BGospel Insight – January 2026: 24 New Releases Generate 4M Views as Moses Bliss Dominates
January 2026 marked a significant month for gospel music with 24 new tracks entering the BGospel ranking system, collectively generating 4,048,941 total views. The data analyzed covers the period from January 1 to January 29, 2026, and represents tracks cataloged by BGospel Magazine. This report does not claim to represent 100% of all gospel music releases during this period, but rather focuses on monitored entries within the BGospel tracking infrastructure.
New Releases Performance Overview
The 24 new tracks released in January 2026 demonstrated varied performance metrics across positioning and engagement ratios. Average ratio indicators stood at 52.7% for short-term performance (CT 7-day), 54.2% for medium-term (MT 30-day), and 54.2% for long-term (LT 60-day) tracking periods. The collective 4 million views underscore sustained audience interest in fresh gospel content, though distribution remained concentrated among top performers.
Moses Bliss – With My Name [Laugh Last]
Released January 9, 2026, Moses Bliss’s “With My Name [Laugh Last]” dominated new releases with 2,347,780 total views, securing position #8 in the overall BGospel ranking. The track demonstrated strong engagement with a 63.3% CT ratio, rising to 65% across MT and LT periods, indicating sustained audience retention beyond initial discovery. This represents the highest-performing new entry by a substantial margin, accumulating nearly three times the views of the second-ranking new release.
Elevation Worship – SO BE IT
Elevation Worship’s “SO BE IT” featuring Tiffany Hudson and Chris Brown, released January 23, 2026, captured 846,494 total views and reached position #1 in the internal ranking. The track recorded ratios of 62.9% (CT), 63.7% (MT), and 63.7% (LT), demonstrating consistent engagement patterns. Despite its recent release date, the track achieved top positioning within eight days of publication, reflecting strong institutional backing and established audience base.
Phil Wickham & Crowder – It Really Is Amazing Grace
Phil Wickham’s collaboration with Crowder, published January 23, 2026, accumulated 278,816 views and positioned at #13. However, engagement ratios revealed challenges: 24.3% CT ratio increased to 36.6% for MT and LT periods, suggesting slower audience adoption compared to top performers. The nine-day tracking period showed declining trend indicators, warranting closer monitoring of long-term trajectory.
Truthful Sessions – Ben Fuller “Walk With Me”
Released January 1, 2026, Ben Fuller’s “Walk With Me” generated 126,744 views at position #123. Engagement ratios demonstrated improvement over time: 65% CT, rising to 73.8% for MT and LT periods. This upward trajectory indicates organic growth and sustained interest despite lower absolute view counts, suggesting niche audience cultivation rather than mass appeal.
CeCe Winans – For Your Glory
CeCe Winans’ contribution to the House of David Season 2 soundtrack, released January 9, 2026, recorded 74,876 views at position #127. The track exhibited concerning ratios: 23.5% CT expanding only to 28.8% for MT and LT periods. These figures represent the lowest engagement metrics among analyzed new releases, indicating potential audience mismatch or insufficient promotional momentum despite the artist’s established reputation.
Jermaine Edwards – Still Here
Jamaican artist Jermaine Edwards released “Still Here” on January 9, 2026, achieving 61,160 views and position #32. The track recorded exceptional engagement ratios of 76.7% CT, climbing to 82.5% for MT and LT periods—the highest retention metrics among new releases. This performance demonstrates strong connection with target demographics and suggests sustainable growth potential with proper strategic support.
Limoblaze – God Did It
Released January 16, 2026, Limoblaze’s “God Did It” accumulated 48,608 views at position #109 with stable 50% ratios across all tracking periods. The consistent metrics indicate baseline performance without significant viral momentum or decline, representing steady but unremarkable audience engagement typical of mid-tier releases.
Sara Ellen – J’appartiens a Jesus
Haitian artist Sara Ellen’s French-language track “J’appartiens a Jesus,” released January 25, 2026, generated 36,765 views at position #132. With only one day of tracking data yielding 50% ratios, comprehensive performance assessment remains premature. The track’s linguistic specificity targets francophone Caribbean and African markets, potentially limiting broader crossover appeal.
