State Champ Radio Gospel
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Solomon Ray, a handsome young singer with a flawlessly trimmed beard, a friendly smile and a fedora tilted at just the right angle, is one of the world’s biggest gospel music stars this week. Four of his songs are on the Gospel Digital Song Sales chart, including No. 1 “Find Your Rest,” a soothing anthem with lyrics derived from Bible verses. He is also not human — not fully human, anyway.
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The man behind Solomon’s curtain is Christopher Jermaine Townsend, a 34-year-old rapper otherwise known as Topher, whose fire-breathing MAGA videos like “Let’s Go Brandon” and “The Patriot” have given him enormous followings on YouTube, Instagram, TikTok and other social media. After reading recently about Xania Monet, the AI music star created by fellow Mississippi songwriter Telisha “Nikki” Jones, Townsend fired up the $3,500 computer system in his Philadelphia, Miss., basement and downloaded Suno, the AI music platform used by Jones. Within a few days, he and ChatGPT “co-wrote” the lyrics to “Find Your Rest,” Townsend used Suno to create the music and employed online tools to select the voice and master the song, then posted briefly about it as Topher.
Unlike most of the non-human, or partially human, artists who’ve recently hit the charts, Townsend proudly identifies as an AI collaborator. He also doesn’t care about anti-AI backlash — this is a rapper who, in March 2021, released “The Patriot,” with lyrics that included, “March around the Capitol, storm the city gates / putting pressure on their necks until the truth breaks.” He has a record of viewing haters and enemies as good publicity — and his strategy is working, as Ray’s songs have generated 738,000 on-demand audio streams in the U.S. in the past week, according to Luminate.
“[AI] reminds me of the resistance we saw with CGI,” Townsend tells Billboard. “This is CGV for me — computer-generated vocals. When CGI came out, [film director Steven] Spielberg and the industry were mad about ‘people [who] were going to lose their jobs.’ Now, no one cares about movie CGI; as a matter of fact, if you don’t have CGI, it probably won’t sell tickets.” Unlike just about every other AI-assisted artist on the charts, including Monet, Enlly Blue (rock), Breaking Rust (country) and Unbound Music (rock), none of whom have responded to multiple requests for comment, Townsend, reached on Instagram, agreed to two lengthy phone interviews.
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How did you come up with the idea of creating an AI artist?
I’m from Mississippi and I’ve been doing music since I was 10 years old, writing, performing. I’ve had Billboard No. 1 chart success as Topher [on Rap Digital Song Sales] — as a real rapper, my vocals, everything. So I’m not coming in as an outsider, or a person without any talent. The only skill I would say I lacked was singing. I caught drift of AI songs with Telisha Jones. When I heard about her success, and her being from Mississippi, I’m super-proud.
Next thing I saw, Timbaland released his AI artist, and I was like, “Okay, this is not just a niche thing, this is a real thing, when you have labels paying multimillion dollars for AI artists and you have the household names adopting the technology.”
What was the process of writing and recording “Find Your Rest”?
About two days after I downloaded the app, my sister and I had a conversation. I could feel her heart was heavy over the phone and she teared up. I let her hear a snippet of what I was working on and she said she loved it. I told her it was AI, but it didn’t bother her. When I got off the phone, I said, “Maybe I can make a song that can uplift her spirit.” I started with Matthew 11:28: “Come to me, all you who are weary and burdened, and I will give you rest.” I wrote the hook, which is, “Don’t grow weary in well-doing / get those problems off your chest.” It developed into a full-blown song.
What did you do next?
I co-write with ChatGPT. I put in, “I want a gospel song, with a choir, here are the lyrics, here’s what I want the hook to be.” I changed this, changed that, and eventually, once I got the song how I wanted to flow the words, lyrically, I copied and pasted that into Suno.
Suno will auto-generate lyrics if you just give it a prompt, but I’ve never done that. Copyright reasons. If you want AI to generate [all the music], you can’t get any publishing. You can’t claim anything. And it can’t write like me. You’re not going to get “Find Your Rest” with a prompt. So I placed lyrics in there. It gives you two samples, and either you like it or you don’t. It took me a while.
Every time you create [on Suno Studio], it costs credits. It gets pretty expensive. I just regenerated every section until I got what I wanted. Then I used landr.com, a mixing and mastering program online. Once the song’s done, I go to Artlist.io to generate Solomon Ray’s look. From there I can generate images, sitting on a truck or walking or whatever.
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Why is this a more fruitful songwriting process than just writing your own song?
It helps me eliminate the ideas that I think won’t work. It’s a tool that speeds up the process. If I was to reach out to somebody, and they had to sing this or produce that, it would take forever to get to where I’m trying to get to.
How long did it take you to get from idea to actual song that you posted online?
To give a recent example, my Christmas EP [Solomon Ray’s A Soulful Christmas], those four songs, I started working on it in an evening, and by the next night, I had completed everything — mastered all the songs, created the graphics for the album and uploaded it to Distrokid.
How did you come up with Solomon Ray?
I’m a Christian, so I’ve got a gospel background. My dad’s a blues guitarist and singer. I never dove into it because my capacity to sing wasn’t competitive enough to make a difference, so I chose the rapping route. Solomon Ray allows me to draw out my passions and my stories. I asked ChatGPT, “I need to come up with a good Southern name that’s biblically sound, that when you hear it, it’s unmistakably a Southern gentleman.” It spit out a list of 20-30 names and Solomon Ray was the one I landed on. It’s King Solomon, so it’s like wisdom, wealth. Ray was the sunshine element. I miss the days when men got a chance to dress fashionably, with the peacoats, the hats, the fedoras — that went into building his look. I didn’t want him to sound like somebody that’s been chain-smoking. When I landed on that vocal texture, I decided to keep it.
How much marketing did you do to draw attention to the song?
Although I have millions of followers, I didn’t want to leverage that. People might not like Solomon Ray simply because he’s associated with me. I wanted Solomon Ray to be able to stand on his own. I only posted one video to my TikTok and one video to my Instagram.
As Topher, you’re purely independent, right?
Right. When I was younger, I tried to go through the traditional route, the open mics, the talent shows, trying to pitch it that way. Had no success. I stuck to just being organic. It worked. My songs took off from there. Even though I was doing really well, No. 1 at Billboard, I never got a call from anyone.
It sounds like what you’re saying is the music business is closed to you as an openly conservative rapper and musician.
That’s exactly what I’m saying. But that’s fine. That’s the industry.
But if you identify as conservative, that gives you access to a whole other promotional network, of conservative radio stations, cable channels and podcasts, right?
It’s just that they’re still willing to bring me on and play me. The conservative stations and outlets still play liberal artists. But what you see is the liberal outlets are not going to play many conservative artists.
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Solomon Ray’s music is apolitical, but how much does it concern you that potential listeners might say, “This is the MAGA guy, I don’t want to support him”?
To a certain extent. Somebody might have a preconceived bias towards the music simply because [of] what they think about me. That can be [true] for any artist out there. But I believe the art is going to supersede a lot of that noise.
