The recent release of the gospel single “No Turning Back” by Gaise Baba and Lawrence Oyor has ignited a firestorm of debate within the Christian music community, raising critical questions around creativity, spirituality, and cultural relevance. As the song climbed to number 4 on the TurnTable Top 100 chart in May 2025, it sparked praise for its mainstream success but also concern over its style, message, and aesthetics.
Gaise Baba, known for his Afro-fusion gospel sound, defended his artistic choices and outward appearance, insisting that consecration lies in one’s heart, not their hairstyle or wardrobe. But many, including notable music scholars and gospel elders, are still asking: where should the church draw the line between cultural engagement and doctrinal compromise?
Speaking with The Nation, Professor Albert Oikelome, a renowned musicologist and lecturer at the University of Lagos, acknowledged the inevitability of change in musical styles. “Every genre in vogue today will one day become outdated,” he noted. “Many songs that were once condemned are now beloved classics.”
He affirmed the need for relevance in gospel music but warned against chasing trends at the expense of spiritual depth. “It’s okay to draw crowds and even use street slang or beats. But gospel music should also uphold commitment, holiness, and theological clarity,” he said.
Referencing the now-viral remix of the classic hymn, “I Have Decided to Follow Jesus,” Oikelome expressed reservations about turning deeply reverent songs into party anthems. “That song is a declaration of consecration, not a club banger,” he said.
Not every song is for the streets-Oikelome”
Oikelome Christian hymns, specifically criticizing the recent remix of “I Have Decided to Follow Jesus” by contemporary artist Gaise Baba.
Speaking candidly, Albert said he was uncomfortable with the way the song has been circulated and repurposed, especially in non-religious settings. “I am concerned that the song is being aired in very awkward places, to say the least in bear parlour and club houses” he noted. “And now people are saying it’s all in the effort to preach the gospel. I don’t buy that.”
Oikelome emphasized that while the remix may have enjoyed short-lived attention, its impact is already fading. “It’s fizzled out. Things like that don’t last,” he said. “There are some songs you don’t play with. I Have Decided to Follow Jesus is not a street song, it’s a hymn of deep spiritual commitment.”
He criticized what he described as a watering down of the hymn’s original meaning. “That song was born out of the sacrificial faith of our forefathers. And now, just because we’re in the ‘vibes’ era, people are tweaking the words, adding phrases like ‘we will make the billions.’ What does that even mean in the context of surrender and discipleship?”
Oikelome was especially displeased with the perceived reversal of the song’s original message. “The lyrics say ‘The world behind me, the cross before me.’ But in this remix, it’s more like ‘the world before me’, as if the goal now is to chase fame and fortune.”
He concluded by saying the motive behind such remixes appears to be more about profit than purpose. “Let’s be honest. It was about money. He made his hit, got the views, and probably hit his YouTube targets. But don’t confuse that with ministry.”
Oikelome’s comments reignite the ongoing debate within Christian circles about the balance between creative expression and the sanctity of spiritual traditions.
The broader issue, he explained, is that some artists seem more focused on virality and monetization than on spiritual impact. “We must give people what they want, yes, but also what they need. Lyrics should remain sound, while the beats may evolve.”
The trend is not without defenders. Prominent voices, including gospel music influencers and even some clergy, argue that Afro-fusion gospel is helping to bridge the gap between the church and younger generations. They point to historical precedent where music once labeled worldly is now accepted as sacred and asserts that the gospel can be preached on any beat.
Still, many worry that this shift may dilute core Christian messages. Albert lamented that The President of Mount Zion Faith Ministries, Evangelist Mike Bamiloye, has previously spoken out against what he calls “unwholesome adaptation” of worldly aesthetics in gospel music. Today, his position on Gaise Baba and Lawrence Oyor song is biased and is so loud about it.
Beyond music, the debate extends to appearances. With younger gospel artists and instrumentalists embracing dyed hair, earrings, and trendy street fashion, some fear the church may be embracing cultural relevance at the cost of identity. “The Bible may be silent on some of these issues,” Oikelome said, “but silence should not be mistaken for endorsement.”