Sherwin Gardner – Good Things On The Way
Caribbean gospel artist Sherwin Gardner’s release from January 16, 2026, recorded 36,059 views at position #133 with 50% baseline ratios. Single-day tracking data prevents meaningful trend analysis, though positioning within top 150 suggests moderate initial reception within regional gospel circuits.
Jon Reddick – The Way
Jon Reddick’s “The Way,” published January 7, 2026, achieved 28,088 views at position #265 despite recording strong 76.7% ratios across all periods. The five-day tracking window showed upward trend indicators, suggesting delayed discovery rather than weak content. Position-to-engagement ratio disparity indicates potential algorithmic suppression or limited promotional reach.
We The Kingdom – Easy
Released January 12, 2026, “Easy” garnered 27,039 views at position #278 with 65% ratios maintained across four-day tracking. Initial position at #184 improved over tracking period, indicating positive momentum despite modest absolute figures.
EeZee Global – Esther Oji “Chief Commander”
Nigerian label EeZee Global’s release featuring Esther Oji accumulated 26,587 views from January 24 release at position #157. Single-day data with 50% baseline ratios prevents substantive analysis beyond noting moderate initial placement.
Delana Hope – God of My Broken Pieces
Published January 6, 2026, this track recorded 24,124 views at position #289 with exceptional 76.7% engagement ratios across five tracking days. Strong retention metrics coupled with upward trend indicators suggest grassroots audience building with potential for sustained growth.
SteveHills – SING HALLELUJAH
Released January 12, 2026, this track achieved 24,063 views at position #163 with 50% baseline ratios. Single-day tracking limits analysis, though mid-range positioning indicates moderate initial reception.
Worship Together – Mighty Name of Jesus
The Belonging Co’s collaboration through Worship Together, released January 6, 2026, recorded 20,597 views at position #282. Ratios of 53.3% remained stable across five tracking days, indicating neither significant momentum nor decline within niche worship segment.
Tim Godfrey – TITD (This Is The Day)
Nigerian artist Tim Godfrey’s January 1 release accumulated 15,098 views at position #485 with concerning 28% ratios across seven tracking days. Declining trend indicators combined with low engagement suggest content misalignment or market saturation issues requiring strategic reassessment.
Kingdom Echo Rhythm – REVIVAL
Released January 16, 2026, this track generated 14,849 views at position #204 with 50% baseline ratios. Limited tracking data prevents comprehensive evaluation beyond noting placement within top 250.
TRIBL – Authority (MARi Burelle)
TRIBL Records’ January 23 release featuring MARi Burelle recorded 6,564 views at position #287. Single-day baseline metrics offer insufficient data for meaningful analysis.
AIDEE IME – YHWH
Published January 23, 2026, this track featuring Dasola Akinbule achieved 4,630 views at position #332. Single-day tracking with 50% ratios indicates low initial visibility requiring extended monitoring.
Tracks with Zero Reported Views
Four tracks—Terrian‘s “Oasis Of Hope” (#142), Lecrae‘s “My Everything” (#78), Katy Nichole‘s “Have Your Way” (#164), and Matthew West‘s “Good” (#160)—registered zero views despite internal positioning. This anomaly suggests either data collection irregularities, unlisted video status, or recent uploads not yet reflected in tracking systems. These entries warrant verification of publication status and tracking methodology.
Top 25 Monthly Chart Analysis
The January 2026 Top 25 chart accumulated 30,712,234 views across four weeks (W01-W04), averaging 1,228,489 views per track. Zero new entries penetrated the Top 25, indicating established content dominance and high barrier to entry for fresh releases.
Phil Wickham – What An Awesome God (Sunset Walk)
Phil Wickham’s “Sunset Walk” version maintained #1 position throughout January with 2,551,547 four-week views, bringing cumulative total to 26,864,765. Weekly performance showed: W01 (882,547 views), W02 (634,883), W03 (233,236). The declining weekly trend from peak to trough represents normal decay patterns for established content, though track retained top position through superior historical performance base.