If a label approached you and said, “We like this activity around Solomon Ray,” would you consider signing, or do you want to remain indie?
I’m open to signing. Since I’ve already had my success as Topher, I don’t have this pride in saying, “I did it myself,” because I’ve already done it. If labels come now, it’s like, “Okay, how can we grow this, how can we expand this?” There’s a reason why you have publishing, and I’ve really never been in movies with my music, because there are certain things you don’t have access to as an independent. I’m interested in seeing how far to take him.
You refer to Solomon in the third person. It’s like you have a secret identity.
[Laughs] My wife is sometimes like, “I want you to know that Solomon’s not real.” I’m like, “I know that!” It’s like any other character in a movie.
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Music City and Capitol Hill came together Wednesday night as the RIAA Honors saluted leaders in Christian and gospel music, as well as two senators who have led the fight to protect creators’ rights.
Though it may be a fractious time in Washington, D.C., as the government shutdown and partisan discord continues, there was nothing but good vibes and glorious music at the Recording Industry Association of America’s headquarters.
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“RIAA Honors recognizes artists, industry leaders and policy makers who have made important contributions to American culture,” said RIAA chairman/CEO Mitch Glazier, at the packed event. “Over the past few years, we’ve honored pioneers of country music, hip-hop and Latin music, and tonight, we come together to celebrate pioneers in one of music’s most important and meaningful genres: Christian and gospel music.”
At the event, sponsored by Billboard, the RIAA recognized platinum contemporary Christian artist Lauren Daigle as artist of the year, while Nashville-based executives Jackie Patillo, president of the Gospel Music Association and GMA Foundation, and Ed Leonard, president of Daywind Music Group and an executive committee member of the GMA, were honored as industry executives of the year. Senators Marsha Blackburn (R-TN) and Chris Coons (D-DE) were celebrated as policymakers of the year.
Morna Willens, RIAA’s chief policy officer, cited the many pieces of legislation that Blackburn has been behind, as much of her constituency in Tennessee includes the creative community in Nashville. “You want her in your corner when things are rough, and her record from the Music Modernization Act to the NO FAKES Act to her defense of Tennessee’s rights to protect the citizens from AI abuses speak for itself,” Willens said.
Blackburn took the stage and joked that “In Nashville, I can’t go to church, I can’t go to one of the kids’ games, I can’t go to the mailbox, I can’t go out for a walk without seeing somebody that’s a singer, a songwriter, a record producer.” She added that when she first came to D.C. as a U.S. representative, she was surprised to realize “not everyone had an appreciation for the role that intellectual property and the protection of that intellectual property [plays and] why it is so important,” adding, “It is the basis on which so many people make their living.”
Pictured (L-R): RIAA Honors Executives of the Year Ed Leonard & Jackie Patillo,
Artist of the Year Lauren Daigle and Policymakers of the Year Senators Marsha Blackburn & Chris Coons
Daniel Swartz
She mentioned a number of other pieces of legislation she has championed, including 2006’s Songwriters Capital Gains Tax Equity Act and the newly introduced CREATE Act, as well as gave a shout-out to Coons and Senators Amy Klobuchar (D-MN) and Tom Tillis (D-N.C.) for their co-sponsorship of the NO FACTS Act, which protects artists and minors against unauthorized AI deepfake impersonations, before concluding, “In other words, we’ve got your back and we’ve got you covered, and it is truly an honor to do that for you.”
Next, Willens lauded Blackburn’s NO FACTS Act co-sponsor Coons as someone who “has earned his colleagues’ respect, on both sides of the aisle, as a principled, substantive and pragmatic leader,” as well as praised his championing of such momentous legislation as the CLASSICS Act and the Music Modernization Act.
Coons noted that protecting music creators is close to his heart: His step-brother has recorded seven albums and his half-sister is an opera singer. He thanked Blackburn for her partnership, stressing the importance of bipartisanship. “At a time when — you might have heard this — there’s division in Congress, it is so wonderful to be able to reflect back what music does for all of us, which is to bring us together and to find common solutions to the challenges that face singers, songwriters, publishers and producers, the whole creative community,” he said. Turning to the NO FAKES Act, he added, “I’m confident, optimistic that we will get it through Congress and to President Trump’s desk this year to protect your voice, your face, your likeness and your music.”
Moving to the industry executives of the year, a video featuring top gospel and Christian artists For King + Country’s Joel Smallbone, Natalie Grant and Jekalyn Carr saluted Patillo, who many of the artists have known for decades — including Grant, who thanked Patillo for signing her when she was a label executive and for introducing her to her husband. Carr thanked her for her “contribution to gospel music” and for “God trusting you with the assignment” to protect and spread gospel music.
Michele Ballentyne, RIAA’s president and chief operating officer, shared seeing firsthand the unifying impact Patillo has had on the gospel community, calling her “a force of nature,” and noting that she has proven to be such a leader that the GMA even named its leadership award after her.
A humble Patillo spoke briefly, praising God’s plan for her, despite her doubts. “I am so grateful that God chose me,” she said. “Every time I’ve wrestled with Him and said, ‘But I’m not qualified,’ He said, ‘Trust me.’ And I’ve never done anything other than facilitate the creation and the furtherance of Christian and gospel music. So I’m honored to be at the table with Mitch and to be able to represent the gospel music trade association at the table for advocacy of all of our intellectual properties.”
Similarly to the video saluting Patillo, an artist package for Leonard featured gospel icon CeCe Winans, Joseph Habedank and Karen Peck of Karen Peck and New River, who noted, “Ed’s vision, integrity and dedication have not only strengthened Daywind, but also enriched the entire Christian and gospel music industry. His leadership has guided artists, writers and labels through seasons of change with wisdom and grace, while his advocacy has ensured that creators are valued and protected.”
Ballentyne recited a litany of music industry organizations that Leonard either leads or is a member of, adding, “I doubt there is a more experienced or accomplished executive out there in the genre.”
Leonard used most of his speech to praise others, including Patillo, whom he said took the GMA “from the ashes to the pinnacle,” and thanked both the RIAA staff and Senators Blackburn and Coons for “saving culture by saving music.” But his most touching moment came when he teared up as he thanked Daigle for her music. He recalled that one of his children, upon finding out he was being honored along with the singer, said, “’You know, Dad, her music got me through some of the toughest times in my life over the last five to 10 years,’ and to be able to say thank you to you publicly is something that is very special to me.”
That sentiment led beautifully into the artist of the year presentation honoring Daigle, which kicked off with a performance by Jon Batiste, who called Daigle “a light in the world. And in these times, we need beacons of light to lead us home,” he said. “You exist in the truth the way that God made us to be, and your music is a reflection [of that.].”
Appropriately, Batiste, seated at a grand piano, then launched into an effervescent, jazzy version of the children’s song and later Civil Rights Movement anthem “This Little Light of Mine.”
