The dramatic spoken word that begins Omowunmi Esther Oyeleke’s “The Glorious God” kickstarts an ambience that ushers in a feeling of serenity and serendipity which soaks the listener in every portion of the song. The crux of her Christian Worship melody remains the ability to connect with listeners towards an esoteric objective — in this case, to commune with God; and this song thrives, first, for its ability to signal that strong sacredness in its composition.
The song spins off with a brief verse that showcases Omowunmi’s expertise as a contralto, tucking in emphasis in every cadence she employs, whether soft as is in the pre-hooks and deeper as is in the chorus and verses. This original composition brings to mind the masterpieces of other Christian musicians like Aretha Franklin, especially Franklin’s “Amazing Grace” rendition, among others, and this vocal dexterity echoes her position as a talented chanteuse. Nonetheless, the work of her producers Daizak and X_tee, as well as her guitarists Enoch Owuraki Kissi, and Joseph Darko Wilson, drummer Emmanuel Bludo, Pianist Isaac Ogbotor, and mastering engineers Francis Kweku Osei and Samuel Yeboah, also, technically complement her singing to achieve the cathartic experience it unlocks. In every way, her singing engages the listener, soaking them deeper in the transcendental atmosphere that Christian Worship songs aim to create.
Also, just right at the second verse, she repeats the chorus: “We exalt you above other gods. Glorious God, that is who you are,” multiple times before introducing “her favourite part”, which served as the song’s refrain. While doing this, she combined multiple pitch tweaks, where she added melodic variants like grace notes and glissandos, creating a refreshed experience of the chorus with each repetition. Again, this is typical of Christian Worship songs as is seen on other songs from Aretha Franklin like “Respect” and on another recent favourite of this writer, titled “Favour” by Lawrence Oyor.
On the song, Omowunmi’s use of stylistic devices, including spoken word poetry in the intro, “The Almighty God/ The all-sufficient God/ The wonderful God/ The Marvellous God/ We have just come to say You are the Glorious God,” and her spoken commentary where she quips, “This is my favourite part,” just before the refrain, all contribute to the song’s conversational and engaging nature.
The song’s simple lyricism, thriving for their easy recall, accentuates its delivery. Nonetheless, the lyrics when paired with the melodies, with the gentle percussion and piano chords during the verses, feel like butter on bread. Still, Omowunmi’s demurity takes its quiet power from the complex melodic composition, as the bass guitars, backing vocals and raised percussion pitch all combine like cardinal points within the song to point to its emotive and cathartic direction. In other words, she evokes tension with the melodies, while her lyricism and singing stretch the boundaries of the delivery, which soars for its energetic and emotionally charged expression.
A powerful rendition, with only subtle transitional flaws, wherein the pauses between the singing and melodic improvisation appear too obvious, the entire song paces towards an anti-climatic slope; It’s a rise-and-rise experience, in delivery, especially the pitch volumes and use of instrumental melodies.
Omowunmi’s cinematic finish only proved her mettle as an experienced vocalist and all-round musician, as she paces the song with a constellation of arpeggios and repetitive motifs. The outro is an enjambment of vocals and instrumentals, where it sounds like a spiral of vocals, then of instrumentals, all charged within the allure of her contralto, or dramatic mezzo-soprano, wherein — like in live performances — the dramatic effect leaves the audience spellbound. In this case, such a finish can only conjure two things: a strong replay value, and catharsis. Whichever the case, it’s a reflection of Omowunmi’s soul-seeking ministry and artistry as a Christian Worship musician.
Omowunmi Esther Oyeleke is a Nigerian Christian Gospel musician with a decade-and-half worth of professional experience. Discovered by her mother, Omowunmi’s talent was nurtured through her early days in the RCCG choir, where she quickly stood out with her “big voice.”
As a seasoned gospel singer, Omowunmi has led praise teams, composed impactful songs like her viral hit “Sufficient Grace,” and worked with diverse groups. Her music transcends borders, cultures, and denominations, touching hearts and souls worldwide. Beyond her music ministry, Omowunmi is also a driven entrepreneur, balancing her artistic passion with her business acumen. Now, based in the UK, she’s continuing her music journey, blending her Nigerian roots with British influences.
