In a passionate address that has captivated social media conversations across Nigeria and beyond, acclaimed gospel singer Tim Godfrey has drawn attention to the serious issue of how gospel artists are often undervalued in the country’s entertainment scene. Speaking in a recently circulated video, Godfrey expressed his frustration at the lack of recognition and fair compensation for gospel musicians, recalling with humour and dismay that he was once given yam tubers and a live chicken as payment for his musical performance—a scenario that, according to him, highlights the disparity between the hard work gospel artists invest and the rewards they receive.
His remarks have struck a chord, particularly with young creatives and industry watchers familiar with the challenges faced by Nigerian gospel musicians. The debate over remuneration, recognition, and respect has unfolded online, prompting renewed questions about the broader landscape for gospel, inspirational, and other non-mainstream musicians striving for livelihoods in West Africa.
Exploring the Value of Gospel Artistry in Nigeria’s Entertainment Industry
For many Nigerian musicians, particularly in the gospel space, fighting for fair treatment is not a new story. Historically, gospel artists have faced an uphill battle—not just for chart recognition, but also for financial reward at par with colleagues performing secular or pop music genres. Godfrey’s emotional account underscores a much larger problem that extends from local communities to national and international stages. “Why are people wicked? What sense does it make that people work so hard and you are saying they should take… I have collected two bars of yam as honorarium. I have collected a full, alive, living, walking, breathing chicken as honorarium,” he stated. “And that is what I’m going to use to pay school fees, pay house rent, buy property, buy… No! That is so unfair.” His frank delivery has sparked conversations well beyond musical circles—families, churches, and cultural analysts are weighing in on how faith-based artistry is perceived and valued in present-day Nigeria.
Local Voices: Artists and Fans React
The viral nature of Godfrey’s statements has prompted gospel artists and their supporters to share similar stories. According to Lagos-based gospel singer Chika Emmanuel, “Many of us have experienced events where an ‘honorarium’ was just a symbolic gift. But music is a calling and a career—we have families, responsibilities, and dreams.”
On Twitter, #RespectGospelArtists trended, with fans and musicians alike echoing Godfrey’s sentiment and sharing their views on what fair recognition should look like. Abuja-based event organizer, Maryam Yakubu, offered a counterpoint: “Some small churches genuinely cannot afford to pay big fees, but there should be transparency and appreciation. These musicians deserve dignified treatment, at least to cover basic costs.” Others called for industry-wide reforms, including the introduction of standard rates and transparent contracts for performers at both large and small events.
- Artists’ campaigns: Several collectives, including the Gospel Musicians Association of Nigeria (GOMAN), have used the moment to advocate for greater industry regulation and set minimums for performance compensation.
- Audience awareness: Social commentators argue that improved remuneration could raise the quality and competitiveness of gospel music across Nigeria and indeed West Africa, encouraging more young talents to pursue professional careers.
Understanding the Historical Context
Nigeria has produced world-renowned gospel acts who have contributed to cultural and spiritual life both at home and abroad. According to analysts from the University of Lagos’ Department of Music, gospel music’s deep roots in communities mean it is often treated as a purely spiritual service, not a commercial craft. However, with the spread of digital platforms and international collaborations, the gap between Nigerian gospel artists and their global counterparts is becoming more apparent. In the United States, for example, gospel artists headline major events and enjoy royalty streams from albums, publishing, and streaming, bringing in considerably more income.
Comparative data from the International Federation of the Phonographic Industry (IFPI) suggests that while African music exports are surging—Afrobeats being a prime example—the gospel sub-sector lags behind in both infrastructure and revenue sharing. Tim Godfrey’s personal journey is emblematic: after emerging in Kaduna and later forming the Xtreme Crew in 2004, Godfrey’s music took off nationally after the release of ‘Na You Be God,’ yet he has said that even after achieving international success, the basic economic realities remain difficult for many in the field.
Blending Tradition, Faith, and Modern Sound: Godfrey’s Contribution
Tim Godfrey’s approach fuses classic gospel messages with urbane Afrobeats and contemporary R&B. His international collaborations, such as the hit song ‘Nara’ featuring Travis Greene, push the boundaries of what African gospel can be, introducing new audiences to the genre and proving there is market value in spiritual-inspired artistry. Other artists, such as Sinach and Nathaniel Bassey, have also made international waves, but the reward structure back home has largely failed to keep pace.
According to music industry consultant Tunde Olatunji, “There needs to be a shift—gospel musicians are innovating, building fan bases on YouTube and social media, selling out live events across Africa and overseas. Yet, the local events circuit still hasn’t evolved to recognize their value.”
Cultural, Economic, and Policy Implications
The challenges highlighted by Tim Godfrey go beyond personal frustration; they reflect the broader dilemma of monetizing artistic labour in West Africa while maintaining the values and traditions that make gospel music unique. Advocates argue that without change, young talents could be discouraged, hampering the growth of a sector that not only entertains but also inspires spiritual and social transformation.
Meanwhile, faith leaders point out that spiritual music is integral to the Nigerian and African way of life and must not be commodified at the expense of its message or mission. Pastor Joy Uche from Port Harcourt noted, “There must be a balance—let musicians be rewarded fairly, but let the message remain sincere and community-driven.”
Looking to the Future: Reform, Unity, and Global Opportunity
Prominent voices in the industry have called for stakeholder summits between artists, event organisers, churches, and government to develop clear guidelines on fair compensation and contracts. This, industry watchers believe, could lead to sustainable structures, just as it has in both Afrobeats and Nollywood. The West African gospel scene is already attracting attention from global record labels and promoters, who see opportunities for cross-cultural collaborations and international festivals.
Ultimately, the goal is to make gospel music a viable, respected profession for emerging talents while keeping faith and community at its heart.
West African and Global Relevance
The issues discussed by Tim Godfrey are not limited to Nigeria; Ghanaian, South African, and other African gospel musicians have voiced similar concerns about recognition and fair treatment. Well-structured remuneration systems could open doors for more African gospel artists to participate meaningfully on the world stage, export their music, and drive positive cultural narratives beyond religious circles.
Conclusion: The Call for Change
Tim Godfrey’s experience and advocacy reflect a wider reality facing many gospel professionals in Nigeria, Ghana, and across Africa. As awareness grows, pressure mounts for stakeholders in entertainment, faith, and policy to create better structures that reward creativity, talent, and dedication in the gospel scene. Achieving real change, however, will require ongoing dialogue and commitment across all levels of society.
What do you think is the best way to balance tradition, faith, and fair compensation for gospel musicians in Nigeria and Africa? Share your thoughts in the comments and join the conversation!
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