Glazier then addressed Daigle, who has more than 20 million units certified by the RIAA and is a two-time Grammy winner, eight-time Billboard Music Awards winner and 12-time GMA Dove Awards winner. “She’s been an unparalleled ambassador for Christian music, growing the genre and reaching new generations, embraced by fans in countries around the world, and proving over and over again that powerful, unapologetic Christian music reflects just as much talent, commitment and musical craft as the biggest hits of any genre ever recorded,” he said, before thanking her for her support of the NO FAKES Act, as well as her work with the International Justice Mission to support the STOP CSAM Act, which addresses online child exploitation and human trafficking.
Daigle, with her father in the audience, spoke of the power of music. “I’m so grateful that music is this bonding agent in a time of division, right?,” she said. “We get to all sit and listen to songs together, and in the process of doing that, we see the world become one. We see the world become whole again, even if it’s for but a moment, and that, to me, is so beautiful.” Admitting she suffered from imposter syndrome and felt that she didn’t deserve the honor, she turned her praise to Jesus. “He is for me. He is not against me. He is for you. He is not against you. And to receive a gift that you don’t deserve, but that you feel so deep to represent that around the world, is the highest of honors,” she said.
Then she let her music do the talking, launching into a heartfelt, beautiful rendition of “You Say,” her 2018 breakthrough hit that spent a record 132 weeks at No. 1 on Billboard’s Hot Christian Songs chart, the first time a song had 100 or more weeks atop any of Billboard’s “Hot” charts. She and Batiste then came together to perform an emotional version of “Be Okay,” a song she wrote with Ellie Holcomb inspired by a terminally ill fan who asked Holcomb how to die. Their voices, separately and together, soared through the room, ending the evening on a high note and proving definitively the power of music that so many in the room are fighting to protect.
Pastor Mike Jr. could set a record when the 2025 Stellar Gospel Music Awards ceremony is taped live from the Schermerhorn Symphony Center in Nashville on Saturday, Aug. 16. He is currently tied with Kirk Franklin and Marvin Sapp as the only artists to win artist of the year three times. He’s nominated again this year. Should he win, he’ll pull ahead as the top winner in the top category.
Tamela Mann, who won in that category in 2014 and 2017, is also nominated again. Should she win, she’ll join Pastor Mike Jr., Franklin and Sapp as the only three-time winners.
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The other nominees in that category are CeCe Winans, Jason Nelson and Kenny Lewis & One Voice. None have ever won before in this top category.
Pastor Mike Jr. and Jason Nelson are the top nominees for the 40th annual Stellar Gospel Music Awards, with nine nods each. Pastor Mike Jr., who has amassed 19 Stellar Awards, and Nelson, who is also a Stellar Award winner, each landed nominations for artist of the year, song of the year, male artist of the year and album of the year.
With eight nominations, Cece Winans is vying for artist of the year, song of the year, Albertina Walker female artist of the year, and album of the year.
Other artists earning multiple nominations include Mississippi Mass Choir, Adia, Deitrick Haddon, Dorinda Clark-Cole, Karen Clark-Sheard, Kenny Lewis & One Voice, Micah Lee, Tamela Mann, Chandler Moore and FK&M (Fred Hammond, Keith Staten, and Marcus Cole).
Public fan voting will take place in two categories this year – urban single or performance of the year and praise and worship song of the year. Fan Favorite voting runs from June 16 until July 18.
The Stellar Awards also announced nominees for the Gospel Radio of the Year Awards in six categories.
Tickets for the 40th Stellar Awards taping are available now at stellarawards.com.
“For 40 remarkable years, the Stellar Awards have been a beacon of excellence, celebrating the voices, vision, and victories of gospel music,” Don Jackson, founder of the Stellar Awards and chairman of Central City Productions, Inc., said in a statement. “We honor not just the genre of gospel music, but the legacy of our history, our faith, our culture, and our community that has inspired Black & African American generations for four decades.”
The 40th Stellar Gospel Music Awards show is executive produced by Jackson with Jennifer J. Jackson serving as producer and executive in charge of production; Michael A. Johnson as producer and director, Erin Johnson as talent producer, and Daniel Moore as music director.
This year’s Stellar Awards caps STELLAR PLUS week, which is set for Aug. 14-16. Events include master classes and soundstages, fashion shows and comedy showcases and more. For more information, visit stellarplusexperience.com.
Here’s the full list of nominations for the 2025 Stellar Gospel Music Awards.
Artist of the Year
CeCe Winans; More Than This; Pure Springs Gospel/Fair Trade Services
Jason Nelson; You Belong: Live in Durham; Jaelyn Song / Tyscot Records
Kenny Lewis & One Voice; The Healing Project; PureSound Muzik Group
Pastor Mike Jr.; I Got Away EP; Rock City Media Group
Tamela Mann; Live Breathe Fight; TillyMann
Song of the Year
“Amen,” Michael McClure Jr., Adia Andrews, Terrell Anthony Pettus, Andrea Crouch, & David “DLo” Outing; Pastor Mike Jr.; Rock City Media Group
“Clap My Way,” Fred Jerkins III, Alvin Garrett, & Micah Lee; Micah Lee; Darkchild Gospel/ MicahLeeMusic
“I Prayed for You (said a prayer),” Major Johnson Finley, Brunes Charles, & Jeshua Williams; MAJOR.; NowThatsMAJOR / MNRK
“That’s My King,” Taylor Agan, Kellie Gamble, Lloyd Nicks, & Jess Russ; CeCe Winans; Pure Springs Gospel/Fair Trade Services
“Yahweh” ft. Melvin Crispell III; Danni Baylor, Jason Nelson, Jerome Baylor, & Johnnie Huntley Steele III; Jason Nelson; Jaelyn Song / Tyscot Records
Male Artist of the Year
Chandler Moore; Chandler Moore: Live in Los Angeles; TRIBL
Deitrick Haddon; One Night in California; DH Visions
