Nigerian gospel singer Deborah Fasoyin has publicly denied false reports of her death, which circulated widely on social media and some news platforms earlier this week. The 86-year-old vocalist, celebrated for her longstanding contributions to gospel music, addressed the rumor directly in a video message posted online.
In the video, Fasoyin stated she is in good health and labeled the reports as inaccurate. “Great day to you everybody, I’m happy to tell you that I’m hale and hearty, and what you’ve seen on Facebook is fake,” she said. She further expressed her faith regarding her longevity, adding, “I know that I will finish strong with supernatural sound health. And I will go to my father in peace not in sickness, not in pain. And I will die at a good old age just like my father Abraham.”
Fasoyin is a prominent figure within the Christ Apostolic Church and the wider Nigerian gospel music scene. She is particularly known for the enduring hymn “Odun n lo sopin” (English: “The Year is Ending”), a staple in many worship services. Her career spans decades, during which she has become a respected elder stateswoman of the genre.
The incident highlights the rapid spread of unverified information on digital platforms. Her clear denial, delivered in her own words, aimed to reassure fans and followers. The rumor’s appearance on established news sites underscores how misinformation can permeate mainstream outlets, often originating from social media.
This episode reflects a broader challenge of celebrity death hoaxes, which frequently target public figures, especially those with long-standing community reverence. Fasoyin’s prompt and personal response serves as a direct counter-narrative. Her message, rooted in personal testimony and spiritual conviction, also reinforces her public persona as a resilient and faithful artist.
Her clarification provides official confirmation from the subject herself, effectively closing the cycle of speculation. The situation now returns to normal discourse regarding her musical legacy and ongoing influence, with the focus returning to her artistic contributions rather than erroneous personal reports.
