Kenyan musician and entrepreneur Willy Paul has sparked widespread discussion across the country’s entertainment landscape after publicly reflecting on a possible return to gospel music, a genre that first brought him national recognition. In a candid message shared on Instagram on Monday, February 23, 2026, the artist suggested he is experiencing a period of spiritual uncertainty and questioning whether his place remains outside the church.

In the post, Willy Paul expressed a sense of inner disorientation, hinting that his life’s purpose may lie in ministry rather than mainstream entertainment. He accompanied the message with a video of himself beside a luxury vehicle, set against the backdrop of “Sitolia,” the song that launched his career and remains closely associated with his gospel beginnings. The juxtaposition of wealth and spiritual reflection drew immediate attention from fans and critics alike.

The remarks have revived memories of his highly publicised departure from gospel music several years ago. At the time, Willy Paul openly criticised what he described as hostility and exclusion within the gospel industry, accusing fellow artists and DJs of questioning his faith, personal choices and artistic direction. His move into secular music was framed as both a creative and personal break from an environment he viewed as judgmental. Similar sentiments were echoed by other artists who made the same transition, citing hypocrisy and internal conflicts within the gospel scene.

His latest comments have reignited debate around what some fans describe as a broader exodus of Kenyan musicians from gospel to secular music. On social media, supporters have called for a collective reassessment by artists who previously left the genre, arguing that their talents could once again be used for ministry. Others, however, maintain that the gospel space is already saturated and that Willy Paul’s current musical identity better reflects his growth and audience appeal.

For now, the artist has not announced any concrete plans regarding a musical or spiritual shift. Yet his public admission of feeling unsettled has been widely interpreted as a sign of personal transformation. Whether the reflections signal an imminent return to gospel music or form part of a strategic rebranding remains unclear. What is evident is that any move back to the church would mark a significant moment in Kenya’s contemporary music history, reopening long-standing conversations about faith, fame and authenticity in the public eye.