Doc McKenzie; Run On; Blockbuster Records/Milbert McKenzie Music Group
Jason Nelson; You Belong: Live in Durham; Jaelyn Song / Tyscot Records
Pastor Mike Jr.; I Got Away EP; Rock City Media Group
Albertina Walker Female Artist of the Year
ADIA; On the Way; Rock City Media Group
CeCe Winans; More Than This; Pure Springs Gospel/Fair Trade Services
Dorinda Clark-Cole; Determined; Malaco Records
Karen Clark-Sheard; Still Karen; Motown Gospel
Lisa Page Brooks; The Grateful Chant; FlowNeeNee Music
Duo/Chorus Group of the Year
Deitrick Haddon ft. Damita & Tasha Page-Lockhart; Hold On 2 Your Faith; ManHaddon Ministries / Tyscot Records
FK&M (Fred Hammond, Keith Staten and Marcus Cole); Time Capsule – The Trilogy; 3Brothers/Dare Records
Ted & Sheri; You’ve Been So Faithful (Groove); Ted & Sheri LLC / Black Smoke Music Worldwide
The Group Fire; About Last Night; Jet Records North/East
New Artist of the Year
ADIA; On the Way; Rock City Media Group
Bobbi Lane; Unmatched Grace; Blockbuster Records/ Taylor Music Group
Josh Bracy and Power Anointed; Favor; Josh Bracy Muzic
Micah Lee; Clap My Way; Darkchild Gospel/ MicahLeeMusic
Montrae Tisdale and The Friends Chorale; The Faith Journey; Tisdale Nation Entertainment
Album of the Year
I Got Away EP; Pastor Mike Jr.; Rock City Media Group
Live Breathe Fight; Tamela Mann; TillyMann
More Than This; CeCe Winans; Pure Springs Gospel/Fair Trade Services
The Healing Project; Kenny Lewis & One Voice; PureSound Muzik Group
You Belong: Live in Durham; Jason Nelson; Jaelyn Song / Tyscot Records
Choir of the Year
Bishop S.Y. Younger; Bishop S.Y. Younger Presents Worship in Brazil; Ramp Records (exclusively distributed by Haus Records)
Chicago Mass Choir; Greater Is Coming; New Haven Records
Ricky Dillard; When I Think; Motown Gospel
The Mississippi Mass Choir; We Still Believe; Malaco Records
Producer of the Year
Dana Sorey; Jason Nelson; You Belong: Live in Durham; Jaelyn Song / Tyscot Records
Fred Hammond, Keith Staten, Marcus Cole, Paul Wright III and Ray Hammond; FK&M (Fred Hammond, Keith Staten and Marcus Cole); Time Capsule – The Trilogy; 3Brothers/Dare Records
J. Drew Sheard; Karen Clark-Sheard; Still Karen; Motown Gospel
Michael McClure Jr., & David “DLo” Outing II; Pastor Mike Jr.; I Got Away EP; Rock City Media Group
Stan Jones, Jerry Mannery, Jerry Smith, & David R. Curry Jr.; The Mississippi Mass Choir; We Still Believe; Malaco Records
Contemporary Duo/Chorus Group of the Year
Deitrick Haddon ft. Damita & Tasha Page-Lockhart; Hold On 2 Your Faith; ManHaddon Ministries / Tyscot Records
Red Hands; The Three (EP); Black Suit Music / Anderson Music Group / TAMLA Records
Ted & Sheri; You’ve Been So Faithful (Groove); Ted & Sheri LLC / Black Smoke Music Worldwide
The Group Fire; About Last Night; Jet Records North/East
Traditional Duo/Chorus Group of the Year
Brandon Camphor & One Way; Hymn Medley; Tomii Entertainment
Men Of Prayze; Live: in the Red; EvoWorld Entertainment, Inc
The Flint Cavaliers; The Fellowship (Psalms 133:1); The Flint Music Group
Tim Woodson & The Heirs of Harmony; Try Me; Blackberry/Marxan Records
Contemporary Male Artist of the Year
Jason Nelson; You Belong: Live in Durham; Jaelyn Song / Tyscot Records
Micah Lee; Clap My Way; Darkchild Gospel/ MicahLeeMusic
Pastor Mike Jr.; I Got Away EP; Rock City Media Group
Vincent Bohanan; VBSOV Summer Jam; Independent
Traditional Male Artist of the Year
Bishop Calvin Norton; Hold Me Beyond Rear View EP; Blockbuster Records
Brent Jones; Live Your Best Life; JDI Entertainment
Earnest Pugh; Worthy Is the Lamb; Blacksmoke Music Worldwide
Kenny Lewis; The Healing Project; PureSound Muzik Group
Contemporary Female Artist of the Year
ADIA; On the Way; Rock City Media Group
Bobbi Lane; Unmatched Grace; Blockbuster Records/ Taylor Music Group
CeCe Winans; More Than This; Pure Springs Gospel/Fair Trade Services
DOE; Heart of a Human; RCA Inspiration / Provident Entertainment
Keyla Richardson; Home; Uncle G Records
Traditional Female Artist of the Year
Dorinda Clark-Cole; Determined; Malaco Records
Lasha Knox; Right There; Blacksmoke Music Worldwide
Lisa Page Brooks; The Grateful Chant; FlowNeeNee Music
Terri McConnell; He’ll Get Me Through This; Royal T Records
Contemporary Album of the Year
Chandler Moore: Live in Los Angeles; Chandler Moore; TRIBL
Live Breathe Fight; Tamela Mann; TillyMann
Still Karen; Karen Clark-Sheard; Motown Gospel
You Belong: Live in Durham; Jason Nelson; Jaelyn Song / Tyscot Records
Traditional Album of the Year
Determined; Dorinda Clark-Cole; Malaco Records
Live in Detroit, Pt 1; The Victorius Army ATL Feat. Vincent Bohanan; Independent
The Healing Project; Kenny Lewis & One Voice; PureSound Muzik Group
We Still Believe; The Mississippi Mass Choir; Malaco Records
Urban Single or Performance of the Year
Amen; Pastor Mike Jr.; Rock City Media Group
Clap My Way; Micah Lee; Darkchild Gospel/ MicahLeeMusic
I Prayed for You (said a prayer); MAJOR.; NowThatsMAJOR / MNRK
Without You ft. Zacardi Cortez; Jevon Dewand and The Trap Starz; Black Smoke Records
Music Video of the Year
“Amen,” Pastor Mike Jr., Tony “Mr.YNOT” Minifield, Drae Rudolph & Kevin “Krispy” Key/Moon Men; Rock City Media Group
“Deserve to Win,” David Mann; TillyMann
“For My Good,” Jekalyn Carr; Waynorth Music
“Never Be the Same,” Deitrick Haddon & Terrance Church; DH Visions
Traditional Choir of the Year
Chicago Mass Choir; Greater Is Coming; New Haven Records
Christopher L. Ervin & Abraham’s Descendants; Recover; CervinMusiq
Ricky Dillard; When I Think; Motown Gospel
The Mississippi Mass Choir; We Still Believe; Malaco Records
Contemporary Choir of the Year
Alphaeus Anderson Presents The USC Upstate Gospel Choir; Already Done; Music2ChangeU
Charles Butler & Trinity; Live in Washington DC; Red Alliance Media
Johnny Sanders Featuring Faith on Full; Christmas Everyday; Third Century Development Corp/Johnny Sanders Presents, LLC
Vincent Bohanan & SOV; VBSOV Summer Jam; Independent
Traditional Artist of the Year
Bishop Calvin Norton; Hold Me Beyond Rear View EP; Blockbuster Records
Dorinda Clark-Cole; Determined; Malaco Records
Earnest Pugh; Worthy Is the Lamb; Blacksmoke Music Worldwide
The Mississippi Mass Choir; We Still Believe; Malaco Records
