Gospel music in Britain is categorised in what would be considered a niche market. We know only too well from glimpses of outstanding performances on mainstream TV talent shows that something else lies beneath.

That something else is talent and diversity in terms of musical styles.

A potentially huge commercial market exists if you break it down to its basic ingredients such as churchgoers and members of mainstream music that appreciate the entertainment aspect of Gospel music.

Unfortunately, as my school report used to read, ‘needs to translate potential to results’.

At a recent music industry networking event I found myself within a small circle of PR…Public Relations people.

The conversation ebbed and flowed between champagne top ups but a common theme seemed to be that maybe the poor sales of Gospel could be associated with how it is perceived. But then, wouldn’t you expect a PR animal to say that?

Gospel thrives in America for so many reasons but why can’t we just cut and paste their success to the UK?

Maybe it is a bit more complex than we would think. Gospel artists with aspirations to break into the UK mainstream music charts perhaps should dig deep, break their piggy banks and take on the services of the PR Brigade.

Any hard working music artist will tell you that it takes a bit more than singing and playing your tracks in order to get your music out there.

Maybe it is time for British Black Gospel music to undergo a radical makeover.

Steve Alexander Smith (Author: British Black Gospel)

Article as first published on MOBO.com