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The Economics of Faith-Based Music: Revenue Models in the Contemporary Gospel Industry
Subject area: Arts, Social Sciences and Humanities · Area of research: Music Economics and religious studies
Abstract
This study investigates the economic structures of contemporary gospel music, situating it at the intersection of cultural economics, musicology, and faith-based creative industries. While gospel is often framed as a purely spiritual practice, the research demonstrates its dual identity as both a ministry and an economic enterprise. Through case studies of Nigerian and U.S. gospel markets, the analysis highlights how regional infrastructures, such as collective management organizations, copyright enforcement, and institutional sponsorship, shape artists? ability to monetize their work. The study highlights differences between African gospel economies, where piracy and weak rights management hinder financial stability, and the U.S. gospel industry, where diversified revenue streams, stronger licensing mechanisms, and hybrid ministry-business models provide more sustainable outcomes. The article situates gospel music within broader debates about intellectual property, streaming economies, and cultural value. This research contributes to understanding how faith-based creative industries negotiate authenticity, mission, and market forces. The findings suggest that future growth may depend on leveraging technological innovations, including AI-driven streaming personalization, blockchain-enabled licensing transparency, and transnational digital collaborations. In doing so, the study reframes gospel music as a major case for examining the evolving economics of culture in a globalized digital age.
Keywords
Gospel Music, Cultural Economics, Musicology, Faith-based Industries, Piracy, Copyright, Streaming, Blockchain, AI, Transnational Collaboration
How to cite this paper
@article{1711253,
author = {Ogunmolu Ayodeji Abidemi (Bidemi Olaoba)},
title = {The Economics of Faith-Based Music: Revenue Models in the Contemporary Gospel Industry},
journal = {Iconic Research And Engineering Journals},
year = {2025},
volume = {9},
number = {4},
pages = {636-647},
issn = {2456-8880},
url = {https://www.irejournals.com/formatedpaper/1711253.pdf},
abstract = {This study investigates the economic structures of contemporary gospel music, situating it at the intersection of cultural economics, musicology, and faith-based creative industries. While gospel is often framed as a purely spiritual practice, the research demonstrates its dual identity as both a ministry and an economic enterprise. Through case studies of Nigerian and U.S. gospel markets, the analysis highlights how regional infrastructures, such as collective management organizations, copyright enforcement, and institutional sponsorship, shape artists? ability to monetize their work. The study highlights differences between African gospel economies, where piracy and weak rights management hinder financial stability, and the U.S. gospel industry, where diversified revenue streams, stronger licensing mechanisms, and hybrid ministry-business models provide more sustainable outcomes. The article situates gospel music within broader debates about intellectual property, streaming economies, and cultural value. This research contributes to understanding how faith-based creative industries negotiate authenticity, mission, and market forces. The findings suggest that future growth may depend on leveraging technological innovations, including AI-driven streaming personalization, blockchain-enabled licensing transparency, and transnational digital collaborations. In doing so, the study reframes gospel music as a major case for examining the evolving economics of culture in a globalized digital age.},
keywords = {Gospel Music, Cultural Economics, Musicology, Faith-based Industries, Piracy, Copyright, Streaming, Blockchain, AI, Transnational Collaboration},
month = {October},
}