Michael W. Smith, Papa San strike powerful balance at Come Alive

Long after dusk settled over King’s House East Lawn, the crowd was still on its feet. Hands stretched into the night air, familiar choruses rolled across the grounds and, with each change in tempo, thousands responded as one. At times, the lawn felt like a sanctuary. At others, it became a full-fledged celebration, alive with dancing, singing and the unmistakable energy of an audience that had come prepared to participate.

That was the pulse of Come Alive 2026: A National Call to Worship, which returned on Saturday for a second staging. The inaugural event attracted more than 15,000 patrons and raised over $30 million for charity, leaving this year’s production with the considerable task of building on an impressive debut while establishing an identity of its own. It did so through a balanced line-up that moved seamlessly between contemporary worship, gospel, reggae and distinctly Jamaican expressions of praise.

HUMBLE set the tone early with their rendition of the national anthem, and the enthusiasm carried throughout their set, demonstrating their range and a cappella talent. Petra Kaye followed with a good old-fashioned Pentecostal performance, commanding the stage with confidence, vocal power and an infectious energy that kept patrons fully engaged. Johnmark Wiggan brought the fire. His energetic delivery gave the programme another lift, while further reinforcing the strength and range of the evening’s local contingent.

Jermaine Edwards’ return was among the night’s most talked about moments. He allowed the music to carry the performance. His set felt both personal and communal, earning a warm response from a crowd clearly pleased to welcome him back.

The programme placed HUMBLE, Petra Kaye, Wiggan and Edwards ahead of the two featured acts, Michael W. Smith and Papa San, creating a steady build throughout the evening. When Smith eventually took the stage, the atmosphere shifted.

His hour-long set unfolded with measured grace, drawing patrons into a more contemplative space. There was little need for excess. His catalogue, musicianship and calm command of the stage did the work, as the audience joined him in songs that have shaped decades of modern worship. For much of the performance, the distance between stage and audience seemed to disappear, as Smith and the crowd sang in unison. Then came Papa San.

Where Smith’s set was soulful and reflective, Papa San’s was fast-paced, animated and unapologetically high-energy. His arrival transformed the closing stretch into a gospel-reggae celebration, with patrons dancing and responding to his rapid-fire delivery and commanding stage presence. The contrast between the two performances could have been jarring. Instead, it became one of the production’s greatest strengths. Smith took the audience into deep, unhurried worship while Papa San sent them home energised. Together, they represented two different musical languages united by the same purpose.

“One of our goals this year was to create a worship experience that reflected the many ways people express their faith,” said Eric Hosin, chairman and executive event producer of the Come Alive Collective. “Worship can be quiet and reflective, but it can also be joyful, energetic and deeply rooted in our Jamaican culture. Michael W. Smith and Papa San brought those two expressions together beautifully, while our local artistes demonstrated that Jamaica has an exceptional depth of talent. The audience’s response showed us that the balance worked.”

One patron described the evening as an experience that never lost its momentum. “I came looking forward to Michael W. Smith, but I enjoyed every artiste,” said Andrea Bascombe from Clarendon. “Michael made the whole lawn feel like a place of worship, and then Papa San brought a completely different energy. It flowed beautifully. You never felt as though the night dropped at any point.”

The event’s charitable purpose remained central to the staging, with 100 per cent of the net proceeds earmarked for charity, strengthening Come Alive’s positioning as both a major entertainment production and a vehicle for social impact.

Hosin commended the members of the Come Alive Collective, volunteers, production teams, artistes, musicians, sponsors, service providers, security personnel, media partners and other stakeholders who worked behind the scenes to deliver the event.

By the end of the night, Come Alive had answered one important question. Its first staging was not a one-off moment.

As for where the growing worship experience goes next, Hosin offered no announcements but left the door deliberately open.

“We are grateful for what Jamaica has helped us to build in just two stagings,” he said. “There is still more that Come Alive can become, and we have already begun thinking about the next chapter. At the right time, we will share what is ahead.”

entertainment@gleanerjm.com