Gospel music has assumed an increasingly prominent position in Ghanaian religious and social life since the late 1980s, when a change in the political and economic climate prompted a surge in religious activity in the country. Though one of the most important and popular expressions of Christianity in Ghana, Ghanaian Gospel does not have a particular sonic identity per se; rather, it is the text and the message of the song that lends to its definition as a “Gospel” song. Ghanaian Gospel spans the wide repertoire of Ghanaian musical tradition as well as takes from Western musical influences. Hence, Ghanaian Gospel could draw from the aesthetics of Highlife, Hiplife, Traditional Gospel (as in slow-tempo hymnals), Spirituals, Reggae, Rap, Asafo, Adzewa, Agbadza and even the traditional recreational Jama, which has been popularised in recent times by the youth. The musical style is mainly classified into two varieties: Praise Songs and Worship Songs, where the former is usually of a faster tempo suitable for dancing, whereas the latter is relatively slow and poignant. Well-known Gospel artists in Ghana include Ohemaa Mercy, the Tagoe Sisters, Selina Boateng, Evangelist Diana Asamoah, Joyce Blessing, Joe Mettle, Nii Okai, Helen Yawson, Kofi Owusu Dua Anto ("Koda"), Yaw Osei-Owusu and the Daughters Of Glorious Jesus.