Rising star Michael Adebayo Olayinka, better known as Ruger, has sparked intense debate by calling out what he perceives as a troubling trend: the rise of untalented artists gaining prominence through aggressive promotion and technological manipulation.
The “Bounce” hitmaker’s recent statements on social media platform X have opened up a broader conversation about authenticity, talent, and the role of money in shaping Nigeria’s musical landscape. “The music scene has been hurting me coz no matter how shit an artist is, once there’s money for hype, Otilo,” Ruger declared, highlighting his frustration with the industry’s current direction.
What makes Ruger’s criticism particularly noteworthy is his specific focus on the use of autotune during live performances. The artist took aim at performers who rely heavily on vocal enhancement technology, even during between-song banter. “Now, let’s talk about the gaddamn autotunes on the mic when y’all perform,” he wrote, proudly distinguishing himself as an artist who doesn’t need such technological crutches.
The controversy deepened during a recent interview at Cool FM Lagos, where Ruger made the explosive claim that Nigeria currently has fewer than five genuinely talented musicians. While carefully avoiding naming names or explicitly placing himself within this elite group, his statement that “most people are just singing for cruise” has ignited heated discussions across social media platforms.
This critique comes at an interesting time in Ruger’s career. Having recently launched his own record label, Blown Boy Entertainment, after departing from Jonzing World, the artist speaks from the perspective of someone who has experienced both the development and business sides of the industry. His gratitude to his former label, expressed through social media updates, adds weight to his observations about the industry’s current state.
What makes Ruger’s commentary particularly significant is its timing within the broader context of Nigerian music’s global expansion. As Afrobeats continues to gain international recognition, his concerns raise important questions about the potential impact of prioritizing promotion over talent development in the long term.
The artist’s rise to prominence since 2021 under Jonzing World, affiliated with Don Jazzy’s prestigious Mavin Records, gives his observations additional credibility. His success story, marked by numerous accolades, stands as evidence that traditional talent development can still yield significant results in today’s industry.
However, Ruger’s critique extends beyond mere observation to touch on fundamental questions about the future of Nigerian music. The suggestion that financial backing can override talent in determining an artist’s success challenges the industry to reflect on its values and direction.
The debate sparked by Ruger’s comments reflects broader concerns about authenticity in the age of digital manipulation and promotional machinery. His specific mention of autotune usage during live performances highlights a growing tension between technological enhancement and genuine musical ability.
This controversy has also opened up discussions about the role of record labels and promotion in artist development. While Ruger acknowledges the support he received from established industry players, his critique suggests a need for balance between promotional efforts and talent nurturing.
As the conversation continues to evolve, Ruger’s outspoken stance may well influence how the industry approaches artist development and promotion in the future. His willingness to challenge current practices while building his own label demonstrates a commitment to contributing to positive change within the industry.
The ongoing debate sparked by Ruger’s comments serves as a reminder of the complex relationship between talent, technology, and commercial success in modern music. As Nigerian music continues to evolve and expand globally, these discussions may prove crucial in shaping the industry’s future direction.
