Music ministry, pop culture, and marine witchcraft are as intertwined as roasted unripe plantain, fish, and chilled Fanta. The news of Pastor Chris reconciling with Sinach will never be a surprise. That’s why I advise that pastors should take it easy on their music ministers. Many are under certain unexpected influence.
Pastor Chris Oyakhilome and most pastors attempting to control music ministers seem oblivious to the dynamics of Lucifer’s rebellion and how God addressed his marine defiance.
Satan was Heaven's music minister before God cast him down. Observing how his music—resembling the sound of the ocean—controlled the emotions of angels and spirits, Lucifer succumbed to pride and rebelled against God, resulting in his expulsion.
Ezekiel captures Lucifer's remarkable musical charm with prophetic passion: "The workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created." — Ezekiel 28:13 (KJV)
Music was his purpose and essence; Lucifer dazzled the angels with his tabrets and pipes. It was ingrained in him. His musical grace brought him close to God, yet, a sea of contempt brewed from the familiarity of that intimacy. He forgot who created him and why.
Music shapes societal norms, emotions, and thoughts. It is a language that transcends barriers, breaks chains, and establishes profound influence. Music is Heaven's dialect, God's nourishment. Sound crafted the universe; sound birthed light—echoes of divine wisdom.
With this understanding, Pastor Chris Oyakhilome nurtured many music ministers, investing his emotions, time, and millions of dollars in talents like Sinach, Frank Edward, Martin PK, and others. Even younger ministers like Testimony Jaga substantiate this observation.
Sinach, however, withdrew after encountering competition within the local church and receiving feedback on her song, ‘Way Maker.’ Having become a global phenomenon—thanks to the ministry of the esteemed Pastor Oyakhilome—she distanced herself. With significant wealth and success, including lucrative performances at venues like Hilton for RCCG, Lekki for House on the Rock, and earnings from streaming platforms such as YouTube, Spotify, Amazon Music, Apple Music, and TIDAL, her priorities shifted.
Sinach's songs like ‘I Know Who I Am’ resonated globally due to Christ Embassy's international outreach. These songs united the faithful and even those skeptical of Nigerian pastors or liberal church norms. Everyone sang: "I live a life of favor, I know who I am." Her music found its way to clubs, spreading universally. Gradually, however, pride consumed her. She descended into chaos, forgetting her purpose and her creator, much like Lucifer's tale.
Pastor Oyakhilome, founder of Christ Embassy, might consider himself fortunate that Sinach left Believer's LoveWorld when she did. Her departure could have shielded him from greater scandals, as her insubordination threatened the stability of his ministry. While her angelic voice reflected his teachings, her independence risked discord.
In an interview on YouTube, Sinach suggested her musical gift helped to build Christ Embassy—a claim perceived by many as disgraceful. Affection and purpose, once discarded, are often regretted. She might one day return, learning the potency of the local church. The church nurtured her, and it will continue raising her replacements.
No pastor needs to control music ministers forcefully. While Orthodox churches could not contain the Bible or the church's expansion, no one can halt this movement. These ministers should ideally spread Kingdom music while serving their local churches, creating a legacy worthy of emulation.
Many music leaders have valid grievances. Pastors often charge for preaching, sell books to raise funds, and neglect to pay music ministers fairly. This maltreatment contrasts with their willingness to pay exorbitantly for guest pastors while undervaluing internal ministers.
In Believer's LoveWorld, however, music ministers are empowered. As a Rhapsody of Realities partner since 2006, I have seen this firsthand. Financial gain should never overshadow spiritual service—for both pastors and music leaders.
Charging for performances at government concerts or carnivals is understandable, given the associated costs. However, such engagements should not compromise their commitment to the local church—their roots.
The Kingdom movement requires finances, but pastors must ensure rebellion is not encouraged.
Paul Adefarasin could persuade Sinach and Frank Edward to reconsider their decisions and return to their local churches. The seeds they sow will inevitably bear fruit.
Competition with pastors mirrors Lucifer's rebellion against God. Gospel Music Ministry (GMM) should prioritize devotion over commercialized worship. Pastor Oyakhilome’s critique of entertainment-focused worship is vital and deserves attention:
"Thy pomp is brought down to the grave, and the noise of thy viols: the worm is spread under thee, and the worms cover thee." — Isaiah 14:11 (KJV)
I recall that talents like Frank Edwards, Joe Praise, Sinach, Ada, E-Ben, Samsong, Buchi, Jardel, Rozzy, Chokar, Yr-Frames, Martins P-K, Israel Strong, and many others are some of the few extremely very talented gospels artists who had shot to stardom through the tutelage of Pastor Chris who takes it upon himself to harness the potentials of young people around him.
In 2019, Africa’s number 1 gospel act, Sinach was named number 1 with her song, “WAY MAKER” having over a Hundred Million Views on YouTube and in early 2020, same song from the same artist is named Number 2 Song of The Decade, hitting over 136Million Views.
On the other hand, another of Pastor Chris’s daughters, Ada Ehi clinched number 20, amongst 20 songs x-rayed with her song, “ONLY YOU JESUS”.
I see a spiritual awakening. I see memories arise. They are coming back. Sinach is on her way back. I see them reconcile. They have reconciled. The separation was for a purpose.
Stubbornness and ingratitude are traits that can sometimes mirror Lucifer's rebellion, especially among some music ministers and artists. From celebrated names like Mercy Chinwo, Asake, WizKid, Ebuka Songs, Moses Bliss, Sinach, to Frank Edwards, and even international musicians, the challenges of fame often reveal human frailty. When their gifts bring recognition, wealth, and influence, some forget the foundations laid by their local churches or the mentors who nurtured them. This tendency to drift from their roots underscores the importance of humility and the dangers of pride. Regardless of their achievements, staying grounded in faith and service ensures their talents remain aligned with their divine purpose, reminding them of the higher calling that transcends personal ambition.
No comments:
Post a Comment