The actress, former radio host, and singer reflects on her 30-plus unapologetic music career, fashion in the church and more.
Since the beginning of her career, gospel legend Yolanda Adams has accomplished an enviable feat for artists in the genre the Queen of Contemporary Gospel is respected and still sought after in both the genre and secular music world, but seemingly without the criticism and pushback her peers like Kirk Franklin and Mary Mary have faced at various times for straddling the two. We’ve marveled at the Grammy-award winner and radio host for her “She is serving - Wait, can she wear that?!” fashions and Ebony Fashion Fair model realness. And Yolanda, as a person, seems connected to “the world” in a way that may leave some church kids clutching pearls. But the Houston native (Houston clearly only produces real ones) didn’t grow up under the same strict doctrines as some of her gospel peers and her less restricted understanding of obedience in faith has made her incredibly open, accessible and connected.
On the eve of receiving the Gospel Music Icon Award at the 2019 Black Music Honors, VIBE talked to Adams about the sisterhood of Gospel, how she maintains her eternal slayage (who knew Yolanda Adams was a distance runner?), the power of music, and man-made restrictions in the church.
VIBE: You are being awarded the Gospel Music Icon Award at 2019 Black Music Honors. The BMH are meant to tribute trailblazers in Black music who may not have otherwise gotten their roses. You are definitely a trailblazer, but do you feel like you’ve been under-appreciated considering the magnitude of your contribution not just to gospel music, but music overall?
Yolanda Adams: I’ve never felt as though I’ve been cheated or not awarded. As a matter of fact, I believe, personally, that I’ve been one of the most applauded gospel artists, especially female. One of the things that I do know is that sometimes you’re blazing trails that you really feel are just the norm. It’s not like you’re trying to do anything that’s different; you’re just doing you. And you’re enjoying doing you so much, that everybody else comes along and they join the bandwagon. I’ve never felt that I was in it by myself, although I’m a solo artist. I’ve had such a great support system with my family; my husband, my daughter. I’ve had so many people, like Shirley Caesar, Tramaine Hawkins, Albertina Walker - all of the great women who said, “We’re so proud of you, you keep doing what you’re doing. You make us look good every place that you go.” I had that support. Whenever I would call Tramaine and say, “How do I do this, this, and that?” She would always explain. Same with Pastor Shirley Caesar. Same with Nancy Wilson. I did (The Yolanda Adams Morning Show) as a result of having a conversation with Nancy Wilson. She said, “There will come a time, especially when [your daughter] Taylor gets older, that you will want to be home. So the best thing for you to do is something that you can use your radio/TV journalism degree in.” And I thought about it, and I’m like, “Wow, you know what? You are so right!” So a great conversation with her and being built up by her resulted in the creation of (the decade-long show).
So, no, I never thought that I had been underappreciated or undervalued. I always knew that what I brought to the table - and CeCe (Winans) and I have this conversation often - there was never any competition between her and I, or Vicky Winans or all of the great women in gospel music at that time because we all had our niche.
The thing that I have always said is that in this vast universe that we live in, there is an audience for everyone, and then there’s an audience that’s being left out, that somebody else needs to capture. I don’t have to fight for what belongs to CeCe, I don’t have to fight for what belongs to Vicky, or what belongs to Tasha Cobb, or anybody like that, because God has so strategically given me the platform that I have, and my responsibility in that is to be the best Yolanda I can be.
That’s a word. Let’s talk about your audience, though, because you were part of the class - along with Kirk Franklin and Mary Mary - that broke gospel music open to the mainstream. Bebe and Cece Winans cracked the door open (in the ‘90s), but you, Kirk, and the Marys blew the gap between gospel and secular all the way open. I think it’s hard for people to appreciate how big that was, then. You probably got less criticism than Kirk and the Marys because people felt like their sound was secular. Your sound wasn’t as secular; it just translated. Or did you catch heat?
When I first started, people were like, “She’s really jazzy. Why does she have to be so jazzy?” They have to understand; I was never part of a traditional gospel-type upbringing. In my household, we listened to everything. There was no restriction. We danced in our house, so I didn’t have the stronghold and the bars of “You can’t do this” and “You can’t do that.” I lived in such a cool house, God was so cool, he went to the skating rink with us on Friday and Saturday and went right to church with us on Sunday. So in my mind, I never had those types of restrictions placed on me. It was only when I started my solo career - when I was totally solo from (Houston’s Southeast Inspirational Choir) and I started traveling - people were like, “Well why do you wear makeup? And why are your dresses so short? And why do you do this and why do you do that?” I’m the kid who was into modeling. I’m into fashion. I’m into all of this stuff, so for someone to tell me my lipstick offended them, I’m looking at them like, “Ok, well then you don’t wear it.”
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