By Fidelis Manyange
IN the early 2000s, the late Piwayi Dzuda, a renowned ZTV presenter of the gospel music programme Psalmody, torched a storm after playing the hit song ‘Mabvi Nemagokora’ by the Khiama Boys.
To the gospel music purists, this was heresy. The backlash stemmed from the fact that the Khiama Boys, fronted by Nicholas Zakaria and Alick Macheso, were best known for their secular sungura hits and frequent performances at entertainment venues filled with revellers who worshipped the brown and other bottles.
ZTV, too, was condemned for airing videos such as Pastor Bandimba’s ’Ndiperekedzewo Kudombo’— infused with raunchy ndombolo-style dances — on gospel music shows. In the eyes of the majority of conservative Christians, these genres were bat odds with their understanding of the Word of God.
One pastor went to the extent of warn his congregants against listening to gospel music produced by secular artistes. He argued that music created by the ‘un-anointed’ lacked the power to touch the hearts and souls of listeners. In his view, the gospel message becomes void when delivered by artistes whose personal lives are characterised by substance abuse, immorality or violence.
This sentiment isn’t new. Marko Sibanda and Kassongo Band’s ’Muponesi Wangu Ndiwe Jesu’, despite openly praising Jesus Christ, faced backlash and was dismissed as ‘ungospel’. Critics argued that the artiste’s past and his usual musical genre rendered the song blasphemous —raising a fundamental question: What exactly constitutes gospel music?
Some define gospel music as an expression of worship from the heart, a spiritual offering meant to uplift others and glorify God. Others frame it as a Christian genre blending elements of blues, jazz and soul, focused on themes of faith, hope and resilience.
Generally, gospel music aims to convey religious messages that promote peace, harmony, and devotion.
Against this backdrop, the Khiama Boys work demands a second, and perhaps more, critical analysis .
Here, we reproduce the lyrics for ‘Mabvi Nemagokora’, which go thus:
Tapfugama namabvi namagokora tichipemberera
Tichifara nekutenda Ishe
Musiki wakanaka wakatipa mweya wekufema
Kuti tirarame
Ndokuguma woti maziso, maoko, makumbo nepfungwa
Ngazvitibatsire
Tendaiwo Musiki wakanaka
Ngatisarudze zvakanaka, tisazochema
Nekuti zvese tinazvo . . .
This is basically a thanksgiving song. The artistes kneel in worship, thanking the Creator for life, breath, limbs and understanding. The lyrics encourage discernment, appreciation and acknowledgment of God’s providence. Is that not the essence of gospel?
Zakaria and Macheso, in the spirit of the Khiama Boys, continued to embrace spirituality in their music. ‘Sarudza’ from ’The Best of Khiama Boys’, urges people to put God first:
“Kushingirira kutsvaga pfuma tinoshinga zvikuru
Asi kushingirira kutenda Mwari zvonzi zvakaoma
Chinhu chekutanga tungamidza Mwari
Nekuti Ishe ndiwo mwenje . . .”
They argue that while people often endure hardships to gain wealth, they are quick to abandon perseverance when it comes to faith. The song warns that without putting God first, prosperity becomes hollow and divisive.
In the album ’Chikumbiro’ (1993), the track ‘Ndineurombo’ reflects the biblical messages of equality and compassion:
“Ndineurombo kwauri weganda dema . . .
Tisati kana tapfuma yawe nzira yekutsvinya nayo
Chawe chitukiso kuvarombo vanoshaya . . .”
Here, the Khiama Boys urge listeners to treat each other with kindness, regardless of skin colour or wealth. The message echoes scriptures from James and the prophets, decrying favouritism and advocating social justice.
In ’Mukoma Wangu’, also from ’Chikumbiro’, they warn against elevating wealth over relationships:
“Ukasafunga zvakanaka unopedza kudzinga hama
Ino mari iyi hamawee inotikonzera kuti tiparadzane . . .”
The message is unequivocal: money and materialism should never override familial bonds. It’s a timeless Christian teaching on love, humility and unity.
This is everyday gospel.
Another compelling example is the track ‘Tsamba’:
“Vanoparidza shoko ndevapi shoko raBaba?
Chenjerai kuzvisarudza vanhu ndevaMwari
Kufamba kwako ngakuve mharidzo yakanaka . . .”
This song is a call for believers to live exemplary lives. The lyrical content encourages integrity, not just in words but in daily conduct — a principle central to the teachings of Jesus and Paul.
Other gospel songs from the Khiama Boys include ‘NdiJesu’, ’Ambuye Yesu’, ’Mwari Wedu’, and ‘Kureurura’. These are original compositions, not borrowed hymns or renditions from church choirs. Unlike some musicians who recycle lyrics from church services or funerals, Zakaria and Macheso compose(d) songs rooted in everyday struggles, offering biblical wisdom and moral reflection.
Their music addresses relationships, social justice, humility and faith, presented in the vibrant, guitar-driven sungura style, complete with the highly popular ‘Borrowdale dance’ rhythms. Rather than dilute the gospel, this fusion resonates with people’s daily lives.
Despite their message, some pastors and believers still question the authenticity of gospel music when it is recorded by secular musicians. They argue that one cannot separate the message from messenger. “Do as I say, not as I do” does not apply in gospel music, they claim. After all, Jesus was exemplary in word and deed.
Furthermore, certain genres, such as dancehall, rhumba and sungura are often deemed unfit for gospel, regardless of their lyrical content. This bias sidelines powerful messages simply based on musical styles or the artistes’ past.
Yet Nicholas Zakaria stands as a counter-example. He has lived an upright life, free of the scandals that often taint public figures. Veteran music producer Jabulani Ndlovu was forthright in his assessment:“Ndiye mumwe wevaimbi wandashanda nawo kwemakore asina kana zvipomerwa zvataverenga mumapepanhau.”
Macheso, likewise, is known for his philanthropy and mentorship, helping launch the careers of numerous young musicians. Together, these artistes exemplify the transformative power of music rooted in the traditional values of hunhu/ubuntu and integrity.
This begs the question: Does gospel music depend solely on the singer’s spiritual status or his/her chosen genre? Must a gospel song mimic traditional church hymns to be Godly?
The truth is, gospel music defies rigid definitions. It is shaped by cultural contexts, lived experiences and evolving expressions of faith. A genre like sungura, infused with spiritual truth, can stir hearts just as deeply as a hymn sung in a cathedral.
However, caution remains warranted. Gospel music must avoid glorifying materialism, sensuality or violence. Such songs, though cloaked in Christian terminology, become idolatrous when they exalt worldly values.
Ultimately, gospel music is not just about instrumentation or the artiste’s background, it is about the message and its alignment with God’s word. If a song, regardless of genre, points people towards love, repentance, hope and worship, then it fulfils its spiritual purpose.
The Khiama Boys, through their music, have challenged conventional boundaries and opened hearts to new ways of praising God. They are, indeed, the unsung heroes of gospel music.