The legendary gospel artist is in the middle of an unexpected moment in music.
“I’m trying to keep my faiiith,” sang out the soulful, whisper-like vocals of The-Dream. The stage was lit with a fluorescent cocktail of purple and pink hues, and behind him stood a choir of about 20 people dressed in white, all with their heads bowed and hands out. That’s how Kanye West debuted his gospel epic “Ultralight Beam” on Saturday Night Live last year.
While The-Dream sang, West laid on the stage with his arms out. Close to the end of the song, a figure walked toward the rapper from stage left and began to boldly pray:
“Father, this prayer is for everyone that feels like giving up. This prayer is for everyone that feels like they are not good enough. For everybody that said ‘I’m sorry’ too many times. Jesus, I’m glad that’s why you came to give us eternal life. I’m so glad about it (faith). In this war, we were looking for (more), God please keep my little brother (safe), cause down here we’re fighting this (war).”
The praying man who seemingly resurrected West from the dead was none other than gospel music legend Kirk Franklin. An unexpected collaboration to say the least.
“I’m doing what I’m supposed to be doing,” he says, reflecting back on one of the most talked-about music performances of 2016. “I was really thankful for that opportunity.”
And that’s Franklin. He is a man who, despite his fame, friendships, talent and Grammys just wants to be a “light” in everyone’s life.
25 YEARS IN THE MAKING
Franklin’s music has always been unique in the gospel scene because, while his content is undeniably Jesus-focused, there’s always been an aspect of his production that’s bridged with the best mainstream sounds. It’s a blend that’s made him a mainstay in the music industry for years.
The magic in Franklin’s music comes in the mastery of his vision. Although he doesn’t really sing, rap or contribute heavily on instruments, he is a savant of arrangements.
Like a conductor, Kirk doesn’t just hear the music—he sees it. He arranges the choir; he fluctuates through harmonies; he provides the giddy-up of a hype man to keep tempo. This flare for gospel music drama is what has led to double-platinum albums, and multiple Grammy, BET and Dove awards. Not to mention, collaborations with musical heavyweights such as Bono, R. Kelly and Mary J. Blige—and more recently, the likes of West, Pharrell Williams and Chance the Rapper.
Now 25 years into his career, Franklin has seemingly assumed the role of a sort of a pastor to the current generation of rappers. But he doesn’t look at it like that. It’s not that he doesn’t accept the role, it’s just not what he’s trying to be, and he despises those who set out to be the “pastor of the stars.”
“I’ve always had a problem when I see people try to make it an agenda to be spiritual leaders to people who may have a visible platform. I think that’s insincerity,” Franklin says. “Something about that feels kind of like a wolf in sheep’s clothing. When people are intentional about ‘I’m going to be a saint to the stars or a pastor to the popular,’ there’s something about that that feels very gross. I never want to be that guy.”
LOSING HIS RELIGION
Last year, Franklin dropped an introspective and personal album, Losing My Religion. The album title alone stoked flames of speculation.
In addition to the SNL appearance, he recorded a similar prayer on the album version of the song for West’s The Life of Pablo.
Franklin also made a cameo on Chance the Rapper’s Coloring Book on the song “Finish Line/Drown” and performed a set with him at Pitchfork Music Festival last year. When Big Sean debuted his own faith-inspired song “Sunday Morning Jetpack” in January, he name-dropped Franklin, bragging that working with him signified God’s blessing.
These moments met praise from the music world, but drew the ire from some Christians, uncomfortable with his collaborations with one of hip-hop’s more explicit artists—not to mention the whole “losing his religion” thing.
Franklin felt the sting during his joy.
“It definitely hurts,” he says. “I try very hard not to read [criticism], and try to remember the main agenda of what’s happening and going on. You try to be a good steward.”
Being a “good steward” is how the gospel artist found himself in an unlikely friendship with the man who calls himself “Yeezus.”
Franklin says he wants to be someone who is “available” to other artists. To West, that means being a “big brother” and “companion” who provides comfort, prayer or guidance, whether it be on the stage of 30 Rockefeller or at the Franklin household for a Thanksgiving dinner (yes, that happened).
“He’s a very kind young man, and we talked a long time about music and art. He told me at that time he really had the heart to have gospel in his music,” Franklin says. “I just wanted to try and build a friendship and be a brother he could call on and be there for him. You know it’s so hard for people to trust nowadays. I wanted him to see that I was someone who is more concerned about building a friendship than trying to gain anything else.”
In late 2015, West contacted Kirk about doing a song for his upcoming album.
“The original song had a sample of a track I wrote years ago and I thought, ‘You know this is a comfortable way to start,’” he says. “I heard it and thought this could be a cool moment. I wanted to try and find a way to do it.”
West wanted to work together on “many other occasions” previously, but Franklin’s response was “No, no, no, no” every time. Admittedly, Franklin wanted to avoid sending mixed messages to his fan base. But this time, he agreed.
“What type of brotherhood and friendship is that?” Franklin asks. “We have to build, and his love language is music. He allowed me to be exactly who I was; there was no compromising who I was. I was able to write for the song and write and produce what the choir is doing.
“It was amazing how many people [‘Ultralight Beam’] connected with.”
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SOURCE: Relevant Magazine