By Emmanuel Daraloye

On October 20th, 2024, the Eko Hotel Convention Centre was transformed into a living altar of worship as Shekere 17.0 – Chants of Deliverance unfolded before a capacity audience. While the event boasted an array of talented singers, instrumentalists, and dancers, it was the steady and inspired hand of Okey Martynz—serving as music director, conductor, and arranger—that stitched the evening into a seamless tapestry of sound and spirit.

From the opening chord to the final reverberating note, Okey Martynz’s musical direction was marked by clarity of vision and an acute sensitivity to the spiritual heartbeat of the night. His arrangements displayed a thoughtful interplay between traditional gospel textures and contemporary orchestration, allowing each segment to stand on its own while contributing to the overall narrative of deliverance and praise. This balance between the familiar and the fresh ensured that both long-time worshippers and first-time attendees found resonance in the music.

As conductor, Okey Martynz’s navigated the complexities of a large ensemble with remarkable poise. The event’s multiple choirs, soloists, and instrumental sections moved in tight synchrony, a testament to rigorous rehearsal discipline and live adaptability. His gestures—economical yet expressive—were not merely functional but communicative, often appearing to draw the music out of the performers rather than impose it upon them.

Okey Martynz’s role as arranger shone most brightly in the night’s extended medleys, where thematic and harmonic transitions flowed almost imperceptibly, carrying the congregation through waves of intensity and intimacy. There was a keen awareness of dynamics: moments of hushed vulnerability would swell into jubilant proclamations, creating an emotional arc that mirrored the spiritual journey of the evening.

Yet, in the interest of a rounded critique, some arrangements, while sonically rich, occasionally verged on being densely layered—risking moments where lyrical clarity could have been more pronounced. A slightly leaner approach in certain segments might have allowed the text to breathe more freely, ensuring that every word landed with its intended force.

Still, these are minor quibbles in an otherwise masterful performance. Under Okey Martynz’s stewardship, Shekere 17.0 – Chants of Deliverance was not merely a concert but an immersive act of worship, fusing artistry with anointing in a way that left an indelible mark on all present. His work demonstrated not only technical proficiency and creative ingenuity, but also a rare ability to translate a theological theme into a coherent and emotionally resonant musical experience.

In an age where gospel events risk becoming formulaic, Okey Martynz’s contribution to Shekere 17.0 was a compelling reminder that sacred music, when handled with both skill and sincerity, retains the power to stir the soul, unite a community, and—if only for a night—make heaven feel near.