France’s Catholic influencers drive digital revival and youth engagement ahead of papal visit

Before Pope Leo XIV arrives in Paris on September 25 and 26 for the opening leg of his four-day apostolic tour, hundreds of thousands of supporters have already registered to attend his events. The pontiff will visit the capital before proceeding to Lourdes and Metz, but significant excitement is centered on a prayer vigil at the Stade de France on the evening of September 25. The event, targeted at individuals aged 17 to 35, follows Beyoncé’s performance at the venue last year and saw tens of thousands of free tickets claimed within an hour of registration opening.

This digital enthusiasm mirrors broader trends in French Catholicism. Although the number of ordained priests has plummeted from 65,000 in 1960 to 12,000 in 2023, adult and teenage baptisms have surged from just under 6,000 in 2022 to more than 21,000 in 2026. Experts attribute part of this resurgence to a growing community of Catholic content creators on social media platforms.

Dominican monk Paul-Adrien exemplifies this modern approach. Operating from a studio decorated with neon lights, brick wallpaper, and religious iconography, he produces videos featuring flashy edits and memes to discuss topics ranging from artificial intelligence to masturbation. With 678,000 YouTube subscribers, 404,000 TikTok followers, and 383,000 Instagram followers, he has successfully adapted traditional messaging for digital audiences.

David Douyère, a professor at the University of Tours specializing in religious communications, notes that influencers have contributed significantly to a renewed interest in the Church. A La Croix investigation revealed that one in five adults baptized in 2025 cited influencers as a factor in their decision to convert. While these figures present a modern image, Douyère observes that their underlying content remains strictly traditional.

Sister Albertine of the Chemin Neuf community initially started posting to dispel stereotypes about monastic life but expanded her focus to answer questions about the Christian faith. Despite her popularity, she insists she did not enter the convent for fame and does not monitor her statistics. Similarly, Father Benoît Pouzin, a priest in southwest France, uses TikTok and Instagram to share prayers and educational content. He emphasizes that while he meets followers online, his ultimate goal is to encourage them to leave social media and connect with their local parish in person.

The Church’s embrace of digital media dates back to Pope John Paul II’s 2002 proclamation of the internet as a new forum for the Gospel. In France, early efforts included the Padre blog launched in 2007. The use of social media accelerated during the COVID-19 pandemic when lockdowns prevented public Masses. This shift was formally recognized last year when the Vatican invited approximately 1,000 “digital missionaries” to Rome for an event coinciding with the Youth Jubilee.

However, tensions persist. Douyère highlights a conflict between the Church’s hierarchical nature and the influencer model, which grants legitimacy based on follower count rather than institutional mandate. While the Vatican acknowledges the motivational power of these creators, it warns against the division and polarization they can cause.

The political landscape of these influencers also leans heavily conservative. Progressive voices are nearly absent from the top tier of Catholic creators. Former priest Matthieu Jasseron, who amassed over a million TikTok followers, left the priesthood in 2024 after facing backlash for content supporting LGBTQ+ acceptance. Current popular influencers tend to reject progressive interpretations of scripture, opposing abortion, assisted dying, and sex outside marriage.

Some creators have engaged with far-right figures. Paul-Adrien recently hosted traditionalist priest Matthieu Raffray, who has proposed turning France into a Catholic state and is favored by anti-migrant youth groups. Douyère characterizes the framework used by these influencers as non-political in presentation but extremely traditional and anti-progressive in substance.