Kelly Rowland and Monique Bring Gospel to ‘The Voice UK’ Finale—Why ‘Shackles’ Struck a Deeper Chord

Kelly Rowland and finalist Monique Nicholson-Porter brought gospel music into the spotlight during The Voice UK Series 14 finale, joining forces for Mary Mary's "Shackles (Praise You)" in the episode broadcast on October 31, 2026. The duet capped Rowland's debut season as a coach and gave her remaining contestant a platform for a spirited celebration of praise.

The song choice gave the performance a significance beyond the usual coach-and-contestant showcase. On a programme where singers face constant assessment, "Shackles" carries a message about release: finding the freedom to praise after experiencing struggle and constraint. Its joyful energy lends itself to a television finale, while its spiritual message gives that celebration a clear purpose.

That combination helps explain the song's continuing appeal. Mary Mary's gospel anthem invites movement, but its central concern reaches beyond the dance floor. Praise becomes a response to hardship-a declaration that difficult circumstances need not have the final word.

Placed within a singing competition, that message acquires an especially revealing tension. A finale measures success through a result. A song about praise offers another way to understand the evening: as an opportunity to express gratitude and joy before knowing whether the coveted title will follow.

For Monique, the duet also provided a chance to establish an artistic identity alongside an internationally recognised performer. Sharing a stage with Rowland brought the challenge of making her own presence felt while sustaining the partnership that a successful duet requires.

Monique ultimately finished among the runners-up, with Team Tom Jones singer Cate McHugh taking the 2026 title. The result brought her competitive journey to a close, although the broadcast performance remains an introduction to her voice for audiences discovering her through the finale.

For gospel listeners, the appearance offered a welcome moment of visibility. A mainstream entertainment programme made room for a song whose celebration is explicitly rooted in praise. Viewers could enjoy its musical vitality while also encountering the faith that gives its words meaning.

The longer-term question is whether that exposure will encourage listeners to explore the music behind the moment. One television performance cannot establish a wider gospel revival, but it can open a door-to Mary Mary's catalogue, to other gospel artists, and to songs that connect musical joy with spiritual conviction.

Rowland and Monique's finale duet offered precisely that invitation: an opportunity to hear praise at the centre of a major television occasion, with a message that extends beyond the announcement of a winner.