Byron Cage

Byron Cage

Biography courtesy of Zomba Records

With over 20 years experience as a praise and worship leader, and numerous awards and accolades for his professional recordings, Byron Cage is one of Gospel music's most dynamic and popular artists.  For two consecutive years Cage won a Stellar Award for "Song of the Year," a testament to the magnetic appeal of his breakout hits such as "The Presence of the Lord;" "I Will Bless The Lord," and "Broken But I'm Healed." Cage's delivery is punctuated by a deep sincerity that enraptures audiences and has made the GRAMMY Award nominee and multiple Stellar Award winner a staple in Gospel's musical landscape.   

Hailing from Grand Rapids and growing up in Detroit , Michigan , Cage was surrounded by the greats of Gospel music and, in addition to his mentor Maestro Thomas Whitfield, was influenced largely by Bishop James Abney.   After attending Morehouse College in Atlanta , he joined New Birth Cathedral - at that time with only 700 members - pastored by Bishop Eddie Long.  He remains praise & worship leader at New Birth, and also at Ebenezer A.M.E. in Maryland .

Cage released two moderately successful albums in the late 90s, but rose to fame with the 2003 release of his self-titled GospoCentric debut that spawned his mega-hit "The Presence of the Lord." The project netted five Stellar Awards for Cage, including "Best Male Vocalist" and "CD of the Year;" as well as a Soul Train Music Award for Best Gospel Album.  "An Invitation to Worship" was released in 2005, peaking at #2 on the Billboard Top Gospel Albums chart and earning Cage his first GRAMMY Award nomination.   Building on theses successes, Live At The Apollo: The Proclamation is certain to take Byron Cage to even higher heights. 

 "I'm so thrilled that the night of the recording came off as well as it did.  I had the best singers, the best set, the best everything.  I wanted people who came out that night to feel such an overwhelming presence of the Lord even though we weren't in a church environment.  But ultimately, during the night of recording, I wanted people to cross their legs and say, ‘Now that's how you do Gospel music.'"

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