The idea of collaboration between secular and gospel musicians has become a hotly debated topic within Ghana’s music industry, generating strong and often opposing views from artists and stakeholders.
While some see such partnerships as a creative bridge that can expand audiences and spread positive messages, others argue that they dilute the spiritual essence of gospel music.
One of the most vocal opponents of secular–gospel collaborations is renowned gospel singer Mavis Asante, popularly known as Supreme Lady. The wife of Pastor Chris Asante, widely recognized as Abruku Abruka, has made her stance clear, describing such collaborations as nothing more than “noise.”
According to her perspective, gospel music is a sacred ministry rather than a commercial venture, and blending it with secular music risks compromising its spiritual purpose and message. For Supreme Lady, gospel music should remain distinct, consecrated, and focused solely on glorifying God.
On the other side of the debate is rapper and singer OPANKA, who strongly disagrees with the notion that secular–gospel collaborations lack value. He believes these partnerships can be meaningful and impactful when approached with the right mindset.
From his perspective on Atinka TV, music is a universal language, and collaborations between gospel and secular artists can help convey positive, inspirational messages to a broader audience, including listeners who may not typically engage with gospel music.
OPANKA’s argument reflects a growing school of thought among younger and more experimental musicians who see collaboration as an opportunity for unity, creativity, and cultural relevance.
They argue that the message within the music should matter more than the label attached to the artist, and that gospel-inspired content can thrive even within contemporary or secular musical frameworks.
As the debate continues, it highlights a deeper conversation about identity, purpose, and boundaries within gospel music.
Whether viewed as unnecessary noise or a powerful tool for outreach, secular–gospel collaborations remain a contentious issue—one that underscores the evolving dynamics of faith, art, and expression in Ghana’s music landscape.
