In Kenya’s gospel music industry, live performance is not just an option; it is the heartbeat. Few people understand this better than Kevin Anachoni, popularly known as DJ Addis Ababa, a creative who straddles the worlds of DJing, sound engineering, football coaching and ministry.
By day and by calling, Anachoni is a church sound technician at Chosen Generation Church. By profession, he is a DJ, a sound technician and the founder of Moserene Academy, a grassroots football academy. But it is his experience behind the decks and soundboard in gospel spaces that has shaped his sharp perspective on why live performance remains king.
“From a DJ’s point of view, gospel music in Kenya is built on presence,” Anachoni says. “You can’t separate the music from the moment.”
Unlike other genres where studio perfection often carries the day, gospel thrives on emotion, spontaneity and spiritual connection; elements that only fully come alive on stage.
“In gospel, the crowd is not just listening, they are participating,” he explains. “You feel the room shift. People sing, pray, cry and worship. That energy cannot be packaged in a studio recording.”
This, he says, is why church concerts, crusades and worship nights remain central to the genre. Live settings allow musicians and DJs to stretch songs, adjust tempos and respond to the congregation in real time. “You’re not just mixing tracks. You’re guiding a moment.”
Live performances have also become a test of authenticity. As gospel music increasingly grapples with debates around commercialization, Anachoni believes stage ministry reassures audiences of an artist’s sincerity.
“When people see you minister live, they trust the message more. You’re not hiding behind production tricks.
Beyond the spiritual impact, live shows are also the economic backbone of the gospel industry. While radio airplay and streaming build visibility, Anachoni notes they rarely sustain artistes financially. “Most gospel artistes survive through live bookings. Churches and worship events are where the real support is.”
Crucially, Anachoni has learned that survival in this space requires diversification. Owning a public address (PA) system, he says, transformed his career. “In gospel, if you control the sound, you control the show.” Many organisers prefer DJs who offer a full package — music, sound engineering and technical reliability.
Though the investment is heavy, the returns are steady. “Sometimes the PA earns more than the DJ set itself,” he admits. Ownership also shifts power dynamics, reducing the need to chase gigs and building trust through reliability.
Still, challenges remain, including late payments and blurred lines between ministry and business. “Faith doesn’t pay rent,” Anachoni says bluntly.