Three Tests of a True Gospel Artist

THREE TESTS OF A TRUE GOSPEL ARTIST

By Ezekiel Kimosop

Someone requested for my theological opinion on the evaluation of a gospel song and the basis for its admissibility in a Christian congregation.

Allow me to say that there are no straight line template rules for determining the authenticity of a gospel song. I believe that each case should be handled based on its specific circumstances and the convictions of the believers or Christian community of context. 

For my case, I am keen on three pastoral tests which I will briefly outline below. These are what I consider as the three principal tests for the admissibility of a gospel song.   

THE THEOLOGY OF THE SONG(S)

First, the theology of the song is the eye-catcher for me. What is the artist singing about? Are the lyrics consistent with the teaching of Scripture? If the song fails the test of Scripture at this stage, I would flatly dismiss it. 

One popular 1960s UK Rock band called the Beatles used to sing what would easily pass for gospel music. The group leader John Lennon allegedly proclaimed in a March 1966 interview during the height of their popular hits, that the group was more popular than Jesus Christ! He later apologized after receiving a barrage of criticism but the damage was already done. Sections of American Christian communities including the Southern Baptists and leading radio stations boycotted their concerts. The Beatles finally fell never again to rise. 

The theology of the lyrics of a composition can be quite obscure to the ordinary person in the streets. However, when examined through the lenses of Scripture, it is possible to establish if the songs are consistent with the the teaching of Scripture. 

CHRISTIAN IDENTITY AND CONVICTIONS OF THE ARTIST

The second test concerns the identity of the gospel singer and his Christian convictions. This is a critical one because it describes the spiritual personality of the singer. Their relationship with Christ and with an established Christian congregation is paramount because this affirms their doctrinal orientation. It authenticates their calling in Christian gospel ministry. Does he or she truly profess Christ? Where was the artist raised in their faith? What Christian doctrines and traditions do they subscribe to? 

If someone who purports to sing gospel is not a member of any Christian congregation or the body of Christ, how can his ministry inspire God's people? Where does his conviction on God stand? I cannot and will not be inspired by his compositions, no matter how "Christian" they may sound. 

One popular Kenyan "gospel" group is known for their controversial hit songs that openly contradict Scripture. They are famed for composing a Sunday school hit song that implies that God's love is inconsistent. This Acapella group is reaping big from our contemporary Christian culture where anything with a Christian label appeals to people. 

In the insurance industry, we employ one critical concept in insurance policy underwriting practice: "Know Your Customer" or KYC. The insurers would insist on any additional details under a proposal for insurance that would more clearly reveal the nature and operations of the organization that seeks insurance protection. This includes the organization's past underwriting experience with other insurers. This will help the insurers make informed underwriting decisions that have a bearing on their financial  liability obligations. This practice is informed by the prudence of established industry practice. Insurers also share critical underwriting information among themselves and this serves as an important reference point for identifying blacklisted risks in the market. 

It is the responsibility of every child of God and, by extension, any Christian congregation or community to be discerning when dealing with strangers, including Christian gospel groups with which they are not familiar. The devil is the details. It is important to do a reference check on such groups before permitting them to perform on the church podium. 

The people of Berea engaged in godly prudence when they heard Paul and his associates preach in their city. They searched the Old Testament Scriptures at their disposal in order to verify the authenticity of Paul's gospel (Acts 17:10-15). The Bible is replete with exhortations on caution when dealing with strangers and this should apply to our evaluation of gospel artists. Paul warned Timothy not to hastily lay his hands on anyone but to keep himself pure (1 Timothy 5:22). The moral of this text is that church leaders should not hastily appoint anyone to Christian leadership positions in the church without undertaking due diligence on their moral standing. This principle is more clearly amplified by Paul in 1 Timothy 3:1-7. 

Where a gospel artist cannot demonstrate evidence of their relationship with Christ, they cannot be entitled to any benefit of doubt. 1 Corinthians 6:14-15 says "Do not be unequally yoked together with unbelievers. For what fellowship has righteousness with lawlessness? And what communion has light with darkness? 15 And what accord has Christ with Belial? Or what part has a believer with an unbeliever?"

MORAL LIVING AND CHRISTIAN WITNESS 

Finally, the gospel artist should demonstrate that his ministry of song is consistent with his Christian moral living. They should possess a credible testimony of a transformed Christian life, beginning with the Damascus experience. They cannot live in two worlds at the same time. They cannot proclaim Christ on Sunday and live in the shadow of darkness during the rest of the week! 

Some popular gospel artists with several "hit songs" to their credit are known to live in the underworld despite gracing church services and concerts. Some of these artists eventually run away from the church and go fully secular when their true identity is unmasked. A number of leading secular artists started their singing ministries at the church but were eventually lured into secular platforms where they embraced the underworld and served Mammon. 

One leading local hip-hop group in the 1990s started as a praise and worship team in a leading Evangelical church in Nairobi before they got hooked with an entertainment club where they would be invited to perform to revelers during the weekdays. When their senior pastor caught wind of their misdeeds, he summoned them for a dress-down but the group left the church in defiance and went secular! They never returned to church...

Some leading gospel artists have also corrupted and sold their hit songs for commercial promotions yet the songs were originally dedicated to the gospel of Jesus Christ! Others have been hired by politicians to perform during political campaign rallies. The temptation to exchange the gospel for financial gain is difficult to resist unless one's convictions are anchored on Calvary. 

This is not to suggest that gospel artists should be perfect people. None of us is perfect before God (1 John 1:8-10). They, like us, fail God's standards on many occasions. However, a true child of God should appreciate that he or she is a steward of God's grace. They should be conscious of their calling by God to employ their skills and talents in advancing the kingdom of God. They should therefore endeavor to keep their garments free from the moral stains of this evil world. 

CONCLUSION 

Gospel artists are ministers of God who use their creativity and works of art to proclaim Christ and edify the church to the glory of God. They are no different from pastors, save perhaps for the collarly distinction! They preach the word of God through their songs and inspire the congregation. They should therefore focus on their calling in Christ and refrain from any activity or conduct that brings into question their commitment to the gospel mandate. 

They should also seek theological advisory on their compositions in order to avoid controversial lyrics. They should refrain from lifestyle habits that may prejudice their moral standing and bring disrepute to the body of Christ. They should stick to the narrow path irrespective of the fame or fortunes that come with the popularity of their singing ministry. They should submit to spiritual restoration where they slip by the wayside. They should demonstrate the fruits of remorse when they err. They should not persist in rebellion but should submit to pastoral counseling as appropriate. This is where a singer's moral standing and Christian witness is sharply tested. 

Shalom 

© Ezekiel Kimosop 2020