CeCe Winans – Come Jesus Come
CeCe Winans’ official video held #2 with 2,468,953 four-week views, reaching 77,143,931 cumulative. Weekly breakdown: W02 (671,181), W03 (505,474), W04 (683,784). The W04 rebound after W02-W03 decline suggests promotional push or algorithmic boost, demonstrating non-linear engagement patterns for legacy content.
GAISE BABA & LAWRENCE OYOR – NO TURNING BACK II
This Nigerian collaboration secured #3 with 2,415,193 four-week views, totaling 47,437,782 cumulative. Weekly progression: W02 (744,159), W03 (608,409), W04 (193,975). Consistent decline across weeks indicates natural engagement decay without fresh promotional intervention, though absolute figures remain substantial.
Lauren Daigle – You Say
Lauren Daigle’s established hit ranked #4 with 1,874,399 four-week views, reaching 390,412,771 cumulative—the highest total views in the entire ranking. Weekly performance remained stable: W02 (514,330), W03 (379,853), W04 (522,899). The track’s longevity demonstrates enduring catalog strength despite being several years old.
Moses Bliss – With My Name [Laugh Last]
As previously detailed, this January 9 release achieved #5 with 1,763,911 four-week views. Notable weekly progression: W03 (863,415), W04 (900,496), demonstrating acceleration rather than typical new release decline. This pattern indicates viral momentum or strategic promotional timing.
Tim Godfrey & Fearless Community – My Daddy
Nigerian artist Tim Godfrey’s track held #6 with 1,546,047 four-week views, totaling 20,214,215 cumulative. Weekly figures: W02 (390,650), W03 (320,605), W04 (428,521). The W04 rebound suggests renewed promotional activity or playlist inclusion reversing earlier decline.
Tim Godfrey ft Travis Greene – Nara
The collaboration remained at #7 with 1,457,597 four-week views, reaching 167,938,728 cumulative. Weekly consistency: W02 (466,688), W03 (383,223), maintained stable decline trajectory typical of mature catalog content.
Elevation Worship – Jesus Be The Name
Featuring Tiffany Hudson, this track secured #8 with 1,454,273 four-week views, totaling 6,809,386 cumulative. Weekly progression: W02 (496,892), W03 (387,521), W04 (156,722). Accelerating decline pattern suggests promotional window closing, requiring strategic intervention to maintain positioning.
Naomi Raine – God Will Work It Out
Naomi Raine’s live video ranked #9 with 1,321,611 four-week views, reaching 12,074,963 cumulative. Steady weekly performance: W02 (349,104), W03 (267,715), W04 (363,142). The W04 recovery indicates sustained organic interest beyond initial release hype.
Casting Crowns – Nobody ft Matthew West
This collaboration held #10 with 1,257,799 four-week views, totaling 159,979,558 cumulative. Weekly figures: W02 (431,036), W03 (327,163) demonstrated typical established content decay patterns.
Moses Bliss – You Are Great
Moses Bliss’ second track in Top 25 achieved #11 with 1,254,143 four-week views, reaching 34,152,734 cumulative. Weekly performance: W02 (324,536), W03 (252,176), W04 (329,243). The W04 rebound combined with “With My Name” success demonstrates Moses Bliss’ market dominance.
Mercy Chinwo – Obinasom & My Lover
Nigerian artist Mercy Chinwo placed two tracks in Top 25. “Obinasom” ranked #12 with 1,247,266 four-week views (90,339,669 cumulative), while “My Lover” reached #13 with 1,011,026 views (17,416,388 cumulative). Both tracks maintained stable weekly performance, indicating sustained fanbase engagement.
Ada Ehi – Congratulations ft Buchi
Nigerian artist Ada Ehi’s collaboration secured #14 with 980,491 four-week views, totaling 81,309,928 cumulative. Consistent weekly figures reflect mature catalog status with dedicated audience base.
Katy Nichole – In Jesus Name (God of Possible)
This track held #15 with 941,929 four-week views, reaching 82,734,084 cumulative. Stable weekly performance indicates enduring radio and playlist support maintaining baseline visibility.
