Online Reporter
Zimpapers Entertainment Editor
As the countdown to the 24th edition of the National Arts Merit Awards gathers momentum, one unmistakable storyline has taken centre stage: the dominance of gospel music in this year’s performance line-up.
With names such as Snowy, Natasha Mlalazi, Ministers Ellard and Sharon Cherayi, Vabati VaJehovha, Dorcas Moyo, Cleo Arie and Lil Eliana forming the backbone of the gospel segment, the question being asked in arts circles is whether this dominance will leave a lasting artistic mark, or if gospel has simply become NAMA’s most reliable ticket-seller?
Over the past few years, gospel music has surged to the forefront of Zimbabwe’s creative industry. Its crossover appeal, packed venues and loyal audiences have made it one of the most commercially viable genres, often outperforming secular counterparts in both attendance and visibility. Against that backdrop, NAMA’s gospel-heavy performance slate feels less accidental and more reflective of broader industry realities.
High-rising youthful gospel acts such as Snowy, Cleo Arie, Lil Eliana and Natasha Mlalazi — whose live performances are often praised for their emotional depth and vocal control — have become some of the genre’s most bankable names. Ministers Ellard and Sharon Cherayi, known for blending worship with contemporary musical arrangements, command a following that cuts across age and denominational lines. Vabati VaJehovha bring a choral, traditional gospel texture that resonates with older audiences, while Dorcas Moyo, a multiple NAMA winner and no stranger to the big stage, will provide the mature element to the show. Collectively, they form a formidable line-up that few other genres can currently rival in consistency and draw.
Yet the prominence of gospel has not been without controversy. On social media and within creative circles, reactions have been sharply divided. Some stakeholders have praised organisers for recognising where the industry’s pulse currently lies, arguing that gospel’s dominance reflects genuine audience demand. Others, however, have questioned the absence or reduced visibility of what they call the “top dogs” from other genres, particularly artists who have shaped popular culture over the past year.
This debate taps into a long-standing tension within NAMA: is the awards platform primarily a celebration of artistic excellence across the board, or is it also a show that must sell tickets and deliver a compelling live spectacle? With gospel music proving to be one of the most reliable crowd-pullers, its heavy presence raises questions about balance, representation and risk-taking under the theme, Fearless Creativity.
Historically, NAMA performances have oscillated between spotlighting emerging talent and honouring established acts. Past editions have seen young artists use the stage as a launchpad, while legends returned to remind audiences of their enduring influence. Gospel performances, in particular, have often been among the most talked-about moments, frequently cited for their polish, live instrumentation and strong audience engagement. In several editions, gospel acts have set the tone early in the programme, anchoring the show before transitions into other genres.
This year’s gospel-heavy approach, therefore, builds on a proven formula. One of the most memorable NAMA performances in recent years remains a massed gospel segment that combined live band arrangements, choreographed backing vocals and theatrical lighting, earning praise even from critics usually sceptical of faith-based programming. Such moments have helped position gospel not just as a genre, but as a performance standard-setter at the awards.
Still, with the ceremony fast approaching, attention has also turned to whether the new host will deliver under pressure. Organising NAMA is no small task.
The show’s length, genre diversity and high expectations demand resources and creativity, not to mention a presenter who can maintain flow, command the room and navigate transitions smoothly. With the countdown intensifying, observers are keen to see whether the new host can rise to the occasion and match the scale of the performances, particularly in a year where gospel energy is expected to dominate the atmosphere.
Responding to criticism and questions around the line-up, National Arts Council of Zimbabwe (NACZ) spokesperson and marketing manager Agga Nyabinde has defended the selection process, stressing that performances are guided by concept rather than popularity alone.
“Performers are selected based on the theme for that particular NAMA edition. The event managers create a concept of how they would like to interpret the theme through live performances, then they select artists that fit the concept,” said Nyabinde.
As the countdown to the 24th edition of the National Arts Merit Awards gathers momentum, one unmistakable storyline has taken centre stage: the dominance of gospel music in this year’s performance line-up.
With names such as Snowy, Natasha Mlalazi, Ministers Ellard and Sharon Cherayi, Vabati VaJehovha, Dorcas Moyo, Cleo Arie and Lil Eliana forming the backbone of the gospel segment, the question being asked in arts circles is whether this dominance will leave a lasting artistic mark, or if gospel has simply become NAMA’s most reliable ticket-seller.
