Abstract
Australia’s popular music charts are not dominated by Australian music. However, in the popular music subgenre, contemporary congregational songs, a single Australian producer has a disproportionately high chart presence compared to international producers: Hillsong Music. This article offers an exploration of and explanation for this anomaly. It examines the extra musical and musical/lyrical components contributing to Hillsong Music’s dominance in the field based on a music semiological approach. Comparisons are made with the international competition within the genre, based on church usage. Finally, this article proposes ways of understanding Hillsong Music within the context of the contemporary congregational song genre both nationally and globally.
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