Growing up as a white kid on the edge of West Texas, my deep connection to black gospel music might seem unexpected. From a young age, this genre has resonated with me in a profound way, shaping my musical sensibilities and even sparking a longing to be not just a gospel artist, but specifically a black one. It’s a pull that feels ingrained, a rhythm in my soul that echoes the rich heritage of Black Gospel Songs.
Music rooted in the African American experience has always held a captivating power over me. This fascination began in childhood and continues to influence my songwriting, performances, and recordings today. While black gospel wasn’t prevalent in my hometown, and the black community itself was scarce, my upbringing was thankfully rich in diverse musical influences. My Louisiana-bred parents, both musicians themselves, instilled in my brothers and me a love for a wide spectrum of genres, from folk and classical to country, southern jazz, Zydeco, and, crucially, gospel music.
For my thirteenth birthday, I eagerly requested tickets to a CeCe Winans concert in Dallas. Her gospel career, alongside her brother BeBe, which blended R&B, pop, and soul, had a lasting impact on my formative musical years. It paved the way for my appreciation of soul icons like Roberta Flack, Ben Harper, Reverend Al Green, and Mavis Staples, whose gospel album produced by Jeff Tweedy in 2010 is an absolute essential listen. And CeCe Winans that night? She was simply phenomenal. Her voice soared with such power and emotion that even the most reserved individuals couldn’t help but feel the conviction in her electrifying gospel performance.
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A young Greer and CeCe Winans
The impact of that evening went beyond just the music itself. After the concert, I joined the line for autographs, hoping to meet CeCe Winans and capture a photo. Despite her celebrity status, she greeted me with a warm, radiant smile and a simple, “Hi. I’m CeCe.” This gracious introduction and the genuine conversation that followed ignited a passion for music within me that continues to burn brightly fifteen years later. It was more than just admiration for a performer; it was a connection to the heart and soul of gospel music.
Driven by this newfound inspiration, I attended numerous gospel shows, often held within Dallas’s vibrant black congregations. My friends, perhaps puzzled by my unconventional taste, usually declined my invitations to join. However, my parents were always enthusiastic companions, and we would often find ourselves vying for seats in the front pews. Our small, fair-skinned trio stood out amidst the beautifully dressed attendees of the black community. Yet, we were met with nothing but warmth and acceptance. There was a sense of embracing me, this pale, somewhat out-of-place admirer, as a welcome, if slightly amusing, addition to their gospel family. The occasional affectionate gestures from some felt a bit overwhelming, yet I was genuinely touched by this unexpected sense of belonging.
The sheer musicianship at these concerts was breathtaking. While my own church background included beautiful music, it leaned towards more formal orchestrations. In the black church setting, I was captivated by the band’s dynamic interplay – the resonant bass lines locking in with the drummer’s intricate rhythms, perfectly complementing the soulful singer’s every vocal nuance. They displayed a raw talent and fervent passion for their craft that I strive to emulate in my own music, both in recordings and live performances. It was a masterclass in musical expression, a powerful demonstration of the spirit inherent in black gospel songs.
If I, as a white musician, was going to infuse genuine soul into my music, I knew I needed to learn from the source, to connect with the heart of black gospel music.
A Soul-Stirring SHOUT!
Several years ago, a friend invited me to Mike Farris’s “Sunday Night SHOUT!” at Nashville’s legendary Station Inn. This series of shows often featured incredibly talented guest artists. While I anticipated good music, I was completely unprepared for the experience of hearing the McCrary Sisters.
Regina, Ann, and Alfreda McCrary are daughters of the late Samuel McCrary, a founding member of the Fairfield Four, a gospel music legacy. Their performances embody the very essence of Motown-infused funk and gospel, creating a truly transcendent live experience. That particular night at “SHOUT!”, I was working on my Americana hymns record, which was released earlier that year, and I had been searching for a way to authentically incorporate my gospel passion into a few tracks. On a whim, I asked the sisters if they ever did background vocal sessions. Their response was an enthusiastic embrace and a resounding, “Yeah, baby!” We exchanged contact information and set up studio time.
The evening before our recording session, I looked up the McCrary Sisters on YouTube to get a better sense of their vocal arrangements. I was astonished to find videos of them performing with music icons like Bob Dylan, Andrae Crouch, Patty Griffin, and Johnny Cash. And I had casually asked if they did background sessions! Their resume also included collaborations with Elvis Presley and Stevie Wonder, showcasing their incredible versatility and demand in the music world.
Greer shares a laugh with Ann and Regina McCrary
The next morning, we recorded “Jesus Paid It All,” accompanied by a sparse, percussive “slave stomp,” and “I’ve Been Searching,” a song I had written with a Motown vibe in mind. While I was co-producing the record, I asked Regina for her feedback on how the session was progressing. With a joyful sparkle in her eyes, she looked at me and declared, “You are our brother from another mother.” This heartfelt acceptance was incredibly meaningful, a validation of my deep connection to their musical heritage.
Later that same day, we each had to perform at funerals for close friends who had unexpectedly passed away the previous week. United in grief, we found solace and strength in prayer and in sharing verses from 2 Corinthians 5, where Paul speaks of an “eternal house in heaven, not built by human hands.” For me, a musician who had dreamt of singing gospel songs since childhood, working with the McCrary Sisters was an almost otherworldly experience. And as someone deeply moved by Christ’s sacrifice, our shared faith created an even more profound bond, solidifying the deep connection I felt to them and to the spirit of black gospel music.
A Balm for the Pain
In moments of deep sorrow and heartache, I often turn to gospel music for solace and hope. I’ve always been struck by the intense emotion conveyed in gospel performances, as if every note and every word carries the weight of the artist’s very being. African-American spirituals are imbued with the pain and suffering of slavery, a testament to resilience in the face of unimaginable hardship. Vintage soul from Motown serves as a powerful reminder of America’s not-so-distant past, when black communities fought tirelessly against prejudice and for their fundamental rights. This history and these struggles are woven into the fabric of black gospel songs, giving them a depth and sincerity that is palpable. They are sung with conviction because they mean it. Even bluegrass, a genre often perceived as predominantly white, owes a debt to African instruments like the banjo, highlighting the cross-cultural influences within American music. And while traditional church hymns can sometimes feel formal and reserved, and contemporary Christian music can occasionally lack depth, black gospel music is vibrantly alive.
A few months prior, I was among several artists performing at a national conference headlined by Tamela Mann and hosted by her husband, David Mann. After my set, Mr. Mann playfully mimicked my higher vocal register in his signature “Mr. Brown” comedic style. The predominantly white, conservative audience seemed unsure how to react, perhaps misinterpreting his lightheartedness as irreverent given the spiritual nature of the hymns I had just performed. However, David Mann, deeply immersed in the world of gospel music, understood the heart and soul behind the music. For this aspiring “brotha” in gospel, I took it as a warm, humorous welcome, another step closer to feeling embraced by the black gospel community.
My recent music purchases on iTunes reflect this enduring passion, including new releases from incredible black gospel artists like Tamela Mann’s Best Days and Israel Houghton’s Jesus at the Center. And I know I will continue to seek out new gospel albums and attend concerts for years to come. This music has profoundly changed my life, and the artists who create black gospel songs are role models who continue to stir and shape my soul.
I often find myself wishing I could truly be one of them, to fully embody the spirit and heritage that fuels this powerful genre.
Andrew Greer is a singer-songwriter and CT music critic based in Nashville. As this article is published, Greer confirms he remains white, though not for lack of trying to connect with the soul of black gospel music.
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A young Greer and CeCe Winans
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Greer shares a laugh with Ann and Regina McCrary
