The evolution of gospel music in Nigeria
Ify Obi guides us through the evolution of gospel music, from birth to global dominance, and beyond
As the Afropop movement takes on the world, topping charts and gaining international accolades, Nigerian gospel is doing the same. Culture Journalist, Ify Obi guides us through the evolution of Nigerian gospel music, from its birth, to its global appeal, and beyond.
A little while ago, a video of DaBaby and his daughter having a father-daughter moment sent Nigerian twitter into a frenzy. As sweet as the video was, what caught everyone’s attention was the song by popular Nigerian gospel music singer, Agatha Moses, playing in the background. Upon hearing that song, as I’m sure it did most Nigerian-bred Twitter folk who watched the clip, a rush of previously locked memories came streaming through my consciousness. I recalled waking up on Saturday mornings to the voices of Tope Alabi or Chioma Jesus knowing that I had a long day of chores ahead, or the funny choreographies we did to Darrell Evans’ “I’m Trading My Sorrow” and Infinity Music Group’s “Olori Oko” while wearing the infamous white lace gloves with socks to match. Gospel music has always been informative in our collective Nigerian socio-cultural experience and will continue to be so, after all, the Nigerian Christian community accounts for the largest Christian population in the continent.
As much as gospel music is a diverse Christian music genre, it is also an intricate part of popular culture. Today, gospel isn’t bound to the walls of the church, though having its roots there – you are every bit as likely to listen to a choral rendition of a song like Midnight Crew’s “Igwe” at church as you are to dance to it at a wedding party. Chances are, you’ve probably already done so. In the face of life’s uncertainties, the feelings of helplessness associated with living in Nigeria, and the ever-present socio-economic hardships, gospel music provides a sense of relief for the average Nigerian; the genre vocalises our longing that one day, these circumstances of life will change. It has never mattered what language the songs are performed in or whether or not we understand them, the message – of love, hope, and faith – is (and always will be) felt deeply.
The Formative Years
Gospel music in Nigeria dates back to the 16th century. At this time, the Portuguese catholic missionaries arrived in the ancient Benin kingdom for their evangelical mission, and with their arrival came the introduction of liturgical music. This music was often unaccompanied and contained very limited tunes, so it did not fare well with the people. What would, however, form the basis of what we now know today as Nigerian gospel music began to take form until the 19th century. The coming of the UK based Church Missionary Society (CMS) created wide-spread evangelism across Nigeria and choral music was introduced. Not long after, a Nigerian version was born out of a style and rhythm that was unique to the rich culture of its indigenous listeners, pioneered by Reverend Josiah J. Ransome-Kuti (grand-father of Fela Ransome-Kuti), who, as church organist of the St. Peter Church, Ake, Abeokuta, fused choral music with Yoruba and new rhythmic structures.
A total of 43 tracks were recorded when Reverend Ransome-Kuti was invited to the United Kingdom in 1922 to record an album for his compositions. Some of these recordings became standards, such as “Egbe Awon Angeli”, “Oyigi Yigi Olorun Wa”, “Jesu Oba Alaanu”. Today, Ransome-Kuti is regarded as the father of Nigerian gospel music and is credited as the first Nigerian to record an album. In the same vein, chorister and composer, Ikoli Harcourt-Whyte was the first person to create choral music in Igbo language in the 1930s.
By the ‘50s and ‘60s, the trend of incorporating traditional music forms with choral music quickly grew in popularity and spread wide across Nigeria. Soon enough, traditional instruments began being implemented, and it didn’t stop there. Gospel music artists continued to evolve the genre through the decades – from the folk and country-inspired Karis Band of the University of Nigeria, Nsukka (the ‘70s) to Kris Okotie’s pop-to-gospel conversion (the ‘80s). Then, with the rise of the new generation of American ‘90s gospel stars (Kirk Franklin; The Winans), Nigerian gospel music set itself on a new course. Modelling their music after the American legends, the emergence of Nigerian gospel artists such as Sam Okposo, Tope Alabi, and Broda Martyns, spread the gospel beyond the congregation. From there, Nigerian gospel music gained listenership outside the church and began establishing itself as a crucial part of the Nigerian music industry at large.
