Hushed cheers from a crowd cut through the silence as Ogaga’s “Sacrifice” tune comes on. Piano and guitar chords pace behind gently, with muffled drum kicks stretching the airy melody into shape. And by Ogaga’s loud burst, “Jesus! Emmah-nuel!”, the record swivels into a charged worship anthem territory, extra spiced with giddy thumb piano chords.
From the intricate details in its composition and arrangement, “Sacrifice – I Offer Myself” by Christian gospel maestro Ogaga, born Ogagaoghene Ocharive, ranks among this writer’s close picks of this week. The emotional intensity in worship records is one of the first things I look out for whenever I listen to one. There’s no sincerity in the emotion if it’s not heartfelt by the listener, and the crux of worship music is to keep people grounded in reverence to the creator. “Forget those things that are behind… I’m taking up my cross; I say yes!” Ogaga’s melismas connect with peaking tempos, with his falsetto powering that emotional intensity that makes this song worth any salt.
Apart from the assurance of catharsis, Ogaga’s “Sacrifice – I Offer Myself” revisits ancestral string traditions, especially the traditional Goje riffs of the Hausa, in his composition, a refreshing approach to typical Nigerian Christian worship music. The ever-present backing vocals, with their soft contraltos, add a soulful feel to the music. The music glides as a very enjoyable listen, with a cadence that keeps the listener focused on its message, with the music as a backdrop.
If you take a close look at the lyricism, “I say yes unto your will/ I am taking up my cross and following you, Jesus,” the depth of intimacy, almost prayer-like or confessional-esque, keeps the record feeling close-knit and even much more remarkable. In the parts where he repeats the word ‘surrender’ in the refrain, he emphasises each syllable with peaking tempos and chord strikes, highlighting the message with every means possible.
Overall, the song’s arrangement and engineering deserve its ultimate thumbs up. The record feels cohesive, with both intro and outro having some cinematic ‘curtain-opener/curtain-closer’ moments. It reminds one of Osinachi Nwachukwu’s evergreen worship classic, “Ekwueme”, pulsing with charged momentum that helps for emotional release. It’s a soothing listen, and it packs just enough shock and replay value to rank it as a classic hit on arrival.
A solid 8/10.
