"Sing to the Lord a new song..."
- Psalms 96:1
I think its safe to say that I am a fairly religious person. Right from childhood, I was inculcated to the schema of a Superior Being by my folks, a thing my infantile mind percieved as completely natural. Later, I was to realize this Christianity was more historical than natural. In fact it was part of administrative "extras" imposed by our colonizers in the name of civilization. Outside this paradox was the bigger argument of atheism versus possibilianism versus religion. Confusing as it all is, I have chosen to hover on the religious side of things for certain unexplicable reasons such as the idea of God being comforting. But I am not your perfect church type. I'm a sort of religious voyeur - the few times am in church, I cant help notice grown men staring at other people's daughters in a coveteous fashion right under the noses of pastors who may or may not be strugglin to put everyone to sleep. Still, I'm also sometimes in need of spiritual fulfilment in various forms including gospel music. However, I am finding local gospel moving further and further away from satisfying this need. Let me expound.
Big Bang
Gospel music these sides has come a long way. Remember Joy Bringers on KBC or power couple The Mwauras' Praise and Worship series? What about Reuben Kigame and Shari Martin's Rafiki Pesa hit and all those Prison choirs? Everything about it tended to target mature audiences and the kids were contented with Sunday School classics. Solid themes revolving around Bible verses was the norm. A few blips of rebellion in youth wings of some churches didnt get enough hype until foreign influences came into play. Ron Kenoly, Mary Mary, Kirk Franklin et al precipitated a religious big bang with a youth agenda, paving way for new age pioneers such as Henrie Mutuku and Rufftone. This in turn drew the younger generation to more interesting ways to explore Christianity.
Commercialization
Lets not forget that at the same time secular music was also developing and soon eclipsed gospel productions. Ogopa brought kapuka, taking people by storm and leaving our gospel strategists wondering what to do to fish more men. It was the release of Esther Wahome's Kuna Dawa that provided the light bulb moment. The single acquired a cult-like following from the secular crowd and it was almost immoral for any club or pub or secular radio station not to have it on heavy rotation at one point. Aha! A way had been found! Gospel producers and artistes' renaissance had a lot to do with the money and exposure kapuka musicians got. They wanted that too. . .man must live, no? It was something like the current trend of our religious leaders tryin to vie for public office - a capitalist lunge for economic survival!
The strategy change was simple. Gospel music was now engineered to contain what I call crossover potential. New age gospel singles and albums were created from a secular template. They adopted the architecture and design of a secular track with an attempt to staple a spiritual message atop it. This has so far manifested itself in various forms:
*Production/Arrangement: Using essentially secular music arrangement techniques. MOG's hit Let Him Go attained its popularity not from its content but from its use of the Diwali riddim also used initally by Brick n Lace for Love is Wicked. Autotune use is gaining fast popularity as well in gospel production.
*Secular in Past Tense: My good pal Philip Mwaniki refers to most gospel kapuka as "secular music in past tense". By centering on themes of past lives of partying, sex, alcohol, drug use and the like, these types of songs get good reception from the generic kapuka lover who just wants to hear "pombe, madem, sigara kubwa" and such catch phrases being mentioned.
*Lingala Systems: When was the last time you sang along to System ya Kapungala? At rave, most probably. Any Congolese would also be shocked that coupé décalé can be used for a gospel track. Notice how different Congolose gospel groups sound from their secular mates eg. Makoma.
*Lyrics: It gets hard to point out a song as gospel via the lyrics these days. You are often left guessing until its blatantly clarified that the song 'imebarikiwa'. Case in point would be Chit Chat's chorus to its debut single which goes something like:
"I la la la la/ I like your shoes/ the clothes you wear/your style. . ."
Now that sounds like a chorus Lil Wayne would endorse. Holy Dave makes it worse by spittin some ambiguous verses. The rest of the hip hope fraternity have fallen into this trap.
Paradox?
At the end of the day this trend hurts the youth gospel movement in Kenya. Many of those who follow this movement may do so for all the wrong reasons - to be part of an inverted coolness... Proponents of this trend defend it by saying one doesnt have to mention God or Jesus in a gospel track. They claim that new age gospel tries to pass a message in a way the youth can relate to and subtly introduces to a more flexible relationship with God. Really? It would be quite far fetched to imagine that a drunk man at Grill House singing along to Kuna Dawa will reflect on the intended message.
Am not trying to be conservative in any way. I think we have lost touch with gospel and somehow the initial objective is heavily diluted by how it has been packaged. Look at how other international gospel artistes do it. Mary Mary recently acquired a crunk sound but they still manage to pass clear cut messages and sell records while they are at it.
We are in the Grey Area Era of Gospel music in Kenya and that is why when a gospel track is playing somewhere, I will be in the vicinity with a glass of vodka in one hand, weed in the other and rubber dubbing some woman's ass...











