Nigerian sensation Ruger has opened up about the turbulent aftermath of his decision to leave Jonzing World and launch his own imprint, Blown Boy Entertainment. In a revealing interview on Afrobeats Intelligence, he shed light on the backlash, “cancel culture,” and the uphill fight to re-establish his name in the industry.
Ruger recounted the wave of criticism that greeted his departure in 2024. He was widely “blacklisted” by fans and peers who labeled him “ungrateful” simply for choosing independence. Many predicted his downfall, “the last year you’ll tour,” they said. The stigma was rooted in widespread assumption that Nigerian artists who leave domestic labels are disloyal.
Despite the fallout, Ruger remained resolute. He described the process as starting over, meeting industry gatekeepers again, introducing himself anew, and establishing his own system from scratch. His resilience enabled him to weather cancel culture and reclaim his footing in the industry.
Back in April 2024, Ruger posted a series of blunt revelations on X, explaining his exit. Though appreciative of D’Prince and Jonzing World for launching his career, he felt the label had grown complacent and wasn’t investing enough in him. In January 2024, he officially launched Blown Boy Entertainment, staking a bold claim for autonomy.
Ruger’s creative output has remained strong since going independent. Following his departure, he dropped major projects like the RnB EP with BNXN, toured in Europe and Canada, and continued releasing reconciliatory hits. His fans witnessed his evolution from label artist to fully independent artist-owner, a rare path with both emotional and financial stakes.
Ruger’s exit from Jonzing World wasn’t just strategic, it was transformational. He faced intense public scrutiny but remained steadfast, turning stigma into opportunity. His candid revelations underline an essential truth: authenticity and ambition matter, sometimes more than industry approval.
The Broader Industry Context
Ruger’s experience sheds light on a deeper, systemic issue within the African music industry, the stigma surrounding artist independence. While global music markets increasingly celebrate artists who take control of their careers, in many African music circles, leaving a label, especially a high-profile one is still seen as betrayal rather than evolution.
This mindset often stems from a deeply hierarchical industry structure, where loyalty to mentors and labels is prized, sometimes above personal growth or creative freedom. Labels like Jonzing World are viewed as launchpads to stardom, and departing from them—even for valid reasons like creative control, better management, or long-term strategy—is often interpreted as ingratitude.
Ruger’s story isn’t isolated. Several other African artists, including the likes of Reekado Banks, Brymo, Yemi Alade, and Kizz Daniel, have faced similar resistance after leaving labels or management deals. Many of them experienced temporary drops in visibility or had to spend years rebuilding their networks.
This has created a culture of fear among rising acts, stay with the label or risk exile even when the label no longer serves the artist’s vision. The new wave of African artists are increasingly prioritizing Ownership of their masters and creative rights, Freedom to explore genre diversity without label pressure and Direct fan engagement via digital platforms and streaming services.
If the African music industry is to truly grow and compete globally, it must normalize artist transitions. Growth should not be seen as betrayal, and mentorship should not morph into control. Labels, fans, and industry stakeholders need to embrace a culture where artists can evolve without fear of alienation.
Until then, Ruger’s journey stands as a cautionary tale—and a bold statement—that true success isn’t just about talent, but the courage to build your own table when the doors start to close.
