Are We Selling the Gospel? Pastor Femi Lazarus and Timi Dakolo Weigh In

The intersection of faith and finance within the realm of gospel music has ignited a robust debate: Are we commodifying the sacred by placing a price tag on ministry? This discourse has gained significant traction, particularly in Nigeria, where recent events have spotlighted the complexities of compensating gospel musicians for their contributions to worship. 

The Nigerian Controversy 

In March 2025, Pastor Femi Lazarus, leader of Light Nation Church, publicly criticized gospel artistes who charge substantial fees for performing at church events. He cited an instance where a singer allegedly demanded ₦5 million (USD 3,254.30) for a single performance, questioning the spiritual integrity of such financial expectations. Pastor Lazarus argued that true ministry should be guided by faith and service rather than monetary transactions. 

This perspective was met with resistance from notable figures within the Nigerian music industry. Singer Timi Dakolo challenged Pastor Lazarus's stance, pointing out that the pastor himself charges fees for enrollment in his ministry school. Dakolo's retort, "Are you not selling the gospel too?" underscores the perceived double standard and highlights the broader tension between ministry and commerce. 

Adding to the discussion, gospel artiste, Nathaniel Bassey, shared his perspective, emphasizing that he does not charge for ministering. Instead, he sees it as an act of faith and service, trusting that God will provide for his needs. His position resonated with many believers who argue that gospel music should not be commercialized.

Historical Context and International Perspectives 

The debate over monetizing gospel music is not confined to Nigeria; it has historical roots and global relevance. In the United States, for example, gospel music has evolved into a significant industry with substantial economic impact. Gospel music festivals contribute to local economies by attracting tourism and boosting businesses such as hotels and restaurants.

Moreover, gospel music has been effectively utilized in marketing and advertising, demonstrating its broad influence beyond the church.

The commercialization of gospel music has led to discussions about the balance between maintaining the spiritual essence of the genre and navigating the realities of the music industry. Some argue that the financial success of gospel music enables broader dissemination of its message, while others contend that commercialization risks diluting its spiritual significance.

The Case for Compensation 

Proponents of compensating gospel musicians assert that these artistes invest considerable time, effort, and resources into honing their craft. Performing at church events often involves rehearsals, travel, and other commitments that merit fair remuneration.

From this perspective, paying gospel artistes is akin to compensating pastors, church staff or guest speakers for their services. This viewpoint suggests that financial support enables musicians to sustain their ministry and continue sharing their gifts with the congregation.

Jamaican gospel ministers also weighed in on the debate, acknowledging the financial challenges of pursuing gospel music as a full-time career. Many believe that while practical considerations such as production costs, band payments and travel expenses make it necessary for artists to charge fees for certain engagements, ministry and winning souls should remain the focus.

On the topic of Jamaican leaders and artistes charging patrons, minister Rohan Lee, stated, "If you are going to represent Christ with the gospel, you have to be Christ-like...It's more about how you can reach people and less about the business." (Jamaica Gleaner, 2017)

The Case Against Charging Fees 

Conversely, some believe that gospel music should remain a voluntary act of worship, free from financial transactions. They argue that introducing fees commercializes sacred expressions and may create barriers for smaller congregations unable to afford such expenses. This perspective emphasizes the spiritual mission of gospel music, suggesting that its primary purpose is to uplift and inspire, rather than to generate income.

Apostle Femi Lazarus reiterated that churches should prioritize spiritual impact over financial gain. He stressed that while financial compensation is not inherently wrong, it should never overshadow the heart of worship. In a video shared on social media, he declared, “If you’re a pastor and you call a music minister who charges you and you pay, God will judge you.”

Striking a Balance 

The challenge lies in finding a balance that honours both the spiritual and practical aspects of gospel music ministry. Transparent discussions between church leadership and musicians can help establish fair compensation practices that reflect mutual respect and understanding.

Churches might consider alternative forms of support, such as covering travel expenses or providing honorariums, to acknowledge the contributions of gospel artists without strictly commercializing their ministry. 

Ultimately, the question of whether compensating gospel musicians equates to "selling the gospel" is complex and multifaceted. It requires careful consideration of the values and circumstances of each faith community, as well as an appreciation for the dedication and artistry that gospel musicians bring to worship experiences.

As this debate continues, it invites all stakeholders to reflect on how best to honour the sacred origins of gospel music while supporting those who devote their lives to this powerful form of ministry.

If gospel music is indeed a ministry, should it not be treated with the same reverence as preaching? Or does financial compensation truly risk turning worship into a transaction? The answer, perhaps, lies somewhere in the balance between devotion and sustainability.

Akeelia Thompson

Contributor

Akeelia Thompson, affectionately known as “Your Favourite Creativepreneur,” is a writer for noblemedianetwork.com. She is a visionary leader, faith-driven strategist and passionate storyteller committed to helping individuals unlock their God-ordained purpose. As the Founder and Creative Director of Souled Into Purpose International (SIP), she guides listeners and community members on the transformative journey of discovering, embracing and living out their unique calling.