**Deitrick Haddon Explodes on Kirk Franklin After BET Awards: Has Gospel Music Crossed the Line?**

The 2025 BET Awards were supposed to be a celebration of Black entertainment, but instead, they ignited a firestorm in the gospel community.

Gospel artist Deitrick Haddon went viral for a passionate Instagram Live, calling out Kirk Franklin and the BET production team for what he described as “ritualistic performances disguised as praise.”

Haddon’s fiery critique didn’t stop there. He slammed not only Franklin’s set but also Christian artists who stayed silent, accusing them of compromising their faith for fame.

Fuel was added to the fire when rapper Glorilla, who won a gospel-themed award, appeared to mock her win with exaggerated, “demonic” gestures backstage.

Clips of her giggling, pretending to speak in tongues, and throwing up hand signs many associate with the occult spread rapidly online. Some defended her as just playing around, but many saw it as blatant disrespect toward the sacred, especially when she posted upside-down cross emojis on Instagram afterward.

Haddon’s main issue was with Kirk Franklin’s performance, which featured a gospel choir surrounded by dark visuals, smoke, and dancers in all black. The stage was bathed in red and purple lights, with a large eye projected behind Franklin—imagery that many saw as ritualistic and unsettling. Haddon argued that this wasn’t worship, but a dangerous mixing of the holy and the profane.

“You can’t keep mixing light and darkness and calling it reaching the culture. That’s compromise, not ministry,” he declared.

The reactions were immediate and divided. Some fans praised Haddon’s courage, calling him a rare voice of truth in gospel music. Others accused him of jealousy or stirring up controversy for attention.

Meanwhile, the silence from Franklin and BET was deafening. Neither addressed Haddon’s accusations or Glorilla’s behavior, which only fueled more speculation and outrage.

The controversy quickly spread beyond social media. Pastors, gospel artists, and influencers began weighing in. Some, like Pastor Jamal Bryant, defended Franklin’s innovation, arguing that gospel must evolve to remain relevant.

Others, like Kim Burrell and Jonathan McReynolds, posted cryptic messages that seemed to side with Haddon, warning against the dangers of spectacle over sacredness. Even Chandler Moore of Maverick City Music admitted, “Even fathers need correction sometimes, and we have to protect what’s sacred.”

BET’s decision to quietly delete Glorilla’s controversial backstage footage from their platforms only intensified suspicions, with many interpreting it as an admission that things had gone too far.

This controversy is not new for Franklin, who has long pushed the boundaries of gospel music, blending it with hip-hop and R&B, and facing criticism for bringing “worldly” elements into the church.

Yet, this latest BET Awards moment has forced the entire gospel industry to confront a deeper question: Can gospel music evolve without losing its spiritual core?

As the dust settles, the gospel world remains split. Some believe Franklin is expanding gospel’s reach and relevance; others fear the soul of gospel is being sacrificed for mainstream acceptance. One thing is clear: the debate over what “counts” as gospel—and who gets to define it—is far from over.