Positions #16-25 Analysis
Remaining Top 25 positions featured established catalog tracks with four-week view ranges from 652,256 to 837,831. Notable inclusions: Sounds of Salem’s “Promise Keeper” (#16), Phil Wickham’s standard “What An Awesome God” version (#17), Forrest Frank‘s dual entries “GOD IS GOOD” (#18) and “SUNRISE” (#23), Kirk Franklin‘s “I Smile” (#19), Tasha Cobbs Leonard‘s “Your Spirit” (#20), and several African gospel representatives including Mercy Chinwo’s “Excess Love” (#22) and Jimmy D Psalmist‘s “MIGHTY MAN OF WAR” (#25).
Artist Dominance Analysis
January 2026 revealed concentrated market control among select artists placing multiple tracks in Top 25 and new releases.
Moses Bliss emerged as the dominant force with two Top 25 placements (#5, #11) plus the highest-performing new release. Combined four-week views of 3,018,054 across both tracks represent 9.8% of total Top 25 views from a single artist—unprecedented concentration suggesting strategic content rollout and strong institutional partnerships.
Mercy Chinwo maintained presence with two Top 25 tracks plus one legacy track, accumulating 2,258,292 combined four-week views (7.4% of Top 25 total). This sustained performance demonstrates catalog strength and consistent audience engagement within Nigerian gospel markets.
Phil Wickham achieved dual Top 25 placement with both “Sunset Walk” version (#1) and standard version (#17), totaling 3,379,680 combined views (11% of Top 25). Additionally, his Crowder collaboration entered as the third-highest new release, establishing Phil Wickham as January’s most visible Western gospel artist.
Tim Godfrey secured two Top 25 positions (#6, #7) with combined 3,003,644 views (9.8% of Top 25), matching Moses Bliss’ concentration. However, his new release “TITD” underperformed significantly, indicating potential market saturation or content fatigue requiring strategic recalibration.
Elevation Worship placed one legacy track (#8) while launching the second-highest new release, demonstrating institutional capacity to maintain chart presence across catalog and new content cycles.
Legacy Tracks Analysis
Five tracks with cumulative views exceeding 150 million maintained Top 25 positions throughout January, demonstrating exceptional longevity.
Lauren Daigle – You Say
At 390,412,771 cumulative views, “You Say” remains the highest-viewed track in BGospel tracking history. January’s 1,874,399 four-week views represent 0.48% growth—modest but consistent for content several years post-release. Peak position #3 during January indicates enduring playlist and radio support maintaining visibility despite catalog status.
Tasha Cobbs Leonard – Your Spirit ft Kierra Sheard
With 218,032,976 cumulative views, this track added 704,080 views across January’s four weeks (0.32% growth). Peak position #15 reflects mid-tier placement for legacy content, sustained primarily through worship playlist inclusions and church service usage.
Tim Godfrey – Nara ft Travis Greene
Accumulating 167,938,728 cumulative views, “Nara” added 1,457,597 January views (0.87% growth)—the highest growth rate among mega-catalog tracks. Peak position #5 demonstrates this African gospel collaboration maintains stronger momentum than Western counterparts of similar age.
Kirk Franklin – I Smile
At 167,717,847 cumulative views, this established classic added 706,339 January views (0.42% growth). Peak position #16 reflects mature catalog status with baseline church and inspirational playlist support preventing significant positioning decline.
Casting Crowns – Nobody ft Matthew West
Reaching 159,979,558 cumulative views, this track added 1,257,799 January views (0.79% growth). Peak position #7 indicates stronger promotional support or algorithmic favor compared to similar-aged content, warranting investigation into sustainable catalog maintenance strategies.
YouTube Daily View Corrections Analysis
YouTube’s algorithmic view validation system creates daily fluctuations in reported view counts, visible through “Tendance vs veille” (day-over-day trend) data. Analysis of top five new releases from January 24-31, 2026, reveals correction patterns with strategic implications.
Moses Bliss – With My Name [Laugh Last]
Daily view tracking revealed significant volatility: January 25 (+81,552 from zero baseline), January 26 (-2,470 correction), January 27 (+22,173 spike), January 28 (-6,573 correction), January 29 (-29,263 major correction), January 30 (+3,752 recovery), January 31 (+26,613 surge). The January 29 correction of -29,263 views represents YouTube’s largest single-day adjustment, likely indicating bot traffic identification or regional view validation failures. Artists should monitor such corrections as indicators of inorganic engagement requiring traffic source auditing.
