In 2006, I picked up a copy of a new project from Daywind Records. The title of the DVD was “Torch – A Live Celebration of Southern Gospel’s Next Generation,“ and it featured a collection of young artists in their 20’s and early 30’s. The event was recorded live during the 2005 National Quartet Convention in Louisville, KY, and its concept has not been duplicated since. During my research for this article, I found that the project is still available for purchase on daywind.com, and it can be streamed on Apple Music as well. If you have never experienced that recording, I would highly recommend that you give it a listen.
I remember that I thoroughly enjoyed that DVD as it was a refreshing change of pace to have a collection of songs featuring artists that were in my age range at that time. A quick examination of the song list on Apple Music reminded me of the stellar lineup of featured young artists on the Torch project. The opener featured Adam Crabb, Annie McRae, Lauren Talley and Scott Inman! What a lineup! If you give the time to listen through the entire project, you’ll hear Amber Thompson, Brandon Reese, Josh Feemster, Jeremy Peace, Jeff Snyder, Matthew Holt, Joseph Habedank, John Rulapaugh, Aaron Crabb, Jason Crabb, Kelly Crabb (Jeffreys), Randy (Scoot) Shelnut, Jr., Andrew Ishee, Josh Singletary, Jason Waldroup, Aaron McCune, Katy Peach, Troy Peach, Josh Garner and many, many more young singers and musicians from that era. What a joy it was to hear those artists come together to put their own stylings on songs like Boundless Love, We Shall Wear a Crown, Midnight Cry, and other outstanding selections!
I suppose that there were several motives in play by the organizers of Torch. First of all, the event symbolized a tradition of the “passing the torch” from one generation to another in Southern Gospel music. A special legacy of Southern Gospel is how older, more seasoned artists make intentional efforts to encourage and mentor young artists who are beginning their career. The large number of young artists on the stage were definitely being mentored and encouraged by the leading artists of that era. And, the fruits of their mentorship can definitely be seen as many of those young artists have persevered to become some of today’s most popular artists, taking leadership roles in the industry as they have grown and matured over the years.
I would also expect that the event was set in motion to broaden audience appeal at that time. Several of the most popular artists were aging, and it could be said that Southern Gospel naturally appeal to older audiences. By organizing an event to feature such a large number of younger artists on the main stage of the National Quartet Convention, it symbolized that the future of Southern Gospel music was very bright through its young generations of singers and musicians. Additionally, by featuring a large number of young artists on such a large, visible platform, organizers could market Southern Gospel to the next generation in order to attract a younger fanbase to preserve its future.
As I continued to research the Torch project, I have come to the conclusion that since that one time performance at NQC 2005, the event has not been replicated in any form or fashion. One reason for a lack of repetition may have been that the young singers and musician from that era quickly earned important roles within the Southern Gospel Industry and were no longer seen as being youthful. Although several of the participants are no longer on the road, many are now seen as mainstream headliners in the genre twenty years later. And, one more reason that we did not see a similar event over the last two decades may have been because we had a smaller number of young artists in the industry for a period of time.
Now, let’s shift our focus to today. Since 2020, we have seen a steady influx of younger Southern Gospel singers and musicians. Additionally, we have seen an increase in the number of younger fans, especially at large multi-group, multi-day events like the National Quartet Convention. Marketing to younger generations has also picked up a bit as the population of fans and artists under the age of forty has been on the rise. So, here’s my question: Is it time to stage another event like Torch? My answer is “YES!”
I firmly believe that we have a larger concentration of talented young singers and musicians in 2026 that we did in 2005. Flip through the official programs of the last couple of NQCs, and you will find a lot of young faces starting back at you from those pages. Across the land, night after night, Southern Gospel music is being presented with excellence by young men and young women in their 20’s and 30’s. And because of those facts, I would dearly love to see another event organized in the very near future that mirrors the Torch event from 2005. Imagine a showcase event featuring many of our favorite Southern Gospel songs being performed by multiple “one-time-only” quartets and trios comprised by young artists and musicians below 35 years of age, backed by a choir of that same age group that fills the stage. I daydream about it all the time! I am convinced that a crowd of thousands at the National Quartet Convention would absolutely love it! And I know that this writer would volunteer his time and efforts to try to make it happen. Maybe we could call it “Passing the Mic!” Or maybe “Southern Gospel Forward!” 🙂 I’ll keep dreaming…
