…packaging can never replace the power, depth of God
Ojo Iyanuoluwa Solomon, better known as Iyanuoluwapraise, is a gospel music minister who is becoming one of the most energetic performers on stage. ROTIMI IGE spoke to him about his journey so far and his plan to take his brand of gospel music around the world.
Walk us through the genesis of your music ministry. Was there a specific moment or ‘burden’ that confirmed for you that music was the primary vessel through which you would serve?
The genesis of my music ministry started with a burden. I grew up loving God, but there was a point in my life where I was going through things and word failed me, the only thing that could reach my heart and bring me back to God was worship. The specific moment that confirmed it for me was during a time of personal prayer. I was just singing to God with no audience and instruments, and I felt his presence so strong. In that very moment, God whispered to me, saying, “this is how I want to use you”, “not just to sing but to carry people into my presence”. From that day, I knew music wasn’t just a talent for me, it’s a primary vessel of service to heal, to deliver, and to draw people to God every time I minister.
How would you define the ‘IyanuoluwaPraise’ sound? In an industry often saturated with similar patterns, what intentional elements do you infuse into your music to keep it authentic to your identity?
I noticed that wherever I go to minister, almost everyone will be calling me Iyanuoluwa praise, this has always been going on until I decided to make it my stage name. What I infuse is nothing but the energy and that where the ‘Global Energy’ which I can say is my identity, comes from.
Many say your style is similar to that of Bidemi Olaoba. Who would you say are your mentors and how have they influenced your music?
My greatest mentor will always be the Holy Spirit; the one that teaches me songs, corrects me and tells me how to carry God’s presence. Outside of that, I have been greatly influenced by ministry of Bidemi Olaoba, Mummy Kemi Rehoboth, Babatunmise, Mike Abdul, Adeyinka Alaseyori, Tosin Bee, Bois Olorun, Woli Agba, Mama Bola Are, etc. These people taught me that music is ministry first before performance, their depth in the word and how they carry God’s presence challenge me.
Every artiste faces challenges. Can you talk about a period in your earlier years where you considered stopping, and what kept you anchored to the vision when the doors seemed firmly shut?
I won’t lie, there was a period I was tired, no big invitations, and it looked like everyone was moving except me. I thought maybe music wasn’t for me. But God kept bringing me back to that first place where he met me and told me my voice would carry his presence. What actually anchored me was knowing that music is not about open doors, it’s about obedience, even when no one was watching, God was. Looking back now, that closed-door season was actually God’s training ground. It built my character, sound and my dependence on him.
You have become one of the most sought-after names in the gospel circuit. Looking back, what do you identify as the turning point—the moment where the industry and the audience truly shifted their focus toward your sound and ministry?
The turning point for me is an internal shift before it became an external one, I decided that I would rather be accurate in God’s presence than be famous in the industry. When I made that decision, God began to amplify the ministry. I think people and the industry shifted their focus because they saw authenticity, they saw that the same God I sing about in private is the same God that shows up in public. So, all glory to God, it’s his doing.
As a music minister navigating the intersection of ministry and the entertainment business, how do you manage the pressure of being a ‘performer’ while maintaining the sanctity of a ‘minister’?
The line is thin, but the difference is in the motive. A performer wants applause while a minister wants God’s presence, so I manage the pressure by going back to the why. Why did God call me? If it’s really not to usher people into worship and praise and see lives changed, then I don’t want it. I also stay planted in church, the entertainment space can get loud, but my covering and my altar in gladness keep me sane. Sanctity is maintained when you remember that “the anointing is not for sale” and “the altar is not for show”
There is an ongoing debate regarding the commercialisation of gospel music. Where do you draw the line between maintaining high-quality professional standards and ensuring the message of the Gospel remains the primary focus?
Excellence is biblical…even the temple had skilled musicians and fine instrument. So, I’m for professional standard 100 per cent. But the line is drawn at the altar the moment the gospel becomes a product to sell instead of a message to preach. My standard is this: is God truly glorified? Are lives changed? Is the presence of God still there? If yes, then we can be professional and still be spiritual, if no, then we need to go back to the drawing board.
Many emerging musicians view social media as a double-edged sword. How have you leveraged digital platforms to grow your reach without losing the intimacy that characterises your music?
Social media is a microphone to the world, I leverage it by letting people see the process and not just the product, they see me worshiping and praising, not just performing. But I protect privacy by these rules: don’t post what you haven’t prayed about; if I am not encountering God offline, then I have nothing real to share online. So the platform grows the reach, but God’s presence keeps depth.
How do you respond to critics who suggest that the gospel music industry is becoming too focused on streams, vibes and accolades rather than the actual transformation of souls?
I think every generation has that tension because we live in a digital age. Streams and platforms matter because that’s where people are, but the core of gospel music has never changed: to lift Jesus and transform lives. So my response is very simple, don’t let the packaging replace the power, we can be professional, we can have vibes, we can be on charts, but if heaven is not involved, destinies are lost. I pray that God keeps raising ministers who care more about altars than awards.
Looking at the global trajectory of Nigerian gospel music, what is one area where you believe we are leading, and one area where you believe we still have a lot of work to do?
Looking at the global trajectory, I believe one area we are leading is authenticity and presence. Nigerian gospel music is carrying a raw hunger of God that the world is feeling. When people hear our worship, they encounter depth and the fear of God. Ministers like Nathaniel Bassey, Dunsin Oyekan, Sinach and the rest have shown the world that we don’t just sing songs, we carry an atmosphere and that’s why our songs are travelling. People are tired of performances, they want encounter and Nigeria is giving that.
Mentorship is often cited as a challenge in the gospel industry. What is your current approach to pouring into the next generation of ministers?
I share my journey, not just my wins, but my mistakes, I will tell them, don’t repeat what I did wrong, just do what I did right.
You have a distinct way of storytelling through your songs. What is the reason for this?
A melody carries feelings that words alone cannot; when a story is wrapped in a story, people feel it before they even process the lyrics. And again, I sing based on inspiration because Holy Spirit is our story.
What are your specific aspirations for your brand? Is there a particular stage, platform, or demographic you are yet to conquer, and why is that important to you?
My goal is to expand worship globally. I want to take Nigerian gospel to places that haven’t heard it.
If you were to define your legacy today, what would you want the world to remember long after the music stops?
I would want people to always remember how I brought people to the altar. If after I am gone, people still gather at the altar because of what they heard, that’s alone is enough. Music fades, platforms fade, but the altar is eternity.
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