Kenyan gospel rapper Eko Dydda has found himself at the center of a heated debate. His latest release, Am Very Rare, has stirred mixed reactions, with some fans questioning whether the song adheres to the spiritual depth expected of gospel music. One particular fan’s criticism caught the artist’s attention, prompting a thoughtful and impassioned response that goes beyond the song itself, delving into issues of artistic authenticity, cultural self-worth, and the true purpose of gospel music.
This article explores the controversy surrounding Am Very Rare, the fan’s critique, Eko Dydda’s defense, and the broader implications for Kenyan gospel music in the face of international comparisons.
The Fan’s Critique: A Call for International Influence
The controversy began when Eko Dydda released Am Very Rare, a track that stays true to his signature style of blending rhythmic spoken word with gospel messages. While the song was embraced by many of his fans, one individual took issue with its content, arguing that it lacked the spiritual depth expected of gospel music. The fan, whose comments have since gone viral, suggested that Kenyan gospel artists, including Eko Dydda, should look to other countries like Tanzania, Nigeria, and Rwanda for inspiration. According to the fan, these countries produce gospel music that not only resonates spiritually but also crosses international borders, achieving fame and recognition far beyond their local regions.
In a scathing critique, the fan wrote: “Nothing like Jesus here, Kenyan gospel artists should go to TZ, Nigeria, and Rwanda and see why their music goes beyond borders. Spend time in the secret place, Mungu akupee songs from the spirit, hii ni nini sasa?”
This statement implies that Eko Dydda’s song, in the fan’s opinion, lacks the divine inspiration and depth found in gospel music from neighboring nations. The critique also touches on a broader issue often raised in Kenyan gospel circles — that local artists sometimes fall short in terms of international appeal and spiritual authenticity when compared to their counterparts in other countries.
Eko Dydda’s Response: Defending His Gospel Mission
Eko Dydda was quick to respond to the critique, addressing both the fan’s specific comments and the broader cultural issue at hand. In his reply, he questioned the fan’s emphasis on international recognition and the notion that divine inspiration could only come from certain places or countries. He also addressed the fan’s mention of the “secret place,” a metaphor often used to describe a space where one can connect with God on a deeper level.
“Ona huyu sasa, hio secret place ni wapi? Hata kwa nyumba yako kuna place we huficha vitu so you can go and seek God,” Eko Dydda wrote. His response suggests that divine inspiration isn’t confined to geographical locations or specific rituals but is something deeply personal and unique to each individual.
Furthermore, Eko Dydda expressed concern over what he sees as a growing tendency among Kenyans to devalue their own culture and talent, in favor of foreign influences. “Who made us hate ourselves this much Kenyans? Why is it that you don’t believe that you could ever have anything special?” he asked, lamenting the fact that many Kenyans often elevate foreign artists and ideas while downplaying the achievements of their own.
The Cultural Context: Kenyan Gospel Music in a Globalized World
Eko Dydda’s response opens up a broader discussion about the role of Kenyan gospel music in a globalized world. Gospel music, by its very nature, is a genre rooted in spirituality and divine connection. However, in the modern era, it has also become subject to the same commercial pressures as other music genres. Artists are often judged not only by the spiritual messages in their songs but also by their ability to achieve international fame and commercial success.
Countries like Tanzania and Nigeria have produced gospel artists who have gained recognition on the international stage. The likes of Sinach, Mercy Chinwo, and Christina Shusho have crossed borders, garnering massive followings in countries far beyond their own. Their success stories have led to the perception that gospel music from these regions is inherently more powerful or inspired. This, in turn, has led some fans to expect the same level of success from Kenyan gospel artists, measuring their spiritual worth by their international appeal.
However, Eko Dydda challenges this narrative. In his defense of Am Very Rare, he emphasizes that his primary mission is not to achieve global fame but to win souls for Christ. For him, the spiritual impact of his music is far more important than whether it receives international recognition. By questioning why Kenyans compare themselves unfavorably to their neighbors, Eko Dydda is advocating for a shift in perspective, where local artists are celebrated for their contributions, regardless of whether they achieve fame beyond Kenya’s borders.
The ‘Secret Place’: What Does It Really Mean?
A key part of the fan’s criticism was the suggestion that Eko Dydda’s music lacked divine inspiration because he hadn’t spent enough time in the “secret place.” This concept, often used in Christian circles, refers to a personal, intimate space where one connects with God. It is believed that by spending time in the “secret place,” artists and believers can receive divine inspiration and guidance.
Eko Dydda’s response to this idea was both practical and philosophical. By asking, “Hio secret place ni wapi?” he highlighted the fact that each person’s connection with God is deeply personal and cannot be judged by others. He also noted that spiritual inspiration doesn’t necessarily need to come from spending time in a specific location or adopting practices from other countries. Instead, it can emerge from one’s everyday life and relationship with God, no matter where they are.
This idea is particularly important in the context of gospel music. While some artists may draw inspiration from prolonged periods of prayer or solitude, others may find divine guidance in their daily experiences, struggles, and interactions with the world around them. Eko Dydda’s approach suggests that there is no one “correct” way to create gospel music, and that what matters most is the artist’s intention and mission.
International Recognition vs. Spiritual Mission
At the heart of the debate surrounding Am Very Rare is a tension that many gospel artists face: balancing the desire for international recognition with their spiritual mission. For many fans, international success is seen as a sign of divine favor, with the belief that a gospel song that resonates across borders must be spiritually powerful.
Eko Dydda, however, rejects this notion. He argues that gospel music should not be judged by its commercial success or its ability to reach international audiences. Instead, its true value lies in its spiritual impact and its ability to inspire and uplift listeners. In his response, he pointed out that even gospel music from Israel, a country with deep spiritual significance, does not necessarily achieve international fame, yet that does not make it any less spiritual.
“Have you ever heard Israelite hit songs in Kenya? Does that make them less spiritual?” he asked, challenging the idea that gospel music must achieve global recognition to be spiritually meaningful.
Conclusion: A Call for Authenticity and Self-Belief
Eko Dydda’s defense of Am Very Rare is not just a defense of his song, but a broader call for Kenyan artists to embrace their unique talents and contributions without constantly comparing themselves to others. His response to the fan’s critique highlights the importance of authenticity in gospel music and reminds us that the true purpose of the genre is not to achieve fame but to win souls for Christ.
In a world where music is increasingly commercialized, Eko Dydda’s message is a timely reminder that gospel music is ultimately about spreading spiritual messages and inspiring listeners to connect with God. For him, the value of a song lies not in its international reach but in its ability to touch hearts and transform lives, regardless of whether it becomes a global hit.
As Kenyan gospel music continues to evolve, Eko Dydda’s stance serves as a powerful reminder that true success in the gospel genre cannot be measured by commercial metrics alone. Instead, it must be judged by its spiritual impact and the authenticity of its message. In defending Am Very Rare, Eko Dydda has not only stood up for his artistic expression but also reminded his audience of the true purpose of gospel music — to inspire, uplift, and win souls for Christ.
