The global dominance of African music owes a huge debt to Afro-gospel. On first mention, the association seems far-fetched, but when one considers the mechanics of a music career, it becomes clearer that a lot of artists had their formative influences within and around the church.
It’s been a trusted tactic for many artists to get musical experience from church infrastructure, leading so many to create gospel—or gospel-adjacent music—in the early stages of their career and life. From artists like Simi to producers Louddaaa and SPINALL, there’s been no shortage of Afrobeats acts who count gospel music as an indispensable part of their career trajectory.
Undoubtedly, Africa is a religious continent, Nigeria a religious country, and the church influences a huge part of that sociological make-up. Nigerians have always loved gospel music, but where the genre used to tilt towards foreign sounds, the present generation of gospel artists is creating music that’s deeply connected to their African roots. Swapping the melancholy for percussion and general lingo, there’s a lot of revelry and celebration in the top Afro-gospel songs of the day.
This list honors a fine tradition that not only reveres the goodness of God but has consistently emboldened artists to make music with unarguably high standards and a seamless knack for moving the crowd. These Nigerian gospel artists are as much superstars as their pop counterparts.
Gaise Baba and Lawrence Oyor – “No Turning Back II”
Anyone who’s been online this year surely knows “No Turning Back II.” A TikTok smash, the crowd vocals on its chorus gave life to the idea of Godly devotion being too interesting to turn back on. By adapting the language of the youth, its message was quickly assimilated into popular culture, but on a base level, it remains a good record. With lively drums that could coerce movement from anyone, the song is a beautiful demonstration that praise doesn’t have to be stifled. Both Gaise Baba and Lawrence Oyor are prominent figures in the Afro-gospel tradition, and their acclaim, while not entirely supplied by this record, has been positively bolstered by its transcendental success.
Moses Bliss feat. Victor Thompson – “Everyday”
Collaboration plays a huge role in Afro-gospel’s popularity in the current age. Like their pop counterparts, these artists understand the potential in tapping into each other’s fanbases, with church demographies often behind them. A song like “Everyday” blooms with a distinct effervescence, one that’s supplied by the well-honed voices of Moses Bliss and Victor Thompson. Riveting in its warm atmosphere, they sing calmly about the blessings of God.
Samuel Folabi and Lawrence Oyor – “Wait”
While many Afro-gospel songs share an affinity for vivid percussion, there’s a smaller strain of records that draw from ministerial grit. In them, we hear music that pulls directly from elements such as chants and speaking in tongues — a vibrant quality of the Pentecostal churches that mostly host these singer-ministers. Samuel Folabi and Lawrence Oyor’s “Wait” is a powerfully searing record, hinged on the biblical promise that those who wait on the Lord will have their strength renewed. With its fine splashes of rock-evoking drums and winding notes, the musicianship drives the message even deeper.
Gaise Baba – “We Outside”
The most pop-facing record on this list, “We Outside,” has a bit of hip-hop energy and takes a lot from 2000s Nigerian pop. A defining quality of that era was its alliance with traditional forms and how that bore on its soundscape—a vision shared by Gaise Baba. Going from Yoruba to Pidgin English and back, it’s a confident record that delivers on a gut level. For some people, gospel shouldn’t co-opt the image-conscious sensibilities of pop music, but Gaise does that here, even in one line rapping “me I drag on the spirit, loud no reach,” referencing marijuana. Ultimately, it’s a good song, and sometimes that’s all that matters.
Ebuka Songs feat. Peterson Okopi – “Whatever (To Your Glory)”
Affirmation is a worthy direction towards seeking the divine. It’s like that scene where the character in a movie faces the sky with arms outstretched, daring the universe to search their soul. One gets a similar feeling listening to “Whatever (To Your Glory),” a record that strikes very close to lyrical genius. Ebuka Songs rides the cinematic production to establish the state of his heart, his contentment in being one with God, and Peterson Okopi brings the message home, stating that your relationship with God is not open to man’s limited interpretation.
Mercy Chinwo – “When You Say A Thing”
Unarguably one of the greatest gospel musicians of the era, Mercy Chinwo’s strong voice is immediately recognizable. Anyone who’s listened will surely place it, for there’s a singular force it carries, and that quality is all over “When You Say A Thing.” We’re always in awe of her vocal measure, but even that brilliance only serves to amplify Who is being sung about. Rendering praise to hold God steadfast to His promises is a popular practice among Christians, and Chinwo captures that assurance of reciprocity in this record, one of the singles from her forthcoming album, In God’s Will.
Ada Ehi feat. Sunmisola Agbebi – “Ma Beru Mo (This Is Morning)”
Between the two, there’s a rich crater of evocative Afro-gospel music that’s been made by Ada Ehi and Sunmisola Agbebi. Although dipping into the praise traditions of their native Igbo and Yoruba cultures, there’s also a shared sense of cosmopolitan taste that enlivens this record. One hears this from the sonic undertones, how the notes seem to soar into a soundscape that parallels the highest musical infrastructure. “Ma Beru Mo” makes a hearty offering of God’s undying dedication to His children, this vision realized from the realist-driven songwriting by both artists.
Ko’rale & Kaestrings – “WORTHY”
Anyone who’s paid attention to the Afro-gospel scene should be familiar with Kaestrings. His inimitable flavor has colored some of the genre’s biggest hits in recent times, contributing vocals as well as production expertise. On “WORTHY,” he’s joined by the similarly inspirational Ko’rale, who’s accrued a great fan base of his own. Their mastery is immediately evident in the song’s arrangement, a folksy ballad that thrills with well-timed bursts of activity. Oscillating between the lifting melodies of Igbo and English, it’s a well-rounded song that excites beyond its message of everlasting praise.
Chinyere Udoma – “NGALABA”
As early as the 2000s, Chinyere Udoma has been soundtracking the morning activities of many Nigerian families. Her upright perspective is amplified by a voice that’s at once motherly and ministerial, sinking her messages into somewhere deep in the heart. “NGALABA” doesn’t have a message in that sense; it’s rather flawless praise delivered at the doorstep of the Lord, laden with exultant lyrics and a profound sense of appreciation. Set forth by grand production that loosely borrows from highlife, Udoma is in familiar terrain throughout its seven minutes.
Anendlessocean – “Helm”
Lists like these aren’t complete without Anendlessocean. His work speaks for itself; garnering a genuine community of (mostly) young people, he’s done a great job at redefining how people perceive music inspired by the gospel. In his records, we find a keen sense of musicianship, all the more impressive because of how he’s been consistent in his motives. On his latest EP, Sceptre, one finds this mesmerizing allure of a record, a lyrical depiction of holding the spirit of God tight, an avowed sense of devotion that’s a consistent feature in Anendlessocean’s music. The airy touch of drums and horns gives it a metropolitan feel, as though he’s an everyman stepping into the Lagos craze with his divine cool intact.
