Christian Music Wasn't Safer-It was Marketed Better

Growing up in evangelical culture, Christian music was sold to us as the “safe alternative.”

James Dobson warned that secular music glorified sex, drugs, rebellion, and Satan. Meanwhile, Christian Contemporary Music (CCM) promised a cleaner version of the same thing: catchy melodies, stadium tours, and emotional highs, minus the cursing and crop tops.

Parents were okay with us listening to DC Talk and Jars of Clay. Youth leaders even used Newsboys songs during altar calls. I recall creating mix CDs for church camp that combined “In the Light” by DC Talk with Tupac and Blink-182—part rebellion, part shame, and part worship. That’s how many of us learned to separate our music and our identities.

We were told that Christian music was holy.

In reality, it was heavily branded.

Now that we’re adults—and many of us are trying to unlearn what we were taught—it's becoming clear that CCM wasn't spiritually safer. It was just sold that way.

Christian Music Is an Industry—Not a Ministry

One of the biggest misconceptions about Christian music is that it’s a ministry. However, for most signed artists, it’s a business.

CCM is driven by profit, image, and strategic branding, just like the mainstream music industry. The key difference? It disguises itself in spiritual language, claiming the product is sacred, which grants it a sort of moral immunity.

That means:

• Worship songs are strategically written to appeal to the widest church audience.

• Testimonies are shared as part of marketing rollouts

• Artists are expected to maintain a specific image: broken, but never too broken; relatable, but still God-honoring

It’s not inherently wrong to sell music. However, when a genre claims to be morally superior while employing the same manipulative tools as mainstream entertainment, it becomes a problem, especially when that moral image is used to shield artists from accountability.

The Allegations Against Michael Tait

If you grew up on DC Talk or the Newsboys, the recent allegations against Michael Tait hit hard, but not surprisingly.

Multiple individuals have come forward, accusing Tait of sexual misconduct, grooming, and substance abuse, according to The Roys Report. Some of the alleged incidents go back as far as 2004. These aren't vague or isolated stories; they're detailed, serious claims that highlight a broader problem in CCM: the abuse of power and platform without proper oversight.

What’s even more disturbing is that industry insiders have admitted to hearing rumors about this for years.

Yet, Tait remained on tour. Albums were released, and radio stations played his music. Churches continued to book the Newsboys for youth conferences. For two decades, the machine continued to run.

That’s not because no one knew.

It’s because no one wanted to risk the brand.

Why the Industry Protects Itself

Christian music often relies on trust. When an artist thanks God from the stage or prays with the audience, we’re taught to believe them. And that trust is rarely questioned.

That’s how the “God card” works.

• Say God told you to write the song.

• Say God helped you overcome your past.

• Say you’re doing it for the Kingdom.

In most Christian spaces, that language is enough to shut down scrutiny. Calling out toxic behavior becomes “being divisive.” Holding leaders accountable becomes “hurting your witness.”

This makes CCM a perfect environment for manipulation and cover-ups. When people assume you're above reproach, it’s easy to stay protected, especially when you’re making money for the industry.

Christian Music Didn’t Protect Us—It Marketed a Fantasy

As teenagers, many of us held onto Christian music because we were led to believe it would bring us closer to God, help us fight temptation, and protect our hearts. However, in truth, it provided us with a carefully curated version of faith that was easy to consume.

It wasn’t meant to support us—it was created to make money from us.

Even though some Christian artists are genuine, the system itself is rooted in performance. It's not just about musical talent, but also about upholding specific moral standards. What goes on behind the scenes often involves secrecy, control, and keeping quiet.

Even today, as more Christian radio stations quietly stop playing Newsboys songs, there’s still no major reckoning. Instead, there's just hesitation, damage control, and a fear of backlash.

The Illusion Is Breaking, there’s a crack in the stained glass- and that’s a good thing.

What’s happening now goes beyond just one person. It’s about an entire industry that peddled spiritual authority without being held accountable. An industry that claimed it was safe while covering up the same kinds of abuse we see everywhere else.

It’s tough to acknowledge that the music we grew up with wasn’t as innocent as it appeared. But it’s essential to face the truth.

Illusions can only shield us for so long. Eventually, they shatter.

And when they do, we're left to see what was real and what wasn’t.

Christian music wasn’t sacred.

But the truth can be.

If this resonates with you, consider subscribing. I write about the intersections of faith, politics, the deconstruction movement, and what happens when we begin to tell the truth, especially when the church refuses to do so.