“Worship’s New Power Structure”—Or a New Kind of Gatekeeping? A Global Reflection on the State of Worship in 2025

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By Mufaro Chifamba

I recently read RELEVANT Magazine’s thought-provoking article, “Inside Worship’s New Power Structure: How the Industry Has Quietly Shifted in 2025.” On the surface, it’s a fascinating breakdown of the shifting tides in the worship ecosystem—highlighting a departure from the era of the “Big Four” (Hillsong, Bethel Music, Elevation Worship, and Passion) and spotlighting new creative voices like Brandon Lake, who is emerging as a central figure in the current songwriting canon.

And while I recognize the importance of tracking such movements and celebrating emerging contributors, I also feel compelled to offer a different lens—one that’s both reverent of history and bold enough to challenge today’s structures.

Because beneath the surface, what’s being framed as “creative decentralization” is, in many ways, just a reshuffling of influence among a narrower circle. And what’s deeply troubling is what’s not mentioned: the legacy of past movements and the absence of global worship voices—especially from Africa.

From Centralization to… Centralization?

The article critiques the dominance of the Big Four—yet unintentionally affirms a new kind of centralization where a small network of interconnected writers shapes the majority of songs in global circulation. One figure is credited with contributing to 25% of the new CCLI Top 100 entries. That’s not a bad thing on its own—but it raises necessary questions:

  • Who gets to shape the global worship vocabulary?

  • Why are new power centers being applauded while previous ones are subtly dismissed?

  • Is the worship movement really becoming more inclusive, or just rebranded?

The legacy of Hillsong, Bethel, Passion, and Elevation cannot be erased or reduced. These movements have carried the worship expression of the global Church for decades. Their songs have shaped theological imagination, emotional healing, and spiritual intimacy for generations.

To dismiss their contributions is to deny how we got here.

🌍 Where Is the Global South?

What struck me most wasn’t what was said—but what wasn’t.

There is no mention of the African Church. No mention of Nigeria. No mention of South Africa. No Zimbabwe. No Kenya. No Ghana. No Brazil. No Philippines. No Latin America.

But here's the truth:

  • In Nigeria, artists and worship leaders like Dunsin Oyekan, Nathaniel Bassey, Sinach, Victoria Orenze, and Victor Thompson are shaping revival through sound with global resonance.

  • In South Africa, artists and collectives like Mmuso Worship, Oncemore Six, HLE, Ntokozo Mbambo, Spirit of Praise, and many others are crafting worship experiences rich in heritage, musicality, and spiritual depth.

  • In Zimbabwe, we’re seeing powerful movements rise through the sounds of Janet Manyowa, Takesure Zamar Ncube, Michael Mahendere, Bonnie Deuschle and the Celebration Choir, and many more—each contributing unique textures to the tapestry of global worship.

These aren’t just “local expressions.” They are global contributions. And they deserve a seat at the table—not as token additions, but as co-authors of worship’s future.

Legacy and Innovation Can Coexist

We do not need to throw away what was to embrace what is becoming.

We can honor Hillsong’s melodies, learn from Bethel’s vulnerability, admire Elevation’s excellence, and value Passion’s legacy—while also building new paradigms that are truly global, inclusive, and Spirit-led.

The goal isn’t to dethrone one creative elite and crown another.

The goal is to decentralize worship into the hands of many nations, many voices, and many sounds—all led by the same Spirit.

Beyond Power Structures

The phrase “power structure” may work in industries like media and tech, but in worship, it feels misplaced. Worship is not about power—it’s about posture.

Yes, the music industry plays an essential role—it provides platforms, tools, and infrastructure to distribute the sound, sustain the movement, and support the creatives behind it. But worship doesn’t originate from charts or algorithms. It originates from surrender.

The industry shouldn’t determine whose voice is most worthy of being heard. It should simply help carry the voices that God is already using—wherever they are.

✊🏾 What We Need Now

  1. Creative Equity
    Let’s build ecosystems where the worship of the entire body is welcomed and elevated. Not just the chart-topping few.

  2. Global Visibility
    We must platform African, Latin American, and Southeast Asian worship expressions—not as exotic imports, but as core contributions to the global Church.

  3. New Infrastructure
    It’s time to invest in more localized yet globally-minded labels, collectives, songwriting houses, and production hubs that elevate diverse voices without diluting their context.

  4. Prophetic Soundscapes
    Let’s not get lost in formulas. Worship is not a product—it’s a spiritual soundscape. It must reflect the groanings of nations, the beauty of diversity, and the eternal mystery of God.

🕊️ Final Thought

The Church is not a brand. Worship is not a trend. And creativity is not a monopoly.

The future of worship won’t be built by the most viral song—but by the most surrendered hearts. The ones who carry their culture, their conviction, and their cross—into the sound.

Let’s build that world.

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