There’s something powerful about hearing a song you grew up with, sung by the original voice. The memories rush back—the early morning family worship, that church choir on Sunday, the prayer meetings—because those songs are more than melodies; they are touchstones of faith and identity. 

Recently, Yinka Alaseyori (Adeyinka Alaseyori) invited those voices back into the light with her event Celebrating the Legends, and the result was a beautiful reminder that gospel music doesn’t just belong to the past—it lives in the present. On August 21, 2025, at the Whitestone Event Centre in Ikeja, Lagos, Yinka Alaseyori hosted Celebrating the Legends. It was more than a tribute concert; it was a gathering of living pillars in Nigerian gospel music.

The roster of legends honored was deeply impressive: Ebenezer Obey Fabiyi, Joseph Adelakun (Ayewa), D.A. Fasoyin (Mama Fasoyin) of Odun Lo S’o̩pin, Dr. Bola Are, Funmi Aragbaye, Dupe Olulana, Evangelist Ojo Ade, Evangelist Toun Soetan, Dr. Dunni Olanrewaju (Opelope Anointing), Bishop Bola Odeleke, among many others.

These are artists whose catalogues include songs that have passed through decades, across language barriers, generations of churchgoers and worshippers, and even through remakes. Their works are often the bedrock that younger gospel acts build from. 

Let’s take a few legends and reflect on what their songs brought to gospel—and how they continue to influence young people today:

• Dr. Bola Aare: Known for her powerful Yoruba-language songs like “Apere Bibo Jesu Leekeji”, and the joyful lyrics of “Agbara Nla”. These songs are heard in Sunday services all around southwestern Nigeria. They aren’t only musical; they share testimonies, affirm faith, and are often used in church choirs.Her ability to combine deep theology, cultural expression, traditional Yoruba instrumentation, and worship made her an icon. Younger artists often cite her style and message as foundational; we can purely see this reflection in Pelumi Deborah’s style of singing.  
• Mama D.A. Fasoyin (Odun Lo S’opin): With songs like “Odun Lo S’opin”, she captured themes of hope, seasons, divine turnaround—lyrics that address human longing for better days–especially as a song that affirms divine preservation and safety against evils that perpetuate heavily at the end of the year. This song is evergreen–still being used as prayers as we reach the ’ember months. 
• Ebenezer Obey Fabiyi: Though better known for highlife and juju, his work crosses boundaries—his gospel-infused songs and spiritual messages embedded in his music have influenced how gospel themes can sit in popular, secular-adjacent genres without losing their soul. Younger artists see in him a model of integrity, and the possibility of influence beyond strictly Christian circles.
• Funmi Aragbaye, Dupe Olulana, Evangelist Ojo Ade, Evangelist Toun Soetan, Dr. Dunni Olanrewaju etc.: Each has left a trademark—whether distinct vocals, poetic Yoruba/English lyrics, calls to prayer, rich harmonies, or songs that become part of everyday life in Nigerian Christian homes. Many of their songs are still sung in churches today, covered by upcoming gospel artists (sometimes infusing new styles), showing their continued influence. 

How These Legends’ Songs Still Shape the Present

1. Heritage & Identity: Younger gospel singers often draw from these classics—for style, melody, or even lyrical themes. When a modern gospel song features praise in Yoruba, or a classic choir hymn, there’s an acknowledgment of where gospel music for them began.
2. Remakes / Revivals / Covers: Classics are being revived with modern arrangements, sometimes mixed with contemporary beats or simplified for a wider music audience. These renditions bring the songs to streaming platforms and social media, exposing them to audiences who never heard the originals live. Examples of these are remakes of “Iyin Ye” and “Adura” by Paul Tomisin. 
3. Mentorship & Legacy Mindset: Events like Yinka Alaseyori’s celebration help younger acts see the value of honoring those who came before. It also underscores an important truth: that gospel music is a continuum. The foundation laid by these legends gives current artists legitimacy, depth, and a source of inspiration.

What makes Celebrating the Legends especially significant is that it doesn’t wait until the legends are gone. It brings them forward, puts the spotlight on them while they are alive. It reminds both industry and the audience that the gospel scene has memory. Alaseyori didn’t just host a concert; she activated gratitude, education, and intergenerational connection. Her gesture ensures that these legends know their work has not been forgotten—and that a younger generation is aware, respectful, and eager to build on that legacy.

We stand on the shoulders of giants. Songs like Bola Are’s hymns, Mama Fasoyin’s prophetic prayers set to melody, Ayewa’s choir-classics, Obey’s crossover spiritual messages, and many more are not relics—they are living voices. Yinka Alaseyori’s Celebrating the Legends is a timely reminder that gospel music’s past is its foundation, its present is enriched by it, and its future depends on remembering. When the next generation sings, may they know whose hands laid the path ahead.