Seyi Shay Sparks Online Stir as She Reveals Why She Quit Church Over Hymns Linked to Slavery

In a revelation that’s sending ripples across the Nigerian gospel and entertainment scenes, award-winning singer and songwriter Seyi Shay has taken to social media to share her personal reason for distancing herself from her former church—and the reason has ignited an intense debate about tradition, music, and the dark undercurrents of religious history.

According to the singer, the final straw that led her to stop attending her previous place of worship was a controversial remark made by one of the church’s leaders. Seyi Shay recounted the moment vividly: "One leader like dat at my former church said something like ‘we need to stop singing all these new age gospel songs in praise and worship and go back to singing hymns and only songs that are direct scripture.’ Guess what, I stopped going to that church. PERIODT."

Her response was not merely a disagreement over musical preferences—it struck a deeper chord rooted in history, culture, and what she believes is a misalignment with the spiritual purpose of worship. "I don’t know how or why you would feel blessed and happy by singing some of the songs that slave owners wrote and forced [enslaved people] to sing and pass down through generations while beating and torturing your ancestors… makes no sense. Do your research! Ignorance is NOT Godly!!" she declared with impassioned clarity.

The post, shared widely across Instagram and Twitter, has sparked a polarized reaction among fans, religious adherents, musicologists, and cultural critics. Some have lauded Seyi Shay for taking a principled stand, calling her statement brave and overdue. Others have criticized her, claiming she is overgeneralizing the origins of Christian hymns and overlooking their spiritual significance regardless of historical context.

Seyi Shay, who is known for her soulful voice and outspoken personality, did not back down from her statement. While acknowledging that not all hymns were composed by slave owners, she pointed out that a significant number were, and that this troubling origin should not be swept under the rug in the name of tradition. "Not ALL hymns were written by slave owners ooo! But a lot of them were. In some cases you’re better off making up your own praise and worship songs/hymns (based on scripture if you prefer)."

Her sentiments reflect a growing movement among younger Christians and creatives who are re-evaluating long-held traditions in light of historical injustices. The debate touches on the ongoing tension between preserving religious heritage and adapting to contemporary understandings of race, oppression, and cultural relevance. For Seyi Shay and many like her, worship is not just about melody and scripture—it’s about intention, history, and integrity.

While traditional hymns like "Amazing Grace" and "Rock of Ages" have long been revered for their lyrical depth and spiritual resonance, Seyi Shay’s perspective challenges worshipers to dig deeper into the backgrounds of these compositions. Some hymns, she argues, are tainted by the hands that wrote them—men who, in many documented cases, were deeply complicit in slavery, racism, and colonialism. For those aware of this history, continuing to sing such songs can feel dissonant with the message of liberation and love central to Christianity.

Historians and theologians have weighed in on the discussion, pointing out that while many hymns do come from Western and colonial origins, their adoption across cultures has also led to re-interpretations that transcend their beginnings. Still, as Seyi Shay argues, cultural reclamation requires intentional choices—including the decision to reject what no longer aligns with one's conscience or heritage.

Religious leaders have also begun to take note. Some pastors have called for deeper education in churches about the history of worship music, while others caution against letting historical sins negate the spiritual power of songs that have ministered to countless believers for centuries. “Music is spiritual,” one Lagos-based pastor commented in reaction to Shay’s post. “But it’s also cultural. We must know where our songs come from and what they represent—not just spiritually but historically.”

Seyi Shay’s comments are not the first time she’s sparked a national conversation. Known for her unfiltered takes on societal issues, the singer has repeatedly used her platform to speak out on matters ranging from women's rights to cultural representation. This latest statement, however, hits especially close to home for many Nigerians, for whom church is not just a place of worship but a cornerstone of community life.

Interestingly, Seyi Shay also encouraged believers to take a more creative and personal approach to worship. She emphasized the value of composing original songs that reflect one’s spiritual journey, rather than relying solely on inherited traditions. “In some cases you're better off making up your own praise and worship songs/hymns,” she noted, adding that these could still be based on scripture for those who prioritize doctrinal grounding.

As her comments continue to make the rounds online, the larger question remains: how should contemporary Christians reconcile with the complex and sometimes painful history behind their religious practices? Should hymns with troubling origins be retired from modern worship? Or can their meanings be redeemed through heartfelt interpretation?

For Seyi Shay, the choice was simple. Faced with a church leadership that insisted on retreating into a past she views as compromised, she chose to walk away. And in doing so, she’s reignited a national conversation about faith, freedom, and the power of music to either heal or harm, depending on its roots.

Her parting words remain a clarion call to a generation rethinking its faith traditions: “Do your research. Ignorance is NOT Godly.”

Whether one agrees with her or not, one thing is certain—Seyi Shay’s voice is not just making music, it’s making waves.