Taking on the World
There is clearly a growing space for Nigerian music in the global music market right now. As the Afrobeats movement takes on the world, topping charts and gaining international accolades, Nigerian gospel is doing the same, albeit in its own way.
The global growth of the Afropop movement was mainly reliant on the rise of internet culture, evolution of digital technology, and the age of DSPs such as YouTube, SoundCloud, and Apple Music. Gospel, on the other hand, always had an invaluable edge: the international expansions of Nigerian Pentecostal churches and communities. From The Redeemed Christian Church of God (RCCG) to Mountain of Fire and Miracle Ministry (MFM) many Pentecostal denominations have, over time, established communities in key countries around the world particularly the U.K and the United States. The international leap for Nigerian gospel music was a natural given.
In 2014, former Destiny’s Child member Michelle Williams sampled popular Nigerian praise song “When Jesus Say Yes” on her single “Say Yes” which featured other former Destiny’s Child members, Beyoncé Knowles and Kelly Rowland. Williams’ single was eventually ranked amongst the biggest gospel singles of the past decade by Billboard. Sinach’s 2015 single, “Waymaker”, recently spent 6 weeks at number 1 on Billboard’s Christian Songwriters Chart with over 120 million streams across different streaming platforms in the month of May 2019-2020. This came along after the song was covered by international gospel stars such as Bethel Music, Michael W. Smith, Mandisa, Leeland, Christafari, Mandisa, and Passion Worship Band.
Similarly, fellow Loveworld Records (owned by Christ Embassy Church) artist and contemporary singer-songwriter, Frank Edwards released a joint EP in 2016 with one of gospel music’s most respected figures, Don Moen. “My crossover into the international market started when I collaborated with Grammy-nominated artist Micah Stampley” Frank Edwards explained to me over a text message.
“The church I attend, Christ Embassy, already had a clear global presence, as sermons were broadcast around the world. So when you step on that stage, you minister to a worldwide audience.
But you see, The Experience Concert gave me a chance to meet some of the people who already knew me. People like Don Moen and Travis Greene. The Experience Concert kind of brought us together.”
When American gospel music heavyweight, Travis Greene, described The Experience concert as the “largest Christian music concert in the world,” he wasn’t too far from the truth. It might not be marketed as one of the major ‘Detty December’ activities in Lagos but The Experience concert does pack a punch. In 2017, the annual Lagos-held free concert reportedly drew a staggering 700,000 attendees to the historic Tafawa Balewa Square, with millions viewing online across the globe.
Established in 2006 by House On The Rock Cathedral Senior Pastor, Paul Adefarasin, The Experience has, since its inception, given a home to a number of emerging and established artists alike. Coming at a time when there weren’t many platforms dedicated to the growth of gospel artists, The Experience Concert has played a prominent role in the crossover of many local talents into the international gospel market.
“As a result of the vast improvement in quality, several gospel songs now compete favourably with secular music, oftentimes debuting at the number one spot on music charts.
Before now, American gospel songs were the norm in our services. Today, our indigenous songs are favourites in many American Churches.”
Pastor Adefarasin explained during a press conference in the wake of the 2018 edition. He, however, stated “While we do not take all the credit for the growth of the gospel industry, we are proud to say that The Experience has played a very prominent role in this regard. The socio-economic impact of this mammoth occasion is evident and lends credence to scriptures in the Psalms which attest that God blesses and causes the earth to yield its increase to His people whenever He inhabits their praises.”
Now, many local talents compete favourably alongside their international counterparts as they carve their own spaces in the global market.
https://www.youtube.com/watch?v=Ufh5tfdKw6I
The Contemporary Face of Nigerian Gospel Music
The year may be 2020, but the Nigerian music industry still remains heavily male-dominated. You can comfortably count on one hand the number of women who are slightly in the reigns and even at that these women rarely receive as much recognition or visibility as male musicians do. However, the same can hardly be said of its gospel sub-genre. Speaking on the cultural impact of the gospel music industry, it is difficult to overlook the influence of its women. I mean if there is any doubt, you can take a look back at the beginning of this story.
