Gospel functions as a musical chicken soup for the soul, writes Gail Smith, who recently touched higher ground to the sounds of Joyous Celebration
A new brand of funky gospel has encroached on dance floors so stealthily that non- believers find themselves steeped in the groove before they even realise that they’re dancing to a ”hymn”. Leading the way in the United States are artists like Kirk Franklin and God’s Property and Sounds of Blackness.
I saw Sounds of Blackness perform at the Hammersmith Apollo in London in 1995, and to date that concert rates as the most powerful live performance I have ever seen. Even the most cynical musicians who had performed for the opening acts, and who almost reluctantly came from backstage to watch, were visibly shaken by the power of the spirit that moved in the Apollo that night.
Gospel has always provided an outlet for black spirituality, joy and pain. And is a conduit to another reality, that allows for the willing surrender of fears and questions to a higher power. As a feminist coming to terms with Catholicism, faith counts more to me than arriving at an identifiable name or gender for that power. Some days I speak to God, other days my mantra is: ”Jah will provide. She always does.”
In a country besieged by pessimism, fear and their close companion cynicism, gospel functions as a musical ”chicken soup for the soul” for those who are conscious of the effects that oppression, dispossession and suffering have on our spirits. Yet the topic invariably draws embarrassed amusement at the assumed naivety of those engaged in musical tributes to a ”higher power”.
Leading the pack in the growing ”funky gospel” market in South Africa is Family Factory with their home-grown version of Earth, Wind & Fire’s hit Devotion. Higher, off the Devotion CD, has elements of kwaito beats and can slip seamlessly into the gap between Bongo Muffin’s Thati’s gubu and Brenda Fassie’s Vul’ Idlela.
The proponents of ”new” gospel have taken the traditional outlet for black spirituality and made it more accessible in making it less dirgey and preachy. Now you can rejuvenate your flagging spirit while getting down to Family Factory’s Higher or Kirk Franklin’s Stomp, just as your Mama dusted and polished to Aretha Franklin’s Respect.
Family Factory are also featured on a three-set gospel compilation entitled Joyous Celebration, a collaborative gospel project that’s the brainchild of Sony Music A&R director Lindelani Mhkize, spearheaded by musical director Mthunzi Namba. According to Namba, Joyous Celebration is about ”finding untapped talent and recognising that we are a highly gifted nation”.
Intended as a springboard for new talent, the project has succeeded in unearthing some of the finest young voices in the country — talents like Wendy Mseleku, Vicky Vilakazi and Margaret Motsage. The first Joyous Celebration was recorded live at the Market Theatre in 1998 and features Sibongile Khumalo, Jabu Hlongwane and saxophonist Barry van Zyl.
Last week Joyous Celebration kicked off its national tour at the Market Theatre (ending in Swaziland on May 8). On Good Friday night the precinct was quite the place to be. Despite a prominently displayed ”Sold Out” sign at the box office, eager fans spilled out onto the Market concourse and queued for hours in the hope of securing tickets. By the third song, every seat in the house, including the aisles and almost every available nook and cranny in the theatre, had been filled.
The predominantly black audience comprised almost every age group, including a large contingent of young men and women who on first glance would seem headed for a kwaito gig. Decked out in their finery, they screamed, stamped and hollered throughout.
The Joyous Celebration Choir, and a succession of soloists, including Jabu Hlongwane, Margaret Motsage and Nonhlanhla Radebe, swept the audience to a frenzy with Holy Holy, and then with equal ease brought the enraptured audience to pin-dropping silence with Mawa Erun.
The show is well packaged, in keeping with the move to a more funky brand of gospel, but also includes traditional prayers like Thixo Bawo, a foot-stomping singalong affair. It’s clear that the tastes of a younger audience are borne in mind when it comes to costuming and choreography. Heavenly Father is styled as a cross between Boys II Men and the Black Panthers. The sight of four beautiful brothers, led by vocalist Thabo Mdluli, in black leather praising the Lord sent the young women in the audience into a frenzy.
Joyous Celebration’s tour will be touching down in Durban, Bloemfontein, East London and Cape Town. Booking through Computicket