By Ayo Oke

Viktur Sunday, a Nigerian gospel artist, has released a new album, “My Kinda Hymns, Vol.1,” a collection of seven albums which aims to reimagine and bring life to the orthodox church hymns for a more modern audience. Such a collection is not the mainstream expectation.

He carries to the audience a blend of R&B, soul, jazz, hip-hop, and spoken word to reminiscence while simultaneously reimagining. He underlines the fact that church and modern worship music are not mutually exclusive and that people of every age connect with them.

Spoken Word Pt. 1 (feat. Dominic Ajogbei)
The album opens with a moving spoken word piece layered over gentle piano and ambient pads. Ajogbei’s voice echoes familiar lines, “In Christ alone my hope is found… “This is my story, this is my song…” instantly grounding the listener in faith and reflection.

I Surrender (feat. Joel Redefined)
Joel Redefined delivers this classic hymn with R&B finesse reminiscent of Musiq Soulchild. His tender vocals glide effortlessly through “Unto Jesus I surrender…” backed by a clean, elegant production.

Great Is Thy Faithfulness (feat. Dominic Ajogbei)
Driven by piano, acoustic guitar, and rich harmonies, this track pays pure homage to one of Christianity’s timeless hymns, simple, reverent, and melodically warm.

Because He Lives (feat. Jancy & George B)
Here, the album truly comes alive. Fusing soulful vocals and conscious rap, Jancy and George B bring a sound that feels like a cross between Lyfe Jennings, Common, and India. Arie, urban yet deeply spiritual.

Spoken Word Pt. 2 (feat. Dominic Ajogbei)
A contemplative reprise built on the lines “In Christ alone the rock on which I stand…” The tender piano backdrop encourages quiet introspection and renewed faith.

It Is Well (feat. Lola Elz)
Perhaps the most original track on the album, It Is Well combines spoken word, jazz, rap, and soul. Lola Elz recalls, “The day my grandma died, it felt like heaven played a symphony.” The piece, both raw and redemptive, finds its anchor in Isaiah 26:3: “You will keep in perfect peace those whose minds are steadfast.”

In Christ Alone (feat. Segun Atoyebi)
The album closes with Atoyebi’s stirring rendition, reaffirming Viktur’s belief that hymns remain the bedrock of faith. The finale’s jazz-inflected choral finish leaves the listener uplifted and at peace.

This album has a more jazz-inflected, brooding, introspective style that, in the more rhythm-crazed domains, would have a harder time, akin to some of the artists like Sinach, Tim Godfrey, and Mercy Chinwo.

The spoken word segments, though spiritually uplifting, may seem too introspective for an audience that prefers music which gets the congregation on its feet. Nigerian Christians often enjoy their “fire” worship sessions, while parts of this album lean more toward meditation.

Also, the heavy use of Western hymns, even in reworked forms, may not fully appeal to younger listeners who balance contemporary worship and native gospel songs. While the artistry is clear, commercial success in Nigeria’s gospel scene often depends on songs that fill stadiums and inspire movement, which this reflective collection may find difficult to achieve.

Despite these challenges, My Kinda Hymns, Vol. 1 remains a remarkable achievement, showing that Nigerian gospel music can evolve while keeping its spiritual depth. Viktur Sunday delivers a work that can resonate in both traditional and modern worship spaces, even if it takes time to find its audience.

The collaborations are well-chosen, the production excellent, and the passion unmistakable. This album does more than modernize hymns; it highlights their lasting value. Whether you grew up singing them or are hearing them anew, Viktur’s versions will speak to your spirit. In Nigeria’s gospel landscape, the album represents innovation that renews faith while honoring its roots. My Kinda Hymns, Vol. 1 is a must-listen for those who value meaningful, quality music over mere danceability.