Special Event Album of the Year
Bishop S.Y. Younger Presents Worship in Brazil; Bishop S.Y. Younger; Ramp Records (exclusively distributed by Haus Records)
Joyful, Joyful: A Christmas Album; CeCe Winans; Pure Springs Gospel/Fair Trade Services
Red & Green; Jonathan McReynolds; Life Room Label, Motown Gospel
The Gift Deluxe Edition; The Group Fire; Jet Records North/East
We Still Believe; The Mississippi Mass Choir; Malaco Records
Rap/Hip Hop Gospel Album of the Year
Canton Jones and CAJO Records Presents the Free Life Experience; The Free Life Experience; CAJO Records
Let Go Let God: The EP; 1K Phew; Reach Records
Meet Me in Miami; Otis Kemp; Revive 5.0 Entertainment
Without You: There Would Be No Me; Jevon Dewand and The Trap Starz; Black Smoke Records
Youth Project of the Year
AMG Kidz x Boston Arts Academy; The Kidz at North Station; Anderson Music Group / TAMLA Records
Brent Jones presents The Fire; Brent Jones presents The Fire; JDI Entertainment
Janessa Smith; Sounds of Joy; Inspired Recording
Nina Symmone & Noah Alexander; God’s Way; The Big Moment / Anderson Music Group
Quartet of the Year
Blest By Four; Only Believe The EP; EvoWorld Entertainment, Inc
Men Of Prayze; Live: in the Red; EvoWorld Entertainment, Inc
The Flint Cavaliers; The Fellowship (Psalms 133:1); The Flint Music Group
Tim Woodson & The Heirs of Harmony; Try Me; Blackberry/Marxan Records
Recorded Music Packaging of the Year
Covered Vol. 1; Brianna Dowd & Melvin Crispell III; RCA Inspiration, Provident Label Group LLC
Meet Me in Miami; Blair Monique; Revive 5.0 Entertainment
Red & Green; Jonathan McReynolds & Trent Nicholson; Life Room Label, Motown Gospel
Still Karen; Justin Foster; Motown Gospel
Praise and Worship Album of the Year
Chandler Moore: Live in Los Angeles; Chandler Moore; TRIBL
More Than This; CeCe Winans; Pure Springs Gospel/Fair Trade Services
One; Jordan G. Welch; JordiG Music
You Belong: Live in Durham; Jason Nelson; Jaelyn Song / Tyscot Records
Praise and Worship Song of the Year
“Light in a Dark Place,” Bobbi Lane; Blockbuster Records/ Taylor Music Group
“Overflow” ft. Todd Dulaney; Transformation Worship; Represent Records, Re: Think Music
“That’s My King,” CeCe Winans; Pure Springs Gospel/Fair Trade Services
“Yahweh” ft. Melvin Crispell III; Jason Nelson; Jaelyn Song / Tyscot Records
Rap/Hip Hop Song of the Year
“Amen,” Pastor Mike Jr.; Rock City Media Group
“Blessings,” Otis Kemp; Revive 5.0 Entertainment
“Fa REAL… Fa Real,” Jevon Dewand and The Trap Starz; Black Smoke Records
“Yeah Yeah Yeah Yeah” ft. Lisa Page Brooks; Dante’ Pride; iAmDantePrideMuzik
Top Market of the Year
WBBP 1480 AM, Memphis
WBGX 1570 kHz, Chicago
WFTB FM 104.1, Nashville
WGRB 1390AM, Chicago
WPZS 100.9, Charlotte, N.C.
Medium Market of the Year
WAGR 102.5 FM, Lexington, Miss.
WEUP Worship 94.5, Huntsville, Ala.
WJNI 106.3FM, Charleston, S.C.
WXHL 89.1 FM, Wilmington, Del.
Small Market of the Year
WBZF-FM 98.5, Florence-Myrtle Beach, S.C.
WHLH 95.5, Jackson, Miss.
WKTT 97.5 FM, Salisbury, Md.
WTSK – Praise 93.3/ 790 AM, Tuscaloosa, Ala.
Internet Station of the Year
Black Gospel Radio, https://BlackGospelRadio.net
GODRadio1.com, https://godradio1.com
Hands Up Radio WHUR, https://handsupradio.org/
Power of Worship Radio, https://powerofworship.net
Syndicated Gospel Radio Show of the Year
“Early Morning Praise Party with Sherry Mackey,” Sherry Mackey
“Get Up! Mornings with Erica Campbell,” Erica Campbell with Griff & Cheryl Jackson
“The Big Redd Radio Show,” Big Redd
“The Tracy Morgan Show,” Tracy Morgan
Gospel Announcer of the Year
Destiny Diggs; WXHL – Reach Gospel Radio/ “Say So Radio Show with Destiny”
Melissa Wade; WNNL, The Light 103.9/ “Melissa Wade in the Midday”
Micha “ML6” Logan; WEUP, 103.1 FM/ “The Midday Shift”
Sherry Mackey; WHAL, 95.7 Hallelujah FM/ “Early Morning Praise Party with Sherry Mackey”
Gospel icon Kirk Franklin is joining forces with Insignia Assets, a new entertainment venture established by Norman Gyamfi and Jonathan Jay. This collaboration unites Franklin’s companies, Fo Yo Soul Recordings and CLTRE Lab, with Insignia Assets’ diverse portfolio, which includes recorded music and publishing, television, film, touring and events.
In addition to this partnership, Franklin will serve as Insignia Assets’ chief of creative services.
Franklin, who will be honored with the BET Ultimate Icon Award during the 2025 BET Awards next Monday night (June 9), shared: “This partnership with Insignia is bigger than business. It’s about building a platform where our stories, our faith, and our culture can live and breathe across every screen and stage. I’ve always believed in pushing Gospel beyond the margins and into spaces where it can challenge, inspire, and connect with the world in a real way. Joining forces with Insignia gives us the reach, the resources, and the creative freedom to do just that.”
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To kick off this exciting venture, Franklin will release a new single, “Do It Again,” on Friday (June 6). Additionally, his media production company, CLTRE Lab, will collaborate with Insignia Assets’ 3 Diamonds Entertainment division on Den of Kings, a new dinner conversation series hosted by Franklin. The first episode, focusing on “Fatherhood features guests D.C. Young Fly, Kountry Wayne, Lou Young and Devale Ellis, and premieres on Franklin’s YouTube channel on Father’s Day, June 15.
Under this deal, 3 Diamonds Entertainment will be the production partner on select scripted and non-scripted CLTRE Lab projects, providing production services and funding to showcase original storytelling across various formats.
“We’ve worked with Kirk for some time now—from the 2022 release of the multi-GRAMMY®-winning collaborative album, Kingdom, to producing sold-out arena tours with him consecutively over the past few years,” said Norman Gyamfi, co-founder and CEO, Insignia Assets. “Today, we’re thrilled to fortify and deepen our partnership by welcoming Kirk to our executive team, and by charting a course for the future with him from recorded music to touring, film/TV to digital media, and more. We are collectively very proud of this moment.”
