The legendary Malaysian band Exists recently offered a nostalgic perspective on how the entertainment industry has transformed, specifically highlighting the crucial gatekeeping function that journalists and editors once served to safeguard performers from reputational harm. Speaking at the Riuh Pi HAWANA concert at Arena Butterworth Convention Centre, the band's members emphasised how the rigorous editorial standards of the print era created a protective buffer that modern artists no longer enjoy in an age of unfiltered digital publication.

Lead guitarist Along explained that the discipline embedded within traditional newsrooms represented far more than routine professional practice. When fans submitted complaints or stories about artistes, editors would subject these submissions to careful scrutiny, examining their validity and sensitivity before deciding whether publication was warranted. This vetting process required journalists to contact the subjects of allegations directly, seeking their perspective and allowing them to respond to accusations. The result was a system that, while not perfect, significantly reduced the likelihood of unfounded gossip damaging careers or invading private lives.

The contrast with today's media ecosystem could hardly be starker. Along observed that contemporary digital platforms have dismantled the institutional safeguards that once protected entertainers. Anyone with a smartphone can capture an image or video clip, apply minimal context, and broadcast it globally within moments—all without any review mechanism or consideration for the subject's wellbeing. This democratisation of content creation has accelerated the spread of unverified information and speculation across social media networks.

What compounds this challenge is the cumulative psychological impact on performers. As Along noted, once content is published online, the comment sections become flooded with diverse opinions, many of them harshly critical. For artists already contending with the pressures of public life, exposure to such unfiltered negativity can take an emotional toll. This reality has forced contemporary entertainers to develop thicker skin and adopt more cautious approaches to their public behaviour and digital presence—a burden that previous generations of artists did not bear to the same degree.

Vocalist Mamat offered a different but complementary perspective, focusing on the symbiotic relationship that developed between Exists and the Malaysian press throughout the band's career spanning more than three decades. Mamat suggested that his band's longevity and continued relevance within the industry stemmed partly from consistent and supportive media coverage. More than simply reporting factual developments, journalists extended their relationship with Exists beyond transactional reporting, offering encouragement and constructive guidance during challenging periods.

Matat characterised himself as perhaps one of Malaysia's most frequently interviewed artistes, yet rather than feeling intruded upon, he expressed gratitude for how the media landscape had accommodated the band's evolution. Even during phases of difficulty, journalists provided adequate space for Exists to regroup and move forward. Remarkably, news coverage sometimes incorporated advice and motivational messaging that sustained the band's morale and sense of purpose. This suggests that the relationship between established artistes and serious journalists transcended the conventional boundaries of professional reporting.

Bassist Musa contributed an anecdotal illustration of this deeper bond. Recalling events around 1997, Musa described how an entertainment journalist became so invested in Exists' musical journey that he rented a recording studio to experience a jam session alongside band members. The journalist's consistent presence at performances eventually culminated in this hands-on participation, an action that would be virtually inconceivable under modern ethical journalism codes. For Musa, this episode encapsulated how relationships between artistes and media practitioners of that era grew beyond professional duty into genuine friendships grounded in mutual artistic interest and respect.

Musa argued that professional journalists continue to serve an indispensable function within the entertainment industry, despite the proliferation of non-professional online commentary. Trained journalists undergo formal education in verification, ethical reasoning, and sensitivity awareness. They understand which stories warrant publication and possess the linguistic and conceptual tools to communicate information responsibly. Their editorial decisions, shaped by institutional standards and personal integrity, establish benchmarks for accountability that untrained digital commentators lack.

The protective capacity of professional journalism operates at multiple levels. Beyond preventing the spread of false or damaging allegations, qualified journalists can model ethical practices for other content creators, demonstrating through their own work how responsible media should function. In an environment increasingly dominated by user-generated content, the standards exemplified by experienced journalists become especially valuable as a counterweight to sensationalism and carelessness.

For Malaysian entertainers and industry stakeholders, Exists' reflection raises uncomfortable but necessary questions about the sustainability of artistic careers in the social media age. The band's members are not arguing that print-era journalism was flawless, nor are they suggesting that entertainment figures should be insulated from legitimate criticism. Rather, they are highlighting the loss of a middle institutional layer that once balanced transparency with dignity, public interest with private welfare.

The implications extend beyond individual artistes to the broader health of Malaysia's entertainment ecosystem. When performers face unmediated exposure to unverified allegations and torrential criticism, the incentive to pursue creative careers diminishes, particularly for emerging talent. Conversely, the presence of responsible journalists who report fairly and maintain professional standards encourages artistic risk-taking and innovation by providing a degree of psychological security.

Musa's upcoming Memento Mori Concert, scheduled for August 1 at Unifi Arena, represents one of numerous projects through which Exists continues to contribute to the Malaysian music scene despite operating in a fundamentally different media landscape than the one that nurtured the band's early success. The band's willingness to reflect publicly on changing industry conditions suggests a maturity and perspective that younger artistes would be wise to consider as they navigate their own careers.