Lagos, Nigeria, undergoes a radical metamorphosis every year as the calendar turns to its final month, evolving from a bustling mega-city into the undisputed global epicenter of nightlife. Tayo Aina’s contribution to documenting this phenomenon, known as "Detty December," captures the raw essence of the city’s spirit, highlighting the "people, the hustle, and the creativity" that make Lagos feel alive in a way no other city can match. Through his lens, viewers witness a city that stays awake for weeks on end, fueled by back-to-back concerts and a vibe so addictive that international travelers find themselves returning year after year. While Christmas was once a quiet community affair centered on family gatherings and small monetary gifts, the mid-to-late 2010s saw a fundamental shift when Afrobeats went global, turning Lagos into a "snowballing" tourism destination that now attracts even those with no prior ties to West Africa.
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The term "Detty December," widely attributed to the artist Mr. Eazi, has come to define a period of high-intensity social interaction and significant economic upheaval. For the influx of returnees, or "IGBs" (I Just Got Backs), the season is a homecoming facilitated by superior spending power, with foreign currencies like the Dollar and Pound stretching significantly further against the Naira. However, this "crazy movement" comes at a high cost; traffic becomes so gridlocked that a 20-minute commute can extend to over two and a half hours, and the dating scene is described as "wild," where "serious" partners are often lost to the frenzy of the club circuit. Aina highlights the logistical "chaos" of the season, noting that while the city is a "tourism gold mine," it lacks the maintained infrastructure to support the estimated two million visitors who flood the overpopulated streets.
Local Nigerians often find themselves at a disadvantage as the price of basic services, such as hair braiding or restaurant meals, triples overnight to "cash out" on visiting tourists. Finding accommodation becomes a "survival mission," with hotels and short lets often sold-out months in advance or priced at "ridiculous" rates that humble even well-prepared travelers.
Despite these hardships and the high-ticket prices for festivals—sometimes reaching 300,000 Naira for regular entry—the season remains a vital economic engine. Remittances from the diaspora during this period have become Nigeria's second-highest earner of foreign exchange, effectively competing with the oil industry.
Ultimately, Detty December serves as a profound reminder of the Nigerian resilience, providing a rare window where people can "forget the sorrows" of daily life and celebrate their culture on a global stage. Aina’s documentation concludes that the season is more than just a party; it is an "expansive" period where the younger generation and the diaspora are encouraged to return home, proving that in Lagos, anything feels possible.
Experiencing Detty December in Lagos is like stepping onto a high-speed treadmill that is already set to its maximum incline; it is exhausting, expensive, and chaotic, but the rhythm of the music is so infectious that you find yourself running faster just to stay in the race.
