Students voice concerns over message shared at Paul Belcher’s “Battle of Songs” southern gospel performance at the Clayton Center for the Arts

On Feb. 22, 2025, Paul Belcher visited the Clayton Center for the Arts, presenting three southern gospel musical groups. The show, called “Battle of Songs”, has led student workers at the CCA to voice concerns from previous years about the messages being shared.

Belcher promotes southern gospel groups, bringing them together to share their music with an audience. He has been in the business for 53 years, with this year’s show including performances from: Triumphant Quartet, Greater Vision and The Perry’s.

“The concept is that he brings in three different Christian music groups and they all perform and do a piece together at the end,” said Chapel Shortt (‘25), an event coordinator for the CCA. “It could’ve been a really cool thing that would be appreciated in this region.”

Belcher has visited the CCA at least three times now, but student workers last year noticed that materials being offered on tables in the foyer promoted a message that was transphobic, Shortt explained.

“[There was a] children’s book for very young children, explaining why trans people shouldn’t exist,” Shortt said. “Those books were in the lobby for sale, and at the beginning of the show he got on stage, justifying this argument through religion.”

When asked about the language used on stage, Belcher said, “No, I can’t recall anything like that. The only time I come out on stage is to introduce the groups and make announcements. I never bring politics or religion into our concerts because we have so many denominations and I cater to them all. I don’t allow the artists to do it either.”

“There has never been a problem with the CCA bringing in churches or religious performances,” said Wade Mathews (‘25). “But the show itself took a turn in [a transphobic] direction, and the vibes of the Clayton Center after that were just kind of off. There are several gender nonconforming individuals who work at the Clayton Center, and it’s the home of our theatre students [at MC].”

Both Mathews and Shortt recall the title of one of the books being sold as “Why Boys are Boys and Girls are Girls.” Chris Vazquez (‘27), who was in the auditorium and worked the event in 2024, explained how this made him uncomfortable.

“I remember that this book was being sold, and it was clear to everybody that the rhetoric used during the show was very much implicating a little bit of transphobia and homophobia,” he said. “They didn’t go out and say it, but there was a tone there that was definitely catering to an audience.”

He added that, identifying as a cisgender, straight man, even he was uncomfortable, saying, “I don’t consider myself part of the LGBTQ+ community, so I can only imagine how my coworkers may have felt.”

Vazquez, Shortt and other student workers brought these concerns to their higher ups at the Clayton Center and Dr. Bryan Coker, president of Maryville College.

“Student staff were under the impression that [Belcher] would not be coming back this year and that the school didn’t want that message to be associated with us,” Shortt said. “Back of house, which is the tech team, and front of house were both also told they wouldn’t be forced to work the show.”

This has led to questions about the role of the Clayton Center, as it is not owned by the college but is closely tied to it, and student staff help run most events.

“Obviously it’s on our campus,” Shortt said. “And we are a partnership that benefits off of eachother.”

Mathews connected this to an adjacent issue that was brought up last summer regarding Blount Pride.

“Last summer, the Clayton Center would not book the spaces for them, and the college said they didn’t want to host [Blount Pride] because of the liability that it would cause,” he said, recalling the protestors from the year before. 

“It sucks that we lost that support. It means that they’ve let a handful of angry people win,” Mathews said. “I know it’s not the intention of the college or the Clayton Center, but it feels like a little bit of a double standard when queer events are left off because they might cause issues, but shows where there is a history of transphobia are allowed to come.”

Vazquez agrees, saying, “While I understand that the Clayton Center is a place that can be rented to people who wish to perform and that is its purpose, it is still using student resources. This is also a school, and I think prioritizing students over the people who want to rent out the space should be how it’s done,” he added.

In response to these concerns, Belcher said, “this is the first I’ve ever heard of anything like this.” He added that he does not know what the performers carry on their product table, and was unaware of any issue. 

“I can’t tell you anything about that because I do not remember. I am normally not in the audience, I am backstage or out in the lobby, greeting people and shaking hands.”

He also added, “if they say something from the stage and I don’t know it, I guess I have to apologize for it.”