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“History has shown that not a single musician who transitioned from secular to gospel has become successful. Congregants often expect you to bring your secular fan base with you. If you fail to do so, you become a liability, and the church community may reject you.” — Clive Mono Mukundu
Trust Khosa
Zimpapers Arts and Entertainment Hub
Why so many artistes find themselves back where they started
CREATIVES often seem unable to learn from past mistakes and missteps, including from their peers.
This often results in poor choices.
In music, which commands a huge following, transitions, especially from one genre to another, generate significant interest.
One of the most intriguing and controversial shifts is the switch from secular to gospel music, particularly for popular artistes who have large fan bases.
It is a considerable gamble that many artistes have lived to regret. History shows that Zimbabwean music fans can be unforgiving, especially when an artiste abandons them at the peak of their popularity. No matter how heartfelt the apology, the backlash can be ruthless.
This week, the Zimpapers Arts and Entertainment Hub explores the harsh realities of abandoning secular music for gospel.
This subject has become topical following the sensational return of Braveman “Baba Harare” Chizvino to jiti music after a year-long absence. Whatever transpired during his time away is a story for another day, but his return highlights a recurring pattern.
Artistes who take this path often find themselves sidelined or forgotten.
Success stories are rare.
Locally, several musicians have walked this path before. Some began associating secular music with evil spirits, renouncing the very type of music that made them household names. Others distanced themselves from former colleagues, severing ties with creative communities that once supported them.
Baba Harare’s interview with The Sunday Mail Entertainment, which was published on June 30, 2024, was quite revealing.
The revered singer, who has also assumed the moniker King David, was quoted saying: “God will make a way. As long as my relationship with Him is perfect, everything will fall into place. With God, nothing is impossible. Remember, it is not all about music — it is about worshipping God.”
He continued: “Knowing the truth was my turning point. There are two spirits in life — God and Satan. You cannot be neutral and serve both. Being born again means becoming a changed person and it happens automatically when Jesus is in you. You begin to feel peace and you start to hate what God hates and love what God loves.”
He also made it clear that his spiritual journey had reshaped his artistic choices.
“I will no longer perform in nightclubs or places that compromise my relationship with God. I am not here to judge anyone — people have the right to live as they choose. But I will try to share the beauty of worship. Likewise, I will not play my old songs, even if requested. I also advise fellow singers not to perform them.”
Decades ago, Zimbabwe lost a gifted singer, Biggie Tembo, at the age of 37.
The jiti sensation and his Bhundu Boys had toured Europe, North America, Australia and parts of China. At the time of his death, Tembo was contemplating leaving music for a pastoral calling.
In 1995, he tragically took his own life in a psychiatric hospital in Harare.
Some artistes remain undecided about returning to secular music after renouncing it.
The list of Zimbabwean musicians who transitioned to gospel includes Mathew Kaunda (now a Jehovah’s Witness follower); the late Zexie Manatsa; Pastor David Mabvuramiti; and Tatenda Pinjisi, who once became a street preacher. Others include Mafriq co-founder Tanga T (Tungamirai Tavi) and Knowledge Kunenyati.
Conversely, some artistes have embraced spirituality without abandoning their secular roots. Bishop Leonard Zhakata, a devoted UFIC member, still performs in bars and maintains ties with his original fan base.
Urban grooves pioneer Alexio Kawara, now affiliated with Harvesters World Ministries, surprised many by stepping away from the music that brought him fame — though he still performs secular shows occasionally.
Music critic Clive Mono Mukundu addressed this issue in a podcast following Baba Harare’s temporary exit from secular music.
While not focused solely on Baba Harare, Mukundu offered profound insights that sparked widespread discussion.
“History has shown that not a single musician who transitioned from secular to gospel has become successful,” he said.
“Congregants often expect you to bring your secular fan base with you. If you fail to do so, you become a liability, and the church community may reject you.”
Mukundu also noted that secular fans move on quickly.
“Once an artiste switches to gospel, fans find Plan B. If you try to return, you may face a series of flops. The transition must be done intelligently, because building a new fan base from scratch is no easy feat.”
A seasoned and revered music promoter, who preferred anonymity, shared similar concerns.
“Scepticism from the gospel community is common. Many question your sincerity. Gospel music demands a shift in sound, lyrical content and spiritual connection. It is not just a type of music — it is a lifestyle.”
The promoter added that the gospel industry operates with its own gatekeepers and structures. “Establishing credibility takes time. Building relationships within the gospel community is essential but challenging, especially for artistes coming from secular backgrounds.”
Rasta Kwasa musician Dino Mudondo, who once worked with Minister Michael Mahendere, believes the transition must be a genuine calling.
“This has to be a true calling from God — not a money-making venture. Minister Mahendere is an example of someone who followed his calling. You can see God’s anointing in his work.”
Mudondo urged artistes to make informed decisions.
“You can still play secular music and worship the Lord. It is about expressing your talent. Transitioning to gospel may challenge your identity as an artiste. Financially, gospel music can be less predictable, requiring new sources of support.”
Further, sharing personal faith and struggles can be emotionally taxing.
Scepticism is common and navigating this path requires resilience. Mental and emotional well-being can be affected, especially when facing criticism from both secular and gospel audiences. Some artistes have labelled their secular fans as “lost”, alienating the very people who once supported them. Ultimately, transitioning from secular to gospel music is not just a change in type — it is a life-altering journey. It impacts one’s career, relationships and personal beliefs. Embracing the challenges can lead to fulfilling artistic expression, but the road is rarely smooth.
