Bruz Newton, the creative force behind the viral hit Zigwembe, has opened up about why he walked away from the gospel music scene.
Speaking on the Obinna Show Live, Newton revealed that his exit in 2019 was driven by what he described as a “devaluing” system within the industry.
From ministry favourite to disillusionment
Newton, once a prominent figure in youth ministry, said his journey into gospel music was largely unplanned. His 2016 collaboration Bazokizo with Collo gained massive traction in church circles, especially after his partner converted to Christianity, with congregations quickly embracing the song.
Deeply spiritual, Newton leaned into the role, performing at keshas and youth conferences across the country. However, as he became more involved behind the scenes, his perspective began to shift.
“Church is the only place we all know that God lives there, but the moment you sit down and realise the system is also run by imperfect people, you start questioning things,” he said.
The Nakuru breaking point
According to Newton, a youth conference in Nakuru marked the turning point.
He had been booked as a headline act alongside a Nigerian artist, but claims the organisers failed to provide basic logistics for his team.
“A few days to the event, I received no communication. Then on the day itself, around 8 p.m., I was called and asked to travel from Nairobi to Nakuru,” he recalled.
Forced to cover his own expenses, Newton said he travelled overnight by public transport, arriving at the venue at around 3:00 a.m.
What he encountered upon arrival, he said, exposed a stark disparity in treatment.
While the Nigerian artist was chauffeured in a Prado and taken to a hotel, Newton and his team allegedly found that even food at the event had run out.
A turning point in his career
The experience, he explained, solidified his decision to step away from the gospel industry, marking a major shift in his artistic journey.
His revelations have since sparked conversations online about the treatment of local artists, the structure of church-led events, and the broader dynamics within the gospel music space.