He added that the church must be discerning: “The line between cultural relevance and spiritual compromise must be approached with caution. We cannot afford to send mixed messages, especially to the youth.”
In the end, the debate around gospel music’s evolution is not just about beats or hair color. It is a deeper conversation about mission, identity, and the essence of worship. As Afro-fusion gospel continues to make waves, the church must navigate this cultural shift carefully ensuring that in a bid to remain relevant, it does not lose its reverence.
In an interview with The Nation, Evangelist Philip Olayiwola, President of the Gospel Musicians Association of Nigeria (GoMAN), said that he is concerned about the direction of gospel music. He emphasized that gospel music must remain rooted in scripture and sound doctrine.
“Everyone has a different journey to salvation,” he said. “Some came through Pentecostal movements, others through orthodox or Aladura backgrounds. But we must not allow the pursuit of fame, fashion, or financial gain to dilute the message of Christ.”
For Olayiwola, the core of gospel music is its message is not its sound. “Some gospel artists may have a great song, even a powerful recording, but once the visuals especially the dressing contradict the spirit of the message, you lose the essence,” he said.
A call for elf-cleansing
Olayiwola revealed that GoMAN is taking steps to address these concerns. “We must first cleanse our house,” he noted, stressing that the association is working internally to hold its members to higher standards. “If our roof is leaking, there’s no point preaching to others about shelter.”
The process, he said, involves three layers: addressing issues among registered GoMAN members, reaching out to independent gospel musicians, and then confronting the broader influence of secular culture within the church.
“We can’t pretend that all who sing gospel are spiritually aligned,” he added. “Some people are simply using gospel as a platform for personal gain.”
Striking the balance
The key challenge for today’s gospel artists is finding the balance between creativity and consecration. “It’s okay to be creative, but creativity must be rooted in scripture,” Olayiwola said. “Any lyrics that can’t be traced to the Bible or that Christ Himself won’t endorse should not be considered gospel.”
He added, “Your music must do more than entertain. It must save souls, convict hearts, and draw people closer to God. If it does not do these things, then you are not ministering; you are performing.”
The youth and the sound of the times
But how should the church respond to youth culture? Should gospel artists adapt to emerging tastes?
Olayiwola acknowledged that effective ministry must consider audience dynamics. “You can’t be rigid,” he said. “If you’re ministering to youths, you need to understand their language, their rhythms, and give them a sound they can relate to but not at the expense of biblical truth.”
He explained, “You can modify your presentation, but not the message. The standard of God doesn’t change, even when styles and seasons do.”
The president of GoMAN believes in mentorship, spiritual accountability, and structured oversight for gospel artists. He also called on churches to do more in supporting artists who remain faithful to the calling, urging believers not to elevate fame over fruit.
“Some musicians receive more recognition in death than in life,” he noted soberly. “But what matters most is whether their work moved souls toward Christ.”
In conclusion, Olayiwola called for a return to purpose. “We must go back to God. Seek Him before going to the studio. Don’t depend on talent alone. Let the Holy Spirit breathe on your music so that it does more than trend, it transforms.”
As the gospel music scene continues to evolve, voices like Evangelist Olayiwola’s and those of artists who are navigating this new frontier offer a timely reminder that while the beat may change, the truth of the gospel must remain constant.
Defending “No Turning Back” — Mike Bamiloye, Uebert Angel back Gaise Baba amid criticism
As the criticism continues, it will instructive to note that key voices in the faith community, including renowned evangelist and filmmaker Mike Bamiloye and UK-based preacher Uebert Angel, have both risen in defense of the young artist.
“He may not be perfect, but he is growing” – Mike Bamiloye
Mike Bamiloye, founder of Mount Zion Faith Ministries, took to social media not only to applaud the bold declaration in the song, but also to offer a prayerful plea for Gaise Baba’s spiritual journey.
