Why has Kirk Franklin proven to be such a controversial figure within the gospel music scene? Many have labeled his music as “worldly” or “secular,” citing various reasons from his incorporation of hip-hop elements to his collaborations with mainstream artists. Was it the revolutionary messages in some of his songs? Perhaps the inclusion of hip-hop artists like Left-Eye, or his use of phrases like “booyakah”? Some pointed to his music videos, which mirrored those in hip-hop, or his crossover tracks with artists such as R Kelly, Mary J Blige, and Bono. These elements were often presented as reasons to avoid his music, grounded in the primary argument that it sounded “worldly” and deviated from traditional gospel.
Initially, this created a dilemma. The more I listened to Kirk Franklin’s songs, the more inspired I felt, and the greater my appreciation grew for his songwriting and musicality. While not every song resonated perfectly, enough of his work did to establish him as one of my favorite gospel artists. However, mentioning my admiration for Kirk Franklin often came with a sense of unease, a subtle guilt, as judgment seemed to surface whenever his name was brought up.
As I deepened my engagement with gospel music, a peculiar pattern emerged. Individuals critical of Kirk Franklin, quick to denounce his “worldliness,” would often share their preferred gospel songs. To my surprise, much of this music bore a striking resemblance to the R&B I had grown up with. The instrumentation, the drum sounds and rhythms, the use of “wah-wah” and muted guitars, the basslines and grooves – all echoed familiar R&B elements from my past. This experience repeated itself across numerous artists, from ‘The Winans’ to ‘Commissioned’ to ‘Fred Hammond’; their music often mirrored the sounds of 90’s R&B. Yet, those who readily criticized Kirk Franklin for his supposed “worldliness” would enthusiastically embrace and sing along to these very songs. It became clear that “worldliness” was not the consistent standard it was portrayed to be, except when applied to Kirk Franklin. This highlighted a distinct double standard within the gospel music community’s perception and acceptance.
