Dave Copeland

Dave Copeland, a versatile musician, singer, and producer, built his life in the Apostolic Church in Willenhall, UK, heavily influenced by his Jamaican roots and immersion in gospel music.

His earliest musical education came from his mother, a talented alto singer, as he played piano while she sang. Her tragic passing in 1968, when Dave was seven, severely impacted his early life.

Despite the loss, music remained central. He developed advanced harmony skills by instinctively harmonizing with female singers on religious records and the radio, later practicing with his brothers to artists like the Jackson Five. He applied his home-learned musicality to church, starting on piano, and benefited from his father’s purchases of various instruments. Though deeply involved in the church, he secretly listened to and bought secular music from artists like Chic and Earth Wind & Fire, learning from bassists like James Jamerson (Motown) and later Nile Rodgers and Bernard Edwards, whose playing influenced his guitar and bass styles.

At age 16, he became the youth president and head of music at his church, writing numerous original songs, including his first proper Christian song, “At the end of it all.” A turning point was hearing Andre Crouch’s “Take Me Back” played correctly, inspiring him to buy more gospel albums. Around 1977, he formed the Gospel Messengers, which gained acclaim nationwide before disbanding. He continued to write for mass choirs and was instrumental in district and national music efforts.

Dave mentored younger musicians like Peter Daly and Luke Smith and formed influential bands. He cherishes the spontaneous, powerful spiritual moments created by the instinctive jamming and harmony within the church. However, he also reflects on the profound impact of loss, particularly the passing of Hazel Watson, which deeply affected him.

He critiques the modern trend in contemporary Christian music, which he believes can lead to a loss of the unique “black perspective” and identity in worship due to its simpler structures. He advocates for writing original songs from a black perspective to ensure their story is preserved. Dave also laments the lack of investment in black gospel artists by mainstream white labels, contrasting it with their willingness to adopt the “gospel sound” for secular music.

He echoes the frustrations of many church musicians, recalling instances of equipment being unplugged or being told their playing was “too loud” despite their dedication and investment. He argues that musicians are often expected to perform for free or for minimal compensation, while incurring significant personal costs for equipment and travel.