A Black-owned and self-funded entertainment company, Insignia Assets’ music portfolio includes Christian and Gospel labels Tribl Records, Maverick City Music and Fo Yo Soul Recordings and R&B label Platform Sounds. Additional divisions include Undivided Entertainment for touring and event productions, 3 Diamonds Entertainment for television and film, as well as the Icho Group, the marketing engine of the diversified enterprise.
Insignia Assets aims to be a leading global entertainment company by delivering impactful to a diverse audience. At its core, Insignia Assets operates with a commitment to fostering collaborations with talented Black creators, visionary entrepreneurs and innovative professionals across all forms of entertainment.
Ron Hill, president of Recorded Music, TRIBL Music Group and head of touring, Undivided Entertainment said: “Kirk is not just an artist, he’s a cultural architect who has reshaped the landscape of faith and entertainment. This partnership with Insignia marks a new chapter, where shared vision and leadership come together to build lasting value, elevate culture, and shift the industry from within.”
Jackie Patillo, Gospel Music Association president, is set to receive the BMI Spotlight Award for her dedication to the genre and for her career as an advocate for all Christian and gospel music creators. Previous recipients of the award include Dottie Leonard Miller, Randy Edelman and Frank Gari.
The award will be presented at the 2025 BMI Christian Awards, which will be held on June 17 at the organization’s Nashville office. The private event will be hosted by Leslie Roberts, BMI’s avp of creative, Nashville, and Mike O’Neill, BMI’s president & CEO. In addition, BMI’s Christian songwriter of the year, song of the year, publisher of the year and the 25 most-performed Christian songs of the previous year will be announced.
“Through Jackie’s dynamic leadership, innovative vision, and unwavering love for Christian and Gospel music, she’s been able to bring both genres together through a message that unifies all while reaching a new generation of music lovers,” Roberts said in a statement. “The work that she’s done over her illustrious career is inspiring, and we’re thrilled to be presenting Jackie with the BMI Spotlight Award. We’re also looking forward to celebrating all our award-winning songwriters and producers, highlighting their achievements through community, worship and music.”
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As a veteran music executive with posts at Star Song, Benson, Integrity, and Verity Records, Patillo helped shape the careers of such artists as Natalie Grant, Stephen Hurd, Lisa McClendon, Donnie McClurkin, Joe Pace, Israel & New Breed, Marvin Sapp and Alvin Slaughter. As the president of the Gospel Music Association and GMA Foundation, where she has led the organization since 2010, Patillo has demonstrated her commitment to advocating for all Christian and Gospel music makers.
Patillo also serves as the co-executive producer of the GMA Dove Awards, which is viewed by over 3 million people annually on TBN. She was inducted into the Stellar Gospel Music Hall of Fame in 2019, the SOURCE Hall of Fame in 2023, and was honored on her 10th anniversary with the Jackie Patillo Leadership Dove Award.
TAMLA Records, the Nashville-based reprise of the storied label founded by Motown Records icon Berry Gordy, is announcing its official re-launch. Having set the goal “to redefine the Christian music landscape,” TAMLA operates under the Motown Gospel/Capitol Christian Music Group banner and is helmed by Walter Thomas, senior vp for Motown Gospel & TAMLA.
“Our mission is to champion, uplift and inspire new generation cutting-edge artists,” Thomas tells Billboard, “by providing a platform to connect their music with fans around the world through innovation and culture. TAMLA is the new home of positive music.”
It was initially announced in 2023 that TAMLA — Gordy’s late ‘50s precursor to Motown — would be revamped as a “mainstream imprint specializing in positive R&B and hip-hop music.” The first partner signed then to the reimagined TAMLA was Thomas “Tillie” Mann and his label Encouragement Music. However, the early 2024 reorganization of Universal Music Group delayed TAMLA’s formal relaunch.
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Also working alongside Thomas at TAMLA will be Rodney “Darkchild” Jerkins. The Grammy Award-winning songwriter/producer has partnered with TAMLA to sign and develop emerging talent under his imprint, EVOLVE Music Group.
Rodney Jerkins / Credit: Andre St. Louis
“The history of TAMLA is very important,” Jerkins tells Billboard. “People need to know what TAMLA meant then but more importantly what it will mean now. To have the chance to help continue the legacy of what the great Berry Gordy started is what really prompted my decision to partner with TAMLA. We have a great opportunity to find new artists that can help continue its rich legacy.”
“I want to help bring to the world some cutting-edge Christian and gospel music,” added Jerkins. “I’ve always felt it should co-exist with mainstream. So my goal with Walter and Brad [O’Donnell, president of Capitol Christian Music Group] is to discover talent that we feel could do just that.”
In addition to the aforementioned Encouragement Music and its artist EmanuelDaProphet, TAMLA’s current roster now includes Childlike CiCi, Jordan L’Oreal and Lee Vasi. The label has also entered into a partnership with AMG Music Group (Anderson Music Group). Thomas’ label team at TAMLA includes senior director of A&R Alex Dollar, senior director of marketing Justin Tomlinson, director of A&R Justin Pearson and project manager, marketing Brianna Dowd.
“Right now, more than ever, I think we all need hope,” says Thomas. “And this music gives a lot of hope and uplift. It isn’t front tier in a lot of people’s minds because it’s religion-based. But if they can get past religion-based and get caught up in the whole messages that this music gives, people will connect more.”
“The more opportunities and platforms that these artists get on, I think people will want to hear it,” continues Thomas. “They just don’t know that it’s out. The main goal right now is to position these artists to be front and center so they can work in general market settings as well.”
This week, it was especially fitting that American Idol airs on Sundays. On the March 30 episode of the show, teenage contestant — and aspiring preacher — Canaan James Hill took the judges to church with his audition for the show, leaving Lionel Richie in particular stunned. Before diving into a soulful rendition of Earnest […]
Maverick City Music lands its fifth No. 1 on Billboard’s Top Gospel Albums chart, and its eighth top 10 on Top Christian Albums (No. 2), with the debut of Live at Maverick City (on lists dated Feb. 22). The 36-song set from the Atlanta-based Christian and gospel music collective earned 5,000 equivalent album units in […]
After dropping a career-spanning live album (2024’s Then And Now) and joining fellow gospel greats Fred Hammond, Yolanda Adams, and The Clark Sisters on Kirk Franklin’s arena-visiting Reunion Tour, Bishop Marvin Sapp made a move few in the gospel world saw coming – releasing an R&B EP just in time for Valentine’s Day (Feb. 14).
Aptly titled If I Was An R&B Singer, the new EP is a notable – but momentary! — genre pivot from one of the most decorated voices in contemporary gospel music. An 11-time Grammy nominee, Sapp has sent a whopping 14 titles to the top 10 of Billboard’s Gospel Albums, including 2007’s Thirsty and 2010’s Here I Am, both of which spent over 20 weeks atop the chart. He’s also earned four chart-toppers on Hot Gospel Songs, led by 2007’s seminal “Never Would Have Made It,” which achieved rare crossover success, reaching No. 14 on Hot R&B/Hip-Hop Songs and No. 82 on the all-genre Billboard Hot 100. His most recent Gospel Songs chart-topper, 2020’s “Thank You for It All,” was a finalist for top gospel song at the 2021 Billboard Music Awards.
