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Pallaso Reveals Where Concert Money Really Comes From, Takes Aim At Foreign Acts Trend

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Singer Pallaso has challenged the growing perception that concerts charging UGX 20,000 or UGX 30,000 at the gate cannot generate meaningful profits for Ugandan musicians, arguing that ticket prices are only one part of the bigger financial picture.Pallaso explained that the money collected from ordinary revellers can primarily be used to meet the expenses that come with organising a major concert. These include paying different service providers as well as fulfilling tax obligations to the Uganda Revenue Authority (URA).According to the musician, the real financial opportunities can come from other areas of the event, particularly the sale of tables.

He said artists with strong relationships and loyal supporters can turn their social circles into an important source of income during concerts.Pallaso illustrated his point with a simple calculation, saying that an artist who sells 10 tables at UGX 5 million each can raise UGX 50 million. For him, this demonstrates why judging a concert’s profitability solely by the entrance fee can give a misleading picture.“Your social network is your social net-worth. If a table is 5 million and I sell about 10 of them, that’s 50 million,” Pallaso said, highlighting the financial power of an artist’s personal connections and support base.He further noted that sponsorship agreements can add another significant layer of revenue to a concert. By combining gate collections, table sales and sponsorships, artists can create several income streams and reduce their dependence on ticket sales alone.

The musician also weighed in on the growing number of international and Amapiano performers being booked for Ugandan concerts. He suggested that social media trends have played a major role in influencing promoters and determining which artists and music styles receive attention.While Pallaso said there is nothing wrong with bringing foreign performers to Uganda or embracing Amapiano, he called on promoters to deliberately invest in local musicians as well. He argued that supporting Ugandan talent should remain an important part of building a stronger and more sustainable entertainment industry.

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