“Let us also pray for Gaise Baba,” Bamiloye wrote. “He that sang that song will follow Jesus Christ fully and will never turn back.”
Bamiloye, known for his decades-long ministry in Christian drama and youth mentorship, expressed concern that Gaise’s rising fame might attract ungodly influences.
“Based on the success and fame of this Jesus song now, some secular recording labels and managers may want to approach him with tempting offers to derail him,” he warned. “But it is too late.”
He continued with a prophetic declaration: “You have sung a song that is leading many unbelievers to look in the direction of Christ. You too will be more perfected. You will never, never go back from Jesus.”
In another post, Bamiloye reminded believers that God often works on people “behind the scenes,” and that love and mentorship not condemnation are what discipleship truly requires. “Before we call someone out, let’s call them in. Before we throw stones, let’s offer prayers,” he said.
Uebert Angel: “God is not afraid of your ginger hair”
In a fiery message delivered at a recent service, Uebert Angel of Spirit Embassy also came to Gaise Baba’s defense, decrying the culture of intra-Christian criticism. Without mentioning names, he criticized those who condemned the artist for his looks or musical style.
“Why is it that we are studying the fake and not the original?” Angel asked. “At the bank, staff isn’t trained by focusing on counterfeit notes. They’re trained to spot the real.”
He rebuked the obsession with outward appearance. “God is not scared of your ginger hair,” he said, referring to criticisms of Gaise’s hairstyle. “Just because someone painted their hair, suddenly it’s a spiritual threat?”
Angel emphasized that many young people are rising and seeking God in new ways and instead of condemning them for stylistic choices; the Church should affirm their calling and guide their growth.
“Christians need to stop attacking each other”
Both Bamiloye and Angel raised concerns about the disunity within the Christian body. Angel compared the cohesion of Muslim communities in the UK to the infighting he sees among Christians.
“Muslims have a plan. They are taking over city councils and positions of power. Meanwhile, Christians are busy gossiping and opposing each other,” Angel lamented. “We were never sent to the pulpit to tear each other down. The Bible says go into the entire world—not into other people’s churches to criticize them.”
He encouraged believers to channel their energy into impacting the culture, rather than nitpicking fellow Christians. “If your impact is only felt when you attack others, that’s not real ministry,” he said.
A song sparking revival?
Despite the controversy, No Turning Back has resonated with many especially youth. Its raw blend of contemporary sound and passionate commitment to Jesus has become an anthem for young Christians navigating a world of distractions.
The songs hook “No turning back, I have decided to follow Jesus” mirrors the message of the classic hymn it samples, but with a modern urgency that speaks to today’s audience.
Voices from the music scene
Music producer Wilson Joel, known for working with both gospel and secular artists, believes that the controversy around Afro-fusion gospel highlights a much-needed evolution.
“The gospel is eternal, but music is cultural. Artists like Gaise Baba are doing something powerful reaching audiences who may never step into a church.”, he said
Popular gospel artist Onos Ariyo also weighed in. “There’s a difference between being trendy and being carnal,” she said. “What matters is the spirit behind the music. If your heart is aligned with Christ and your music is bearing fruit, that’s what we should focus on.”
Similarly, urban gospel rapper Angeloh defended the hybrid sound. “Afro-fusion is our sound. God can use it. The same way He used hymns, He can use drill beats or Afro rhythms to communicate life.”
The bigger picture
While some in the church debate the aesthetics of Gaise Baba’s ministry, others see a deeper movement, one that reflects a generational shift in how the gospel is expressed.
Both Mike Bamiloye and Uebert Angel agree: the focus must remain on Christ, not criticism.
As Bamiloye noted, “We all need grace. We all need Jesus. And we are all part of the same body.”
Their message is clear: the gospel is big enough to be carried on multiple platforms whether through drama, sermons, or songs with ginger-haired artists holding microphones. What matters most is that Christ is preached and souls are being drawn to Him?
