The Christian Celebrity Music Industry is Run by Satan.

There, I said it. In the title of this article. That isn’t hyperbole, it’s the only explanation left after watching how this machine churns. Hillsong sold itself as a worship powerhouse while its leadership gorged on money laundering, tax evasion, and lavish “gifts” hidden from view.

Brian Houston, the CEO, was caught up in scandal after scandal while NYC lead pastor, Carl Lentz, fell in a string of sexual scandals, parading celebrity friendship as a cover for his own collapse.

These are not one-off embarrassments. They are symptoms of an industry where fame and fortune masquerade as worship, and the sheep are left bloodied while the shepherds are drunk on applause.

And this is not some fringe corner of charismatic excess, either. It is the beating heart of modern Christian music. The very songs that reverberate through Sunday sanctuaries are often written in the boardrooms of a celebrity cult. They speak the name of Christ but serve Mammon and Baal.

While Hillsong is old news, and has been exposed again and again over the decades, there is nevery anything new under the sun. Today, we see this unfolding again under the bright lights and smoke machines of Maverick City Music. “Gospel artists” like Kirk Franklin now spend their careers hopping from one collaboration to another with the foulest mouths the hip-hop industry can offer.

Last year, Franklin partnered with GloRilla, a rapper whose lyrics glorify fornication, vulgarity, and rebellion against God, and then dares to slap God’s name over the whole charade. This is the same Kirk Franklin who apologized for the church’s “hurtful” stance on LGBTQ sin and danced with Kamala Harris at the White House while she championed abortion as a sacrament.

And standing shoulder to shoulder with him are the darlings of Maverick City. They claim they are “bringing God into new spaces,” but what they are really doing is baptizing filth. Their collaborations aren’t about gospel witness—they are about extending their brand.

So, when the church raises a legitimate concern—asking why a worship collective would lend its credibility to lyrics about fornication and debauchery—the response is not repentance. It is Maverick City’s “gospel” artist, Naomi Raine, dismissing us all as “racists.”

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