Bernice Mulbah Challenges JZyno’s “Global Artist” Status: A Closer Look at Audiomack Claims

The Liberian entertainment industry is no stranger to heated debates, and the latest one has sparked quite the conversation. Bernice Mulbah, CEO of CLiberia Clearly Blog, has once again taken aim at JZyno, questioning the legitimacy of his “Global Artist” status and his supposed Audiomack connections. Her pointed critique raises some tough questions about the authenticity of his achievements and the true nature of his influence in the industry.

In her post, Bernice pulls no punches, stating: “Let’s call a spade a spade. Which connection is the real Audiomack connection?” She questions the credibility of JZyno’s claims to have a direct connection with Audiomack, a popular music streaming platform, and insinuates that despite his boast of 70 million streams, this hasn’t translated into real-world success. Bernice’s challenge highlights a growing skepticism in the Liberian music scene—are these streaming numbers genuinely reflective of global influence, or is there more to the story?

JZyno’s assertion that he’s the only Liberian artist with a significant Audiomack presence, positioning himself as the sole “global artist,” has not sat well with everyone. According to Bernice, if JZyno truly has such strong ties with Audiomack, it’s puzzling why his peers aren’t benefiting from the same connections. She calls out the inconsistency in JZyno’s narrative, suggesting that while he may boast about his streaming numbers, his actual influence seems limited, as evidenced by his performances in small venues with modest crowds.

One of the critical points Bernice makes is the disconnect between JZyno’s impressive streaming numbers and his real-life impact. She questions why, despite his 70 million streams, he’s still performing in the same “petty nightclubs” as his peers, drawing fewer than a thousand attendees. This discrepancy raises a valid concern about the difference between digital success and tangible, on-the-ground influence. Are streams alone enough to make an artist “global,” or does it take more—like sold-out shows, international tours, and widespread recognition?

Bernice’s critique seems to suggest that while streaming platforms like Audiomack are important, they don’t necessarily tell the full story of an artist’s success. Real-life impact—how many people show up to your concerts, how far your music travels beyond online platforms, and how well-known you are outside of the internet—still matters. It’s a reminder that digital metrics, while valuable, aren’t the only measure of success in the music industry.

Perhaps the most powerful part of Bernice’s message is her call for unity and shared success within the industry. She points out that despite JZyno’s claims, all artists are essentially on the same journey, working hard to make their mark. “In my eyes, all of you guys are on the same level, trying your very best to succeed. And God will bless all of you guys to succeed,” she writes. This perspective shifts the focus from competition to collaboration, emphasizing that success isn’t a zero-sum game—there’s room for everyone to thrive.

Bernice’s words resonate with many who believe that the Liberian music industry needs more solidarity and less division. Instead of tearing each other down or claiming superiority, artists could lift each other up, creating a stronger, more united front that can truly put Liberian music on the global map.