'Traditional gospel singers are copying urban gospel sound' - Kingzkid

Many traditional gospel musicians who once criticised urban gospel music are now embracing the same style, fashion and sound they initially rejected, according to urban gospel musician Kingzkid.

Speaking to Graphic Showbiz, the singer reflected on the early days of urban gospel in Ghana and the challenges pioneers of the movement had to endure.

According to him, established gospel musicians at the time viewed urban gospel as inappropriate and believed it strayed away from the true essence of gospel ministry.

As one of the first artistes to champion the genre in Ghana, Kingzkid said urban gospel acts were often looked down upon and treated as though they were less spiritual because of their style of music, appearance and approach to ministry.

"In the beginning, traditional gospel artistes felt they were superior to us. But now, they are all mimicking our fashion and our sound. It’s like a precious stone on the ground; you can kick it aside until someone who understands its value picks it up,” he said.

I can’t do a collaboration with a secular artiste - Kingzkid

However, he believes attitudes have changed over the years as the influence of urban gospel continues to grow.

“In the beginning, traditional gospel artistes felt they were superior to us. But now, they are all mimicking our fashion and our sound. It’s like a precious stone on the ground; you can kick it aside until someone who understands its value picks it up,” he added.

Kingzkid explained that resistance towards new ideas is common, especially within spaces rooted in tradition.

According to him, change is inevitable in music and culture, which is why even conservative gospel circles eventually adapt to evolving trends.

He noted that urban gospel has now gained recognition because people have started to appreciate its impact and relevance among younger audiences.

Touching on the struggles many urban gospel musicians face in sustaining long-term careers, the artiste said endurance and patience remain major challenges.

He admitted that building a career in the genre can be extremely demanding, which causes some artistes to give up along the way.

“I wouldn’t be too hard on those who quit. Great things take time and require a lot of sacrifice. Unfortunately, many people don’t have the patience it takes to wait out the dream or assignment, the confidence it takes to take the bull of purpose by its horns, and the consistency it takes to see any dream bloom. But I won’t lie, it’s hectic,” he said.

The musician also addressed concerns about the treatment of gospel music at award schemes in Ghana.

He argued that many award events are organised and sponsored by companies whose values and commercial activities do not necessarily align with the message gospel music promotes.

“Most award schemes are secular and backed by companies whose core businesses represent the very things gospel music preaches against,” he explained.

Despite that, Kingzkid said he understands why gospel music may not always receive the same level of recognition as secular music, insisting that such decisions are often business-driven.

“Sidelining gospel music is often a business decision, and I understand that. But awards are just a by-product. Perhaps, this is our cue to focus on the real mission,” he said.

He further encouraged gospel musicians to avoid becoming overly focused on awards and public recognition, stressing that ministry and transforming lives should remain the priority.

According to him, recognition naturally follows when artistes remain genuine and committed to spreading the gospel.

“I always encourage gospel artistes not to be driven by recognition; those things are secondary. The real calling is about staying true to your message and spreading the gospel with sincerity. When you focus on transforming lives, the recognition will eventually come, but the mission must always come first,” he advised.

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