Where the Grateful Experience undeniably succeeded was in its artist lineup. The artistes performed crowd favorites that had attendees on their feet, hands lifted, and voices joined in praise.
Grateful Experience Lives Up To Expectations
By Zvakwana Nomore Sweto
Canada, The Grateful Experience made its inaugural Canadian stop this May, bringing an impressive lineup of Zimbabwean gospel talent to Edmonton and Toronto.
Headlined by powerhouse voices including Minister Michael Mahendere, Eleana Makombe, Shingisai Suluma, Sharon Cherayi, and Ellard Cherayi, the tour marked a significant milestone for the promoters in expanding their footprint beyond their established UK base, where a fourth edition is already scheduled for Birmingham later this month.
Show host Eleana Makombe could not hide her joy following the success of the two shows.
“To every single person who attended, stood on their feet and lifted their voice with us, thank you. Thank you for trusting Grateful Events with your evening. Thank you for embracing our artistes and the entire team, with such warmth and energy.
“We heard you. We saw where we can do better. And yes, we are coming back. This is not a one-time visit. Canada, you are now part of the Grateful Experience family.”
Where the Grateful Experience undeniably succeeded was in its artist lineup. The artistes performed crowd favorites that had attendees on their feet, hands lifted, and voices joined in praise.
The queen of gospel music, Mai Shingisai Suluma delivered to the crowd’s expectations and her vocal prowess resonated deeply with the audience.
Speaking on the sidelines of the show, Mai Suluma said, “It was such a wonderful experience performing with the new crop of Zimbabwe’s gospel musicians. The Lord has been good to us over the years and this is just but a testimony of how staying true to the word helps instant connection with the audience and artistes.”
While Minister M. Mahendere brought his signature energy on stage, Eleana Makombe, whose brand was prominently behind the event’s promotion, delivered a performance befitting her status as both artiste and organizer.
Power couple, Sharon and Willard Cherayi, brought a setlist that leaned heavily into worship anthems and praise classics that transcended language barriers, uniting the diaspora community in a shared spiritual experience.
For many attendees, hearing these voices live, after following their music online or through social media was the highlight of the evening.
“What a night! Sure, there were a few hiccups between sets, some mic delays, and a bit of waiting around, but honestly, when you’re in an atmosphere like that, the technical stuff fades into the background. This was more than a concert. It was the first time I’ve felt that connected to home in years,” said Caroline Tembo soon after the show.
Another fan only identified as Tariro gave an honest opinion about the event in what I would like to call “constructive criticism” if organizers are keen to make changes in their coming events.
“The lineup was superb, and the artists have a whole catalogue which they should have performed today. I don’t know what all those delays were, and why would they take a whole 45 minutes before the show ends into a preaching and prayer session. The main reason why I came was to see the artists perform, not to have a preaching sermon cut short the music.”
However, for all the spiritual highs the night provided, the production side told a more complicated story. While the show was “put up well” in terms of its basic structure and artiste curation, stage management emerged as the area most in need of refinement.
Attendees and observers noted several production hiccups that disrupted the flow of what should have been a seamless worship experience.
These are not uncommon challenges for first-time tours in new markets. The Canadian debut clearly carried the passion and vision of its organizers, but it also carried the logistical learning curve of translating that vision across borders.
This reminds me of celebrated Zimbabwean stage manager, Marshal Shonhayi who is well known for putting excellent work on stage, making events a success with his expertise. It is high time show promoters hire services of such professionals at an international stage.
Going forward, the next edition will need to address its stage management shortcomings with the same intentionality it applies to its artiste selection. Conducting more rigorous technical rehearsals and tightening the run-of-show timeline would go a long way toward elevating the experience from “good” to “unforgettable.”
The Grateful Experience has already proven it can draw crowds and book serious talent. The Edmonton and Toronto events demonstrated that there is a hungry audience in Canada for African gospel music. This was a victory for the music, the message, and the community it gathered. The artists delivered. The crowd responded. The spirit was present.
Meanwhile, the promoters continue to expand their footprint with yet another edition already scheduled for Birmingham later this month.
