Three days after Senior Pastor of Dunamis International Gospel Centre, Dr. Paul Enenche, described some Afrobeats lyrics as “rubbish” and morally harmful, his comments have grown beyond a church sermon into a wider national conversation about music, morality and the values shaping Nigeria’s younger generation.
Enenche made the remarks during the church’s Mid-Year Worship Concert at The Glory Dome in Abuja on Friday night, warning that repeated exposure to explicit lyrics could negatively influence the attitudes, language and behaviour of young people.
“Many of the lyrics people, especially young people, dance to today are rubbish. They are empty, they lack substance, and they are shaping the minds of young people in the wrong direction,” the cleric said.
He stressed that music should inspire positive values rather than encourage moral decline.
“When a generation keeps feeding on vulgarity, profanity and reckless living through music, it should not surprise us that character and discipline begin to disappear.
“Music is powerful. What enters the ears repeatedly enters the heart. That is why those who have influence through music must use it responsibly,” he stated.
Enenche also cautioned entertainers against glorifying wrongdoing.
“Nobody who promotes evil should expect to escape the consequences forever. There is always a day of accountability,” he said.
His remarks have since generated intense reactions across social media platforms, with Nigerians sharply divided over whether contemporary music is helping to shape or undermine the values of the younger generation.
Supporters of the cleric argue that many popular songs glorify profanity, materialism, promiscuity, substance abuse and other forms of irresponsible behaviour.
They contend that musicians, like parents, teachers and religious leaders, wield enormous influence over society and should therefore be held accountable for the messages embedded in their music.
Critics, however, argue that Enenche unfairly generalised an entire genre that has evolved into one of Africa’s most successful cultural exports.
According to them, Afrobeats encompasses a wide range of themes, including love, perseverance, social justice, cultural identity and everyday experiences, adding that music often reflects realities already present in society rather than creating them.
Some critics also turned the spotlight on religious institutions, arguing that many clerics face growing public scrutiny over issues such as materialism, perceived moral inconsistencies and relationships with wealthy politicians and public officials.
They contend that while some pastors are quick to criticise popular culture, they are often less vocal about corruption, abuse of public office and the lavish lifestyles of influential figures associated with their ministries.
Reacting on Facebook, a user identified as Sado Paul wrote: “They’re always quick to say, ‘allow the God who called me to judge me.’ Their army on social media are always ready to defend their inappropriate behaviours.”
Supporters of Enenche rejected that criticism, insisting that shortcomings within religious institutions do not invalidate the responsibility of church leaders to speak on moral issues.
They argue that concerns about corruption, governance and accountability should not prevent religious leaders from warning against cultural influences they believe are harmful to society.
Beyond the immediate controversy, Enenche’s comments have reignited broader conversations about the changing nature of youth culture in the digital age.
With streaming platforms, TikTok, YouTube and other social media applications driving music discovery, many young Nigerians now consume music almost constantly through their smartphones, intensifying concerns about the influence of lyrical content on behaviour and values.
Education and child development experts have long maintained that music can influence attitudes, language and social behaviour, particularly among adolescents.
However, they caution against attributing complex social challenges solely to entertainment, pointing instead to multiple factors, including family upbringing, peer influence, education, economic hardship, school environment and digital exposure.
Cultural commentators also observe that the current debate follows a familiar historical pattern.
From criticism of highlife, reggae and fuji music in previous decades to the backlash against hip-hop in the 1990s and early 2000s, older generations have frequently expressed concern over the music embraced by younger audiences.
In recent years, Nigeria’s Afrobeats industry has become one of the country’s most influential cultural exports, with Nigerian artistes selling out arenas across Europe, North America, Asia and other parts of the world while projecting Nigerian culture onto the global stage.
That international success has, however, brought increased scrutiny to the messages conveyed by some of the genre’s biggest songs.
Enenche’s remarks have therefore reopened a broader question that extends far beyond Afrobeats itself: Who now exerts the greatest influence on the moral development of Nigerian youths—parents, schools, religious institutions or digital entertainment platforms?
As reactions continue to pour in, the controversy has evolved beyond one pastor’s criticism of Afrobeats into a wider national reflection on the values Nigeria seeks to preserve and pass on to the next generation in an increasingly digital and globalised world.