Elevation Worship – SO BE IT
Daily performance showed sustained growth with minor corrections: January 25 (+113,633 baseline), January 26 (+1,534), January 27 (-260 minor correction), January 28 (+5,084), January 29 (+5,086), January 30 (+11,546 acceleration), January 31 (-15,527 correction). The pattern indicates primarily organic growth with minimal bot activity, though January 31 correction suggests promotional campaign end or playlist removal triggering validation reassessment.
Phil Wickham & Crowder – It Really Is Amazing Grace
Daily tracking revealed declining momentum: January 26 (+48,928 baseline), January 27 (+2,418), January 28 (-1,741 correction), January 29 (-5,543 correction), January 30 (-2,786 correction), January 31 (+2,323 slight recovery). Consecutive corrections from January 28-30 totaling -10,070 views suggest YouTube identified questionable traffic sources or the track failed to maintain algorithmic recommendation momentum. Artists facing similar patterns should evaluate content retention metrics and promotional authenticity.
Truthful Sessions – Ben Fuller “Walk With Me”
Daily figures showed organic growth pattern: January 25 (+3,136 baseline), January 26 (+558), January 27 (+787), January 28 (+721), January 29 (-140 minor correction), January 30 (+134), January 31 (-281 correction). Minimal corrections relative to view counts indicate high-quality, organic traffic—the ideal pattern artists should cultivate. Growth remains modest but sustainable.
CeCe Winans – For Your Glory
Daily data revealed declining engagement: January 25 (+6,339 baseline), January 26 (-3,579 significant correction), January 27 (+1,004), January 28 (-1,667 correction), January 29 (-555 correction), January 30 (-362 correction), January 31 (-143 correction). The January 26 correction of -3,579 (56% of previous day’s views) indicates YouTube flagged substantial questionable traffic. Consecutive daily corrections thereafter suggest ongoing validation issues or genuine audience disinterest. This pattern requires immediate strategic intervention.
Cross-Track Comparison and Recommendations
Comparing correction patterns reveals quality hierarchies. Elevation Worship and Truthful Sessions exhibited minimal corrections relative to absolute views, indicating organic audience building. Moses Bliss experienced larger absolute corrections but maintained net positive trajectory, suggesting mixed traffic quality requiring optimization. Phil Wickham and CeCe Winans showed concerning correction-to-growth ratios indicating promotional strategy reassessment needs.
Recommendation for Artists: Daily view corrections exceeding 10% of previous day’s total warrant traffic source auditing. Consecutive multi-day corrections indicate systemic issues requiring promotional partner evaluation. Organic growth with minimal corrections, even if slower, proves more sustainable than rapid growth with high correction rates, as YouTube’s algorithm increasingly penalizes inorganic engagement in recommendation systems.
Trend Synthesis
January 2026 gospel music landscape demonstrated several critical patterns. New release penetration of established charts remains exceptionally difficult, with zero Top 25 entries despite 24 new tracks. Moses Bliss’ dual Top 25 presence combined with dominant new release performance indicates strategic content timing and strong institutional backing as prerequisites for breaking into elite rankings.
African gospel artists (Moses Bliss, Tim Godfrey, Mercy Chinwo, Ada Ehi, Gaise Baba, Lawrence Oyor, Jimmy D Psalmist) comprised 44% of Top 25 positions, demonstrating sustained market strength and audience engagement exceeding many Western releases. This geographic shift warrants increased attention from industry observers and strategic planners.
Engagement ratio analysis revealed wide performance variance among new releases, from CeCe Winans’ concerning 23.5-28.8% ratios to Jermaine Edwards’ exceptional 76.7-82.5% retention. These metrics provide more accurate long-term viability indicators than initial view counts alone, suggesting artists and labels should prioritize audience retention strategies over vanity metrics.
YouTube’s view correction patterns highlighted growing platform sophistication in identifying inorganic traffic, with immediate strategic implications for promotional campaign planning and execution. The correlation between correction frequency and algorithmic suppression requires further monitoring but suggests platform penalties extend beyond simply removing invalid views.