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There’s always a kerfuffle when gospel artists cross over to secular music, but Sapp’s new EP arrives under special circumstances. First, people have been wondering what Sapp would sound like on an R&B song for years – it’s one of the ways he grounds the EP’s narrative in the intro. (“I wonder,” muses on-air personality Tyrene “TJ” Jackson on the track, “What it would sound like… an R&B song, or a whole R&B project by Marvin Sapp?”) Second, after a 36-year career that’s garnered him billions of streams and numerous historic achievements, Sapp is in a place where he feels comfortable taking risks – even if he doesn’t think they’re as dicey as others might.
“I sing gospel because that’s my conviction, but don’t think I can’t do what other people do,” he plainly tells Billboard on Valentine’s Day. “I can do it; I just chose a different genre.”
That relaxed freedom and artistic security shines across If I Were An R&B Singer and its quiet storm-inflected, late-‘80s R&B foundation. Featuring writing and production from a close-knit team, led by his son, Marvin Sapp Jr., If I Were an R&B Singer is an entertaining artistic exercise that never sacrifices or compromises the integrity and overall mission of Sapp’s purpose as a singer and artist.
In a lively conversation with Billboard, Marvin Sapp details the making of his new EP, his favorite line dances, the differences in vocal technique across genres, and the R&B he used to croon in the school lunchroom.
When did you finally decide to make an R&B project?
I didn’t sit down and decide to make it; it kinda just fell in my lap. For my whole 36-year career, people have always asked why I haven’t ever sung R&B music or anything of that nature. I always said the reason was that I didn’t feel like it was my assignment. I feel like whenever you do anything musically, there has to be a conviction that’s attached to it.
My son [Marvin Sapp Jr.] said I should make something like [If I Were An R&B Singer], and his good friend Kolten [Perine] produced the record. I decided to put my career in their hands, more or less, because they’re younger and Gen Z, they get it.
You touch on this during the intro, but talk to me a little bit more about your experience with R&B while growing up Baptist.
I grew up in a very traditional church here in Grand Rapids, MI. We didn’t have drums, didn’t have an organ, we had an upright piano, couldn’t rock, couldn’t clap, couldn’t do any of that. When I was a teen, everybody was listening to New Edition because they were a hot group — but I never felt like they could really sing. I was sitting up listening to people like Peabo Bryson, Teddy Pendergrass –who influenced my style in a gospel way – Con Funk Shun and the Dazz Band. These were the groups and singers who shaped me as an artist. That’s who I played around the house. Even though I chose gospel at the age of 10, you know, I was pretty much raised by those individuals.
When you had someone to sing to in the lunchroom, what songs were you singing?
I was singing stuff by the Dazz Band like “Heartbeat” and “I’m So Into You” by Peabo Bryson. My junior year in high school was everything to me because that’s when Between the Sheets by The Isley Brothers came out. I was singing the whole first side of that album. I remember my first major solo at my middle school was “Sparkle” by Cameo. I can count the number of times I’ve sung R&B in my life, maybe 20 times maximum.
This [project] is a one-and-done. I challenge everybody to get it because it’s not like we’re going to do anything else like this again. I just wanted to try it, and I think I did a pretty good job.
How did you develop the specific style of R&B you were going for on this project?
First, I wanted to make sure I didn’t veer too far away from my assignment and my calling. I still want to be the preacher, the teacher, the pastor, etc. I still want to be able to go back to doing what I feel like I do best — and that is singing the Gospel of Jesus. We wanted to make sure that lyrically, it was about love and relationships, but it was clean like a lot of the ‘80s and ‘90s R&B I grew up listening to. I wanted to revisit that particular style and texture.
I also had a conversation with my son and Kolten about making sure that I didn’t jeopardize who I was for the sake of the project. We came up with something that’s current, sensual, but not sexual. And that was the goal.
Who else was involved in making this project and when did that process begin?
It started last year. I built my own recording studio on my property during COVID, so I recorded it there like my last two CDs. The young man who mixed and mastered it, Curtis Lindsey, is actually my [musical director] and has been with me for maybe 17 years. Of course, my publicist Kymberlee [Norsworthy], my son — who co-wrote “Free Fallin” with Kolten and shot the album cover. I’m a very strong believer in using younger gifts that are around you to help you to remain current. It’s very difficult being an artist of 36 years and being blessed to remain relevant – especially when you’re trying to reinvent and introduce yourself at the same time. You have to make sure that you have people around you who really understand the pulse of what’s happening now, and Kolten and Marvin get it.
Did your approach to singing have any notable shifts between gospel and R&B?
Singing R&B is more melodic. In my gospel music, I might be hollering at you one minute, and the next, I’m singing softly and doing certain riffs. This particular record is more of me singing and people being able to sing with me to the hooks. We were trying to make sure it was catchy so we could give people the opportunity to hear me in a totally new light and recognize my versatility. I was able to use my falsetto a little bit, which I’m not able to do as much on the gospel side. I could do it, but once you recognize what people enjoy you doing, you just do that.
How did you come to an understanding of what R&B audiences want to hear in 2025?
I really studied! Of course, I’ve known Tank for years, and I listened to him. But I knew I couldn’t be a Tank. There’s a new young man [named October London] who I really, really love and listen to a whole not. He sounds like a Marvin Gaye type of artist. I literally sat and studied his music, placement and lyrical content. I listened to people like Joe, old-school Dave Hollister, and so many different people, to create some form of gumbo. I took pieces from each of them. The first song, “Listen,” is kind of a throwback to Kem. I got a clear picture of what people enjoy and what they want to listen to.
“Free Fallin” has a bit of a line dance moment. Could we be seeing you hit those moves soon? Do you have a favorite line dance?
I’m still doing the Cupid Shuffle, man. But I’m also learning the dance for [“Boots on the Ground” by 803Fresh]. I know they gonna do it tomorrow night at this event that I’m at. I’ve been on YouTube trying to figure it out. I’ll probably do a [“make your own line dance” challenge] for “Free Fallin” too.
You said this is a “one-and-done” project, but what do the promotional plans look like for the EP? Is a tour in the works?
There aren’t plans for me to tour it, because I don’t think that’s my actual assignment. We’re going to definitely see about getting airplay on R&B radio for “Free Fallin,” because I really think that song’s a vibe, to be perfectly honest. But I haven’t even thought that far. I just wanted to do something that was on my bucket list.
What were those internal conversations with your team like, considering you’re momentarily pivoting to R&B as one of the most highly regarded working artists in contemporary gospel music?
Kymberlee and I sat down and had a real conversation about it — because we were about to hit the road to do the Reunion Tour with Kirk Franklin, Fred Hammond, Yolanda Adams, and The Clark Sisters. This was a big tour, and we had just dropped my new live album. We talked about [how to handle] putting [the R&B project] out, because we were still on the Billboard charts with gospel tracks. We didn’t want to do anything that was going to jeopardize that. After thinking it through and mapping it out, we decided that this shouldn’t be an obstruction to what we do — especially because our target was to release it on Valentine’s Day.
