As its momentum has dissipated, Hillsong’s place within the Contemporary Congregational Song (CCS) industry has been irrevocably altered, writes Daniel Thornton (Alphacrucis College, NSW, Australia) in the journal Religions (March 27). For decades, Hillsong was the dominant producer of the contemporary worship music used in churches worldwide. By 2017, it had managed to become a global movement with over 100,000 adherents across 15 countries, and its worship music was adopted far beyond its ranks. Hillsong songs were sung weekly by an estimated 50 million people in 60 languages. The songs featured strong metaphors and poetic imagery that resonated with believers at both theological and personal levels. All songs had simple, singable choruses with a limited vocal range and repetitive rhythms.
Starting in 2020, the global Hillsong movement began facing significant challenges. Multiple scandals emerged, and documentaries such as “Hillsong: A Megachurch Exposed” and “The Secrets of Hillsong” brought negative media attention. Churches left the movement, and attendance dropped at local Hillsong churches. By 2021, Hillsong stopped actively recording new CCS. As its influence waned, other producers emerged to fill the void, such as Elevation Worship (based out of Elevation Church in Charlotte, NC), with their 2020 release “The Blessing” becoming a global anthem during the Covid-19 lockdowns, and also Maverick City Music. Individual artists also emerged, like Charity Gayle (“I Speak Jesus”), David Brymer (“Worthy of It All”), and Phil Wickham (album “Hymn of Heaven”). While Hillsong might reenter the CCS market, competition has increased and audience attention has shifted elsewhere. This is also part of a natural development in church music, however, as the genre continues to evolve as churches seek fresh ways to express their worship.
(Religions, https://www.mdpi.com/2077-1444/16/4/427)