Over the past few years, gospel music has surged to the forefront of Zimbabwe’s creative industry. Its crossover appeal, packed venues and loyal audiences have made it one of the most commercially viable genres, often outperforming secular counterparts in both attendance and visibility. Against that backdrop, NAMA’s gospel-heavy performance slate feels less accidental and more reflective of broader industry realities.
High-rising youthful gospel acts such as Snowy, Cleo Arie, Lil Eliana and Natasha Mlalazi — whose live performances are often praised for their emotional depth and vocal control — have become some of the genre’s most bankable names. Ministers Ellard and Sharon Cherayi, known for blending worship with contemporary musical arrangements, command a following that cuts across age and denominational lines. Vabati VaJehovha bring a choral, traditional gospel texture that resonates with older audiences, while Dorcas Moyo, a multiple NAMA winner and no stranger to the big stage, will provide the mature element to the show. Collectively, they form a formidable line-up that few other genres can currently rival in consistency and draw.
Yet the prominence of gospel has not been without controversy. On social media and within creative circles, reactions have been sharply divided. Some stakeholders have praised organisers for recognising where the industry’s pulse currently lies, arguing that gospel’s dominance reflects genuine audience demand. Others, however, have questioned the absence or reduced visibility of what they call the “top dogs” from other genres, particularly artists who have shaped popular culture over the past year.
This debate taps into a long-standing tension within NAMA: is the awards platform primarily a celebration of artistic excellence across the board, or is it also a show that must sell tickets and deliver a compelling live spectacle? With gospel music proving to be one of the most reliable crowd-pullers, its heavy presence raises questions about balance, representation and risk-taking under the theme Fearless Creativity.
Historically, NAMA performances have oscillated between spotlighting emerging talent and honouring established acts. Past editions have seen young artists use the stage as a launchpad, while legends returned to remind audiences of their enduring influence. Gospel performances, in particular, have often been among the most talked-about moments, frequently cited for their polish, live instrumentation and strong audience engagement. In several editions, gospel acts have set the tone early in the programme, anchoring the show before transitions into other genres.
This year’s gospel-heavy approach, therefore, builds on a proven formula. One of the most memorable NAMA performances in recent years remains a massed gospel segment that combined live band arrangements, choreographed backing vocals and theatrical lighting, earning praise even from critics usually sceptical of faith-based programming. Such moments have helped position gospel not just as a genre, but as a performance standard-setter at the awards.
Still, with the ceremony fast approaching, attention has also turned to whether the new host will deliver under pressure. Organising NAMA is no small task. The show’s length, genre diversity and high expectations demand resources and creativity, not to mention a presenter who can maintain flow, command the room and navigate transitions smoothly. With the countdown intensifying, observers are keen to see whether the new host can rise to the occasion and match the scale of the performances, particularly in a year where gospel energy is expected to dominate the atmosphere.
Responding to criticism and questions around the line-up, National Arts Council of Zimbabwe (NACZ) spokesperson and marketing manager Agga Nyabinde has defended the selection process, stressing that performances are guided by concept rather than popularity alone.
“Performers are selected based on the theme for that particular NAMA edition. The event managers create a concept of how they would like to interpret the theme through live performances, then they select artists that fit the concept,” said Nyabinde.
He added that adjudication for awards is at an advanced stage, with nominees set to be announced soon, underscoring that performance slots and award outcomes follow separate processes.
Under the banner of Fearless Creativity, organisers appear to be betting that gospel’s current dominance is not a limitation, but a strength. In an arts industry where gospel music continues to fill venues, dominate airwaves and shape cultural conversations, its strong showing at NAMA may well be a mirror of the times rather than a departure from tradition.
Whether this approach will ultimately define the 24th edition as a landmark moment or spark renewed calls for broader genre balance remains to be seen. What is clear, however, is that when the lights come on and voices rise at the Harare International Conference Centre, gospel music will not merely be present — it will be leading the conversation.
He added that adjudication for awards is at an advanced stage, with nominees set to be announced soon, underscoring that performance slots and award outcomes follow separate processes.
Under the banner of Fearless Creativity, organisers appear to be betting that gospel’s current dominance is not a limitation, but a strength. In an arts industry where gospel music continues to fill venues, dominate airwaves and shape cultural conversations, its strong showing at NAMA may well be a mirror of the times rather than a departure from tradition.
Whether this approach will ultimately define the 24th edition as a landmark moment or spark renewed calls for broader genre balance remains to be seen. What is clear, however, is that when the lights come on and voices rise at the Harare International Conference Centre, gospel music will not merely be present — it will be leading the conversation.
