Nigerian singer Paul Okoye, popularly known as Rudeboy, has criticised the growing pressure on musicians to maintain a constant social media presence, arguing that excessive online exposure has diminished the excitement and prestige once associated with music stars.
The former P-Square member said the digital age had fundamentally changed how fans perceive entertainers, replacing the mystery surrounding celebrities with unprecedented access to their personal and professional lives.
Speaking during a recent interview with Lun Lifestyle TV, Okoye reflected on the entertainment industry’s transformation, particularly the declining influence of traditional music videos.
According to him, musicians previously maintained a level of exclusivity that made public appearances and new releases highly anticipated events.
He recalled how fans rarely encountered P-Square outside music videos, concerts and occasional international performances during the group’s peak years.
The limited access, he suggested, contributed to the intense excitement that greeted major artistes whenever they appeared before their audiences.
However, Okoye argued that platforms such as TikTok and Instagram have changed that relationship by making entertainers constantly visible.
“The reason you don’t see people faint for artistes anymore is because they see them on TikTok every day dancing and promoting your music,” he said.
Using the late American pop legend Michael Jackson as an example, the singer suggested that even the global superstar might not have inspired the same level of public fascination if he had been required to produce regular promotional content online.
Okoye also questioned the commercial relevance of expensive music videos in an era when fans already consume large volumes of content featuring their favourite musicians.
“Music videos somehow now, because of this generation, is a waste of money. I am sorry to say this,” he stated.
He maintained that the constant availability of artistes had reduced the anticipation traditionally associated with watching their performances.
Despite his criticism, the singer acknowledged that social media had introduced significant benefits to the music industry.
He nevertheless argued that those advantages came at the cost of celebrity mystique, describing the situation with the Nigerian expression “see-finish,” which refers to familiarity diminishing admiration or respect.
Okoye questioned the expectation that musicians should publish content daily, insisting that artistes should not have to reveal every aspect of their lives to remain relevant.
He contrasted the present situation with an earlier period when entertainers maintained greater privacy, even during visits to clubs and other public venues.
According to him, musicians now face constant filming and scrutiny, with fans gaining access to moments that would previously have remained private.
The singer concluded that restoring the former exclusivity surrounding music stars might no longer be possible, given how deeply social media has become embedded in entertainment promotion.
His remarks highlight the continuing debate over whether constant digital visibility strengthens artistes’ relationships with fans or weakens the fascination that once defined celebrity culture.
Ezeana Emmanuel
