Kirk Franklin And Davido’s ‘Hope In You’: Gospel Message Or Secular Crossover?

The recent release of “Hope In You”, a collaboration between American gospel musician Kirk Franklin and Nigerian Afrobeats star Davido, has prompted discussion about the boundaries of gospel music.

The song is the focus track on Franklin’s album I Am What I Am, released on October 30, 2026. Blending gospel with contemporary sounds, including Afrobeats, hip-hop and R&B, it brings together artistes whose music reaches audiences both inside and beyond the church.

At the heart of the debate is whether gospel music can embrace secular influences and artistes without losing its spiritual identity. But this is not the first time Franklin has worked across musical worlds.

In February 2016, Franklin was featured in Kanye West’s “Ultralight Beam”, a hip-hop track built around Christian faith, gospel vocals and choir arrangements. Released as part of West’s album The Life of Pablo, the song became a notable example of gospel elements entering mainstream rap.

In August 2017, gospel singer Tasha Cobbs Leonard collaborated with Nicki Minaj on “I’m Getting Ready”, a worship song featuring Minaj’s rap verse. The track appeared on Cobbs Leonard’s album Heart. Passion. Pursuit. and brought together two artistes from different musical backgrounds.

In June 2024, Will Smith released “You Can Make It”, an inspirational, gospel-leaning song featuring Fridayy and Sunday Service Choir. Franklin made a surprise appearance during Smith’s performance at the BET Awards on June 30.

Later that year, rapper GloRilla released “Rain Down On Me”, featuring Franklin, Maverick City Music, Kierra Sheard and Chandler Moore. The faith-centred track appeared on her album Glorious, released in October, and brought gospel performers together with an artiste primarily known for secular rap.

Closer to home, Nigerian gospel singer Tim Godfrey teamed up with Afrobeats star Oxlade on “Infinity” in October 2025. The song blends gospel themes of faith and gratitude with contemporary Afrobeats sounds. The collaboration drew mixed reactions from some gospel fans, with questions raised about Godfrey’s decision to work with an artiste known mainly for secular music.

For me, these collaborations raise an important question: could gospel music reach more people by stepping beyond the church walls?

Davido’s presence may bring listeners to “Hope In You” who would not ordinarily seek out gospel music. If the song’s message of hope and faith reaches someone who feels distant from God, then the collaboration has a purpose beyond genre or commercial appeal.

After listening to the song, I believe there should be more collaborations like this, not because gospel needs secular validation, but because music can create an unexpected path to ministry.

Franklin has spent decades bringing contemporary styles into gospel, using modern rhythms and choir arrangements to reach wider audiences. On “Hope In You”, Davido adds an Afrobeats dimension, potentially connecting the song with listeners who already follow his music.

Of course, the pairing will not convince everyone. Some gospel listeners may welcome it as a way of making faith-based music more accessible, while others may worry that collaborations with artistes associated with secular music blur gospel’s purpose.

Franklin himself has faced criticism for working with mainstream artistes. In discussing his collaborations, he has argued that artistes from different musical backgrounds may feel drawn to projects centred on faith. His approach raises a broader question about who gets to participate in expressing a spiritual message.

Ultimately, “Hope In You” invites listeners to consider whether gospel is defined primarily by its sound, the artistes performing it, or the message at its heart.