Entertainment
Gospel Music in Nigeria: Ministry or money
Gospel music in Nigeria has experienced a significant transformation, evolving from a purely spiritual pursuit into a thriving industry. This change has sparked intense debates among believers, religious leaders, and the general public.
While some view this evolution as a means for gospel artists to achieve financial stability, others argue that it represents a troubling departure from the original mission of gospel music: to minister freely and spread the message of Christ without financial motivations.
From Sacred Hymns to Showbiz: A Global shift hits Nigeria
The transformation of gospel music is a phenomenon not limited to Nigeria. Worldwide, gospel has transitioned from church pews to concert arenas, raising questions about the balance between ministry and entertainment. In Nigeria, this shift has been particularly pronounced, with financial disputes and lifestyle changes among gospel artists sparking widespread discussion.
One of the most controversial moments in Nigerian gospel music history involves the ongoing dispute between Mercy Chinwo and her former manager, EezeeTee. The Economic and Financial Crimes Commission (EFCC) intervened after allegations arose that her contract with EezeeTee was fraudulently altered between 2017 and 2019 to manipulate profit-sharing agreements. This case highlights deeper concerns about financial accountability in the gospel music industry. Additionally, fellow gospel singer Judikay, who was also signed under EezeeTee, has spoken out about financial discrepancies during her time with the label, further fueling the ongoing debate.
In a video posted to social media, Mercy Chinwo expressed her disappointment, stating, “This is not just about money; it’s about integrity and truth. I gave my all, believing it was a ministry, but what happened behind closed doors tells another story.” This sentiment resonates with many fans who feel betrayed by the increasing commercialization of gospel music.
Old School vs. New School: Ministry or Industry?
1. The Saints of Yesteryears: Bola Are, Good Women Choir, and the Culture of Sacrifice
Sister Bola Are, now in her 80s, was one of Nigeria’s earliest gospel pioneers. She built her career on a foundation of sacrifice, often declining financial compensation for her ministry. Similarly, the Good Women Choir in the 1980s and the ECWA Choirs from Northern Nigeria shared the gospel without expecting monetary rewards. Their commitment reflected an era when gospel music was viewed purely as a calling rather than a profession.
2. The New Guard: Private Jets, N50m Lawsuits, and the Rise of “Gospel CEOs”
Modern gospel music operates within a structured financial framework where artists demand high-performance fees, travel in private jets, and sign multi-million-naira contracts. In 2022, a prominent gospel artist reportedly charged N7 million to perform at a church anniversary, raising concerns about the commercialization of worship.
Mercy Chinwo’s dispute with EezeeTee is just one of many recent financial battles in the industry. In 2021, Frank Edwards sued a promoter for forging his signature on a N20 million contract. These legal battles mirror those in secular music, further blurring the lines between ministry and business.
Judikay’s testimony reinforces these concerns. She once wrote on social media, “I trusted the process, but the process wasn’t what I thought. I just wanted to sing for God, but contracts and numbers made it something else.” This raises the question: are gospel artists still ministers, or have they become businesspeople first?
3. The Broken Middle: Pastors as Enablers
Church leaders have also played a role in this shift. Some high-profile pastors travel in armored convoys and encourage extravagant lifestyles among gospel artists. Critics argue that these actions send mixed messages to congregants and artists alike, prioritizing financial gain over spiritual impact.
Financial Transparency and the Need for Accountability
Unlike organizations such as the Redeemed Christian Church of God (RCCG), which publishes financial audits, most gospel artists and churches operate without financial transparency. The absence of audits has raised questions about how offerings, love gifts, and performance fees are managed.
Tope Alabi, a respected gospel singer, has maintained a different path, continuing to use modest studios despite her fame. Likewise, legends like Baba Ara while alive, and Evangelist Akin Adebayo remained financially humble, emphasizing spiritual impact over wealth accumulation.
Meanwhile, extravagant spending has become more common among today’s gospel ministers. Some now demand first-class tickets, private rehearsal spaces with cutting-edge equipment, and luxury SUVs as part of their contracts. The focus has shifted from spreading the gospel to maintaining a certain image, often at the expense of genuine ministry.
Public Reactions: Have We Lost the Plot?
Social media debates reflect deep divisions over the current state of gospel music. Some argue that gospel should meet the same production standards as secular music, while others warn against turning ministry into a commercial venture. Comments like “Artists, carry your private jets to heaven!” reflect frustration with the apparent shift in priorities among gospel musicians.
The Way Forward: Can Ministry and Money Coexist?
While it is fair for gospel artists to earn from their work, the focus must remain on ministry. Industry players must implement the following reforms:
Mandatory financial audits for transparency.
A return to ministerial humility, drawing lessons from past legends.
Responsible leadership from pastors, ensuring that gospel music remains centered on worship rather than wealth.
As Bro. Gbile Akanni warns, “When the church marries the world, she’ll soon be a widow.” If Nigerian gospel music is to retain its essence, it must strike a careful balance between ministry and industry—ensuring that the pursuit of financial sustainability never overshadows the true purpose of worship.