Pastor Chris Oyakhilome Speaks on Gospel Musicians, Fame and Money as Mike Abdul, Esther Igbekele React
By GospelSong Download | Gospel Music News.
A debate about faith, fame and financial sustainability in gospel music resurfaced in February 2025 after Pastor Chris Oyakhilome, founder of LoveWorld Incorporated, popularly known as Christ Embassy, addressed what he considered a shift in the priorities of some gospel musicians associated with his ministry.
His comments renewed public discussions about the relationship between Christian ministry, commercial success and the responsibilities of gospel artistes, including well-known Nigerian singers Sinach, Frank Edwards, Joe Praize and Eben, who became prominent through the LoveWorld music ministry.
However, although the discussion was widely linked to these artistes, Oyakhilome did not name them individually in the reported remarks. Their specific circumstances should therefore not be assumed to be identical or fully explained by his statements.
What Did Pastor Chris Say?
During Season 11, Phase 2 of the LoveWorld programme Your LoveWorld, held from February 5 to 7, 2025, Oyakhilome expressed concern about what he described as a departure from the spiritual purpose of music ministry.
He said:
“Why did it happen? The church was turned into a party place, not a prayer place where God’s word was truly celebrated…they were not soul winners; they led praise in church, and when it was time for prayers, they were gone.”
He further criticised what he perceived as a growing emphasis on personal recognition and financial gain among some gospel musicians.
According to reports of his remarks, he said he initially celebrated the musicians but later concluded that their direction no longer aligned with his expectations for ministry.
“I did at the beginning and celebrated them but when I changed, they refused to change with me, so I had to let them go,” he said.
Oyakhilome also expressed the hope that the musicians would reconsider their approach to ministry.
His comments were subsequently widely circulated online, reigniting questions about the role of music ministers in the church and whether gospel music should be treated primarily as ministry, a profession or both.
How Did Sinach, Frank Edwards and Other Gospel Stars Become Part of the Conversation?
Sinach, Frank Edwards, Joe Praize and Eben are among the Nigerian gospel artistes associated with the LoveWorld music scene who went on to establish significant individual music ministries.
Over the years, questions and speculation have circulated about their relationships with Christ Embassy, particularly as their music careers and international engagements expanded.
Sinach’s global success with Way Maker, for example, brought her music to audiences across denominations and countries. Her appearance at major Christian gatherings outside her home ministry also attracted public attention.
However, speculation about restrictions on outside ministrations, disagreements with church leadership or the reasons behind an artiste’s attendance at a particular church should not be treated as established fact without direct evidence.
Oyakhilome’s February 2025 comments offered his perspective on the broader issue of musicians and ministry. They did not, by themselves, establish the individual circumstances of every artiste associated with the church.
Mike Abdul: Gospel Musicians Must Get Their Priorities Right
Nigerian gospel singer Mike Abdul welcomed the debate, describing it as an opportunity for musicians to reflect on their responsibilities.
In comments reported by Punch, he acknowledged that some people could become more attracted to financial rewards than to the work itself.
He said:
“There will always be extremes where people will be more lured by the money than the work.”
Abdul also called for appropriate structures to address the financial realities of gospel music and ensure its sustainability.
His response highlighted an important distinction: while financial motivations can become excessive, the gospel music industry also needs practical arrangements that enable artistes to continue working and serving their audiences.
Esther Igbekele: Gospel Musicians Should Not Be Left in Poverty
Gospel singer Esther Igbekele offered another perspective, arguing that commitment to Christian ministry should not mean that musicians and their teams must live in poverty.
She explained that gospel artistes have financial responsibilities, including transportation, personnel and family expenses.
“If you are not paying them, they will not follow you,”
she said, referring to the people who work with gospel musicians.
Igbekele also questioned the suggestion that lively church music necessarily turns worship into entertainment. She observed that some people attend church seeking encouragement and relief from the difficulties of everyday life.
Her comments brought another dimension to the debate: gospel musicians can have sincere spiritual commitments while also needing to earn a sustainable living.
Ministry or Business? The Question Facing Gospel Music
The disagreement raises a broader question for the gospel music industry: how can artistes maintain spiritual integrity while operating in a professional music environment?
Gospel musicians may incur substantial expenses when recording songs, producing music videos, travelling to ministrations, employing instrumentalists and supporting their teams.
Payment for these services does not automatically establish that an artiste is motivated by greed or has abandoned a spiritual calling.
At the same time, commercial success does not exempt musicians from questions about the messages they communicate, their conduct and the purpose behind their work.
The challenge is finding a responsible balance between ministry, professionalism, accountability and financial sustainability.
For churches and music ministries, clear expectations concerning worship, outside engagements, remuneration and spiritual responsibilities may help prevent misunderstandings.
For artistes, transparency and a commitment to the values they profess can help preserve public trust.
What Is the Final Takeaway?
Pastor Chris Oyakhilome’s remarks placed the spiritual purpose of gospel music at the centre of a public conversation. Mike Abdul acknowledged the need for reflection and accountability, while Esther Igbekele emphasised that gospel musicians should be able to support themselves and the people who work with them.
Their perspectives demonstrate that the issue is not simply whether gospel musicians should earn money. It is also about how they approach their calling, manage their careers and maintain the relationship between faith and professional responsibility.
Importantly, the public discussion should not be used to assign unverified motives to Sinach or any other artiste. Oyakhilome’s reported comments did not name the individual singers, and their personal perspectives should be distinguished from assumptions made by observers.
Ultimately, gospel music serves both a spiritual and a cultural role for millions of listeners. Preserving its integrity requires honest conversations about purpose, accountability, fair compensation and the responsibilities that accompany influence.
What do you think? Should gospel musicians charge for ministrations, or should churches adopt different arrangements to support their music ministries? Share your thoughts in the comments.