the cancellation of his shows speaks to a deeper issue:
Nigerians often love their stars fiercely but recoil even more fiercely when they stumble.
What should have been a moment for dialogue about professionalism, fan engagement, and respectful behaviour instead became an opportunity for some to wish—and celebrate—failure.
I Go Save’s reaction, though blunt, captures a hard truth:
We cannot demand global excellence from our artists while simultaneously rejoicing when they falter.
Constructive criticism is necessary; mockery and sabotage, however, serve no one—not the artist, not the industry, and not the country’s cultural reputation.
The Burna Boy–fan incident was unfortunate, and the criticism he received was valid. But celebrating cancelled shows crosses into a darker territory where resentment overshadows reason.
At the end of the day, Nigerian entertainment thrives on collective pride. When one artist falls, the industry feels it. And perhaps this moment should remind fans and critics alike that accountability doesn’t have to come with cruelty.
