It starts with a beat—familiar, rhythmic, the kind that makes your head nod before you even realize it.
Then the choir joins in, harmonizing over the melody, hands clapping, bodies swaying.
At first, you think it’s just another energetic praise session, but then it hits you—this sounds like Afrobeats.
It’s not new for churches to embrace modern sounds. Some people find it hilarious, others get outraged.
But what’s undeniable is that the line between secular and gospel music is getting blurrier by the day. And maybe, just maybe, that’s not a bad thing.
The Church is Catching the Afrobeats Bug
For a long time, gospel music had its own distinct sound—traditional hymns, highlife-infused choruses, or the classic contemporary worship style.
Today, it’s different. Afrobeats has taken over not just clubs and streaming charts but also the very places people go to connect with God.
Church choirs are leaning into Afro-inspired beats, praise songs are coming with a groove that wouldn’t feel out of place at a party, and even gospel artists are tapping into the energy that Afrobeats brings.
Just look at artists like Tim Godfrey and Mercy Chinwo—while still deeply rooted in gospel, their music carries the same infectious bounce that defines mainstream Afrobeats.
This shift isn’t accidental. Music evolves, and so does the way people worship. Afrobeats is the heartbeat of this generation, and if churches want to keep young people engaged, they have to meet them where they are.
A Cultural Shift or a Controversy?
Of course, not everyone is comfortable with this change. For every person excited about hearing an Afrobeats groove in church, there’s another raising an eyebrow, asking, “Isn’t this taking things too far?”
The argument is always the same—church music should be “different,” set apart from the world. But let’s face facts, history has shown that what we call “gospel” today was once considered too radical. There was a time when drums weren’t allowed in churches. There was a time when contemporary gospel was seen as “too worldly.” Now, Afrobeats is facing the same resistance.
But it’s not about the beat; it’s about the message.
If a song glorifies God, encourages worship, and brings people closer to their faith, does it really matter if it carries the bounce of Afrobeats? If churches have embraced jazz, rock, and hip-hop influences over the years, why should Afrobeats be any different?
Where Do We Go from Here?
The truth is, this trend isn’t slowing down anytime soon. Gospel artists are already experimenting with Afrobeats, and churches are realizing that music is one of the most powerful tools for keeping their congregation engaged.
So, the real question isn’t whether Afrobeats belongs in church—it’s how it should be used. Should churches draw the line at using secular songs in worship? Or should they embrace the sound while ensuring the message remains pure?
One thing is certain: Afrobeats has entered the church, and it’s here to stay. The only thing left to decide is whether we resist it or dance along.
