In a live recording, Mