Nigerian artist Segun Johnson, best known for his chart-topping hit “Idan,” has made controversial claims about the financial struggles of gospel singers in Nigeria. Johnson’s remarks, made during an appearance on the popular podcast “Unscripted” on September 25, 2024, have ignited a fierce debate about the economics of gospel music in Africa’s most populous nation.
As the sun set over Lagos on a humid Tuesday evening, Segun Johnson, dressed in his signature colorful attire, stepped into the “Unscripted” podcast studio. What followed was a conversation that would soon reverberate across Nigeria’s entertainment landscape.
Many Nigerian gospel singers are poor,” Johnson stated bluntly, his words cutting through the usual platitudes of industry talk. I know a famous gospel artist who constantly regrets his career choice due to financial struggles.
Johnson’s comments shine a spotlight on a rarely discussed aspect of Nigeria’s vibrant music scene. While secular artists often flaunt wealth and success, their gospel counterparts, it seems, may be singing a different tune behind closed doors.
The irony is palpable,” notes music industry analyst Adebayo Ogunlesi. “In a country where religion plays such a central role, one would expect gospel artists to thrive. Johnson’s revelation suggests a more complex reality.”
According to Johnson, the root of this financial disparity lies in Nigeria’s deep-seated religious culture. “Nigerians are very religious,” he explained during the podcast. This creates an expectation that gospel music should be a calling, not a career.
This sentiment resonates with Pastor Emmanuel Adegboyega of the Light of Hope Ministry in Abuja. “There’s often a misconception that serving God through music should be done for free or for very little,” he shares. “This puts immense pressure on gospel artists to prioritize ministry over monetization.”
Within hours of the podcast’s release, clips of Johnson’s comments spread like wildfire across social media platforms. Nigerian Twitter, in particular, became a battleground of opinions.
User @eseosa_omokaro commented, “Talk straight. Nigerians are too judgmental,” highlighting the taboo nature of discussing finances in religious contexts.
Meanwhile, @chrisoseni defended the traditional view: “Can’t [they] complain. So everyone should compromise their calling because of money. You’re not as rich as [others].”
This isn’t the first time Segun Johnson has found himself at the center of a media storm. During Nigeria’s fuel shortage crisis earlier this year, event organizers resorted to printing their own currency to pay performers, including Johnson. The incident became a symbol of Nigerian resilience and creativity in the face of adversity.
“Nigerians always find ways to enjoy themselves,” Johnson remarked, reflecting on the incident. “But it also highlighted the precarious nature of our industry.”
Johnson’s comments raise important questions about the sustainability of gospel music as a career in Nigeria. With over 200 million people and a booming Christian population, the potential market for gospel music is enormous. Yet, if Johnson’s claims are accurate, this market may not be translating into financial success for many artists.
Music producer Olumide Ogunade offers a potential explanation: “Gospel artists often rely heavily on church performances and religious events. These gigs, while numerous, may not pay as well as secular concerts or corporate shows.”
As the debate rages on, some are calling for a reevaluation of how gospel music is valued in Nigerian society. Perhaps it’s time we recognize that even those who sing for God need to eat,” suggests cultural critic Funmi Iyanda. “Appreciating their art financially doesn’t diminish its spiritual value.”
Segun Johnson’s controversial statements have lifted the veil on a rarely discussed aspect of Nigeria’s music industry. As the conversation continues, it becomes clear that the intersection of faith, art, and commerce in gospel music is more complex than many realized. Whether this debate will lead to tangible changes for gospel artists remains to be seen, but one thing is certain: the dialogue around the value of religious music in Nigeria has been irrevocably altered.