There was definitely concern about backlash, but I think that the body of Christ is extremely mature. There are some that will have negative things to say, but those individuals who really know my heart and my passion understand without question that this is something that I’m doing just because I can. I’m not choosing it as a career.
Do you think there’s something to be said about waiting for the right time to do this project? Would the EP have sounded like this if it came out 10 years ago?
Heck no! Not even close. 10 years ago, I was still striving to be the best artist that I could possibly be. It’s easy for me to do this – and I don’t want this to sound wrong – because I’m accomplished. I can take risks. Even though I don’t honestly feel like this is a major risk, it’s still somewhat of a risk. 10 years ago, I probably wouldn’t even consider doing this. “The Best in Me” was hot, “Never Would Have Made It” was still at the top of the charts and on the R&B/Hip-Hop charts — I had already crossed over! [Laughs.]
Now, I’m focusing on pastoring and opening up another charter school in the DFW metroplex. I’m still making quality gospel music, and I’m still on the Billboard charts. And I’m older, I’m stronger, I’m wiser and I’m better.
We got a live album and a blockbuster tour from you last year. What do you have planned for 2025?
I’ve got a Tiny Desk set later this week, and my church in the DFW metroplex is growing by leaps and bounds. I gotta start a second service. I have two grandchildren now. In this particular season of my life, I’m coasting. It feels really good to be able to pick and choose what you want to do and not have to grind like I did for 20 of the 36 years I’ve been out here.
I’m going to enjoy it because it’s really hard to enjoy the ride while you’re grinding. You miss out on so much and people don’t get it.
At the height of my career, my wife was sick and dying. I missed out on a lot of things because we were fighting for her life, which was more important than anything I was doing outside of my house. Now, some 14-15 years later, I’m in a different place. I’m still able to maintain a level of success and relevance. I’m enjoying every moment of it now because I get the opportunity to view it from a different perspective.
Gospel music icon CeCe Winans reigns as Billboard’s 2024 year-end top gospel artist.
Winans repeats as the leading woman from 2023 and moves up from No. 3 on the overall tally. Ye (formerly known as Kanye West), the leading artist for the past three years, shuffles to No. 3 and rules as the top male.
In the duo/group category, Maverick City Music is tops and No. 2 amongst all artists. The No. 1 new gospel act in the year-end tally is Victor Thompson.
Explore All of Billboard’s 2024 Year-End Charts
Billboard’s year-end music recaps represent aggregated metrics for each artist, title, label and music contributor on the weekly charts dated Oct. 28, 2023, through Oct. 19, 2024. The rankings for Luminate-based recaps reflect equivalent album units, airplay, sales or streaming during the weeks that the titles appeared on a respective chart during the tracking year. Any activity registered before or after a title’s chart run isn’t considered in these rankings. That methodology details, and the October-October time period, account for some of the difference between these lists and the calendar-year recaps that are independently compiled by Luminate.
Winans, who hails from Detroit and now resides in Brentwood, Tenn., is represented twice in the year-end top 10 gospel albums of 2024. At No. 3 is Believe For It: A Live Worship Experience, which led for seven frames on the weekly Top Gospel Albums chart starting in March 2021, but has remained in the weekly top five throughout all of 2024. More Than This is the No. 6 set on the Top Gospel Albums 2024 rundown.
That set entered at the Top Gospel Albums summit in May, becoming Winans’ 10th No. 1. Her run started in 1989 when CeCe and her brother Bebe Winans scored their first of two chart-toppers as a team when Heaven hit No. 1. The siblings’ other leader as a duo is Different Lifestyles (1991).
On the streaming, airplay and sales based Hot Gospel Songs survey Winans banked her third No. 1 when “That’s My King” began a length run atop the list in May. It spent 24 weeks atop the chart during the eligibility period. “That’s My King” is the No. 3 title of the leading Hot Gospel Songs of the year.
Billboard’s top gospel duo/group of 2024, and No. 2 among all acts is the Atlanta-based worship collective Maverick City Music. The popular outfit matches its rankings from 2022 and 2023.
Also, the year-end No. 1 title on Hot Gospel Songs is “Jireh,” Maverick City Music’s collaboration with Christian music collective Elevation Worship, along with Chandler Moore and Naomi Raine. The song debuted at No. 1 in April 2021 and spent the entire 2024 eligibility period locked in the weekly top three on Hot Gospel Songs.
Maverick City Music’s “In the Room,” with Chandler Moore and Naomi Raine and featuring Tasha Cobbs Leonard, is the No. 3 Hot Gospel Songs track of the year. “In the Room,” reached a high of No. 2 in October 2023, and has stayed in the top 3 ever since.
Maverick City Music’s third of three songs in the year-end top 10 is “God Problems,” a collaboration with Chandler Moore and Naomi Raine, which is the No. 6 Hot Gospel Songs title of ‘24.
Maverick City Music finished 2023 with the release of The Maverick Way Complete: Complete Vol. 2 with Chandler Moore and Naomi Raine. It arrived atop the weekly Top Gospel Albums list dated Nov. 11, 2023 (which places it within the 2024 chart year). It held through all of the 2024 chart year at Nos. 1 or 2. The set is No. 2 on the Top Gospel Albums recap for the year.
Old Church Basement, Maverick City Music’s collaborative project with Christian act Elevation Worship, ranks as the year’s No. 4 title on Top Gospel Albums. Basement, which opened at No. 1 on Top Gospel Albums in May 2021 and spent 17 frames at the summit, spent all of the 2024 chart year in the top 10.
The leading male gospel act of 2024 is Ye, mainly on the durability of his Donda and Jesus is King LPs. Donda ranks at No. 1 on the year-end Top Gospel Albums tally, and Jesus is King is No. 5.
Donda stormed atop Top Gospel Albums, plus the all-genre Billboard 200 as well as Top Christian Albums in September 2021 and been a consistent chart presence since. Donda has ruled Top Gospel Albums for a staggering count of over 140 frames, more than any other set since the survey lunched in 1983.
Ye’s 2019 LP, Jesus is King, is the second-longest running No. 1 title with more than 65 weeks in the penthouse.
The top new gospel artist of 2024 is Nigerian born Victor Thompson. He’s No. 13 among all acts.
Thompson’s “This Year (Blessings),” with Gunna and featuring Thompson’s brother and duo partner Ehis “D” Greatest, topped the weekly Hot Gospel Songs chart on Oct. 28, 2023 (the first week of the 2024 chart year).
“This Year” is the No. 5 Hot Gospel Songs title for 2024. It’s noteworthy that the song, originally released in January 2023, received a boost when rapper Gunna joined for a remix of the track that October.
The title spent five weeks at No. 1 and is Thompson’s lone chart entry to date.
