Afro-Gospel has been finding its way back into the Nigerian mainstream over the last few years. Gaise Baba’s “No Turning Back” in 2025, plus the rising profiles of artistes like Anendlessocean and Greatman Takit, have opened the door for gospel music that doesn’t have to sound like the old church ballads. More and more, the genre is making room for rhythms and production that sit comfortably inside Nigeria’s wider pop sound.

Bhablo, born Olamide Babalola Amoko, is one of the voices exploring that space. He’s a songwriter and producer as well as an Afro-Gospel artiste, and he brings a real sense of movement to the music. On his EP, “God’s Time”, he refuses to stay stuck in the stillness of traditional worship.

The title itself carries weight in Nigeria. Beyond the religious meaning, “God’s time” has become everyday language, something people say to explain delays, keep hope alive, or reassure themselves while waiting for a breakthrough. Bhablo builds the entire project around that familiar idea, moving through songs about hope, dependence on God, praise, and destiny.

He opens with “Hope,” a track that immediately sets the emotional tone. “We don’t look like what we are going through / Because we have hope in God,” he sings, turning the song into a quiet affirmation of endurance. There’s a personal edge too: “Only me know where I come from / Only me know where my shoe hurts,” before he insists that even in difficulty, “we shall shine.” Towards the end, the song strips itself bare, the beat and instruments drop out, leaving Bhablo alone with the chorus in a short acappella moment before it fades.

“In Your Hands” stays in that posture of surrender. Bhablo sings, “Baba save me from this trials I’m facing / Baba mimo, as I walk through the valley of death, I will fear no evil,” pulling straight from Psalm 23 and placing the familiar image in a Nigerian context. The Yoruba refrain, “Odowore, Oba mimo, Odowore oh, Olodumare”, roughly means “It is now in your hands, Holy King,” and drives home the idea of handing over uncertainty. Musically it sits in a mid-tempo groove, with log drums carrying a lot of the rhythm.

If “In Your Hands” feels measured, “Olorun Mimo” is where the EP really lets go. It’s the liveliest track on the project. It starts with soft, pensive keyboard chords before Bhablo comes in with “Olorun mimo, ologo didan, oba mi tomo, emi mimo.” Then the tempo lifts and the production opens up into a high-energy groove that mixes EDM elements with a talking drum. That contrast between the reflective start and the rush that follows makes the song magnetic. It feels almost rave-coded without losing its worship purpose.

The EP closes with “Ori,” featuring J ZAMAR and Mirell. The slower tempo gives the project a more contemplative ending. In Yoruba cosmology, “orí” (literally “head”) carries deeper meaning, it speaks to destiny, spiritual intuition, and personal divinity. Bhablo draws from that idea as he sings about his orí, asking it to fight for him and clear a path.

The song sits on a slow highlife groove, opening with a flute-like solo before settling into its reflective pace. J ZAMAR and Mirell’s contributions blend in naturally and keep the prayerful feel. After songs about surviving hard times, trusting God, and finding reasons to praise, “Ori” feels like the right closing prayer.

Across “God’s Time”, Bhablo is strongest when he turns familiar Nigerian expressions of faith into personal statements. His writing stays direct and accessible, drawing from scripture, Yoruba spirituality, and everyday language without sounding preachy. The messaging stays tightly tied to the title. Each song approaches “God’s time” from a different angle: hope on “Hope,” surrender on “In Your Hands,” praise on “Olorun Mimo,” and destiny on “Ori.” Together they form a clear spiritual arc about the uncertainty of waiting and the belief that there’s purpose in it.

That cohesion is helped by the fact that Bhablo produced every track himself. It gives the EP a consistent sound while still letting him move between restrained moments, mid-tempo grooves, highlife, and more electronic, rave-leaning production. “Olorun Mimo” in particular feels like a song that could travel beyond the project. Its mix of EDM textures, log drums, and talking drum arrives at an interesting time for Nigerian gospel, as the gospel rave sound slowly gains ground.

Regardless of what he does next, first-time listeners will find real depth and emotion here. Bhablo writes from a distinctly Nigerian spiritual place, but he dresses those ideas in production that speaks to modern ears. As both songwriter and producer, he shows a clear instinct for turning faith into rhythm. Across these four songs he builds a project whose message is as consistent as its sound: waiting can be hard, but there’s still reason to hope, praise, and keep moving.