In the gospel music industry, women are seen to be the leading figures, and this goes beyond the music, as women often assume positions of authority, for example, Bola Are and Funmi Aragbaye who have both served as National Presidents of the Gospel Musicians’ Association of Nigeria. Not only are these women highly influential, they also enjoy longevity in their careers. We have all been listening to songs by Tope Alabi and Chioma Jesus for most of our lives, yet, they are still very much present in the industry and show no signs of slowing down. They presently co-exist and reign supreme alongside the likes of newer names like Mercy Chinwo, Sinach, Nikki Laoye, Ada Ehi, and an even newer crop of gospel artists diversifying the landscape.
“For too long, Nigerians have put gospel music in a box creatively. They believe if it doesn’t sound like Nathaniel Bassey, Tim Godfrey, or Mercy Chinwo then it isn’t spiritual”
So believes Timi Kei, a young artist whose music blends soul and rap with spiritual lyrics.
Like a newly-formed butterfly finding its way out of the cocoon, gospel music in Nigeria is steadily breaking free of traditional stylistic limitations and is soaring to new heights. Today, its leading artists incorporate the forms of other popular music genres like pop, jazz, rock, r&b, rap, and even afropop in their music; though not without a few criticisms. Purists are of the opinion that the gospel community is conforming to the ideals of secularism in order to appeal to larger audiences for financial gain.
“This is one of the reasons I decided to refer to myself as a Christian who makes music as opposed to a gospel artist. I strongly believe there is nothing wrong with a gospel artist adopting any secular music style as long as the message is being passed to a broader audience,”
Timi Kei continues.
Regardless of such criticisms, the contemporary gospel community continues to hold its place, and to the Glory of God, it shan’t be backing down.
Featured Image Credits: House On The Rock Church/Instagram
Ify talks and writes about culture all day. Tweet her your hot takes @IfyObi_
ICYMI: THE ART OF USING MUSIC AS A FORM OF PRAYER
Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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Tems Partners With Hennessy For Leading Vibe Initiative
Launching in Lagos, Nigeria, this event pioneered by Tems marks the beginning of a continent-wide movement to...
In July, Tems announced the Leading Vibe Initiative (LVI) to support women in music and the creative space on their journey to make a mark in their fields and create space for other women in those industries. Born from Tems’ journey as a self-taught artist with a focus on driving change, the initiative offers training, mentorship, industry access, and community for women in music in Africa.
After a rigorous selection process for its inaugural cohort, Hennessy will join the two-time Grammy Award-winning star to celebrate the launch of the Leading Vibe (LVI) Initiative in Lagos, Nigeria. Held from August 8 to 9, 2025, the two-day event is the beginning of a bold new chapter in Hennessy’s long-standing commitment to music and culture in Africa.
“I’m excited to partner with Hennessy in bringing this initiative to life, supporting talented young women in music as they find their voices, embrace their power, and shape the future of the industry across Africa and beyond,” Tems said about the partnership.
The Leading Vibe Initiative aims to champion the next generation of female artists, producers, songwriters, and music professionals, increasing representation within all areas of music across the continent and beyond.
With Hennessy as lead partner, this ambitious program kicks off with an immersive event in Lagos featuring curated workshops, networking moments, and panel discussions led by top-tier talent from across the global and African music industries.
“Her vision, talent, and purpose align deeply with Hennessy’s legacy of championing those who push boundaries and redefine the world around them. We’re honored to support the Leading Vibe Initiative and to continue empowering African communities and cultures,” said Vincent Montalescot, Hennessy Global Chief Marketing Officer.
Hennessy’s partnership with Tems builds on the brand’s decades-long history of supporting music and artistic expression globally and on the continent. From Hip-Hop to Afrobeats, Hennessy continues to stand beside the artists and communities that shape culture.
In Africa, the Maison has deepened its commitment through meaningful initiatives like In the Paint and now, with the Leading Vibe Initiative, is taking a focused step toward amplifying women’s voices in music. With the Lagos launch as a powerful first step, the Leading Vibe Initiative will expand across Africa and globally, creating a cross-continental network of empowered women ready to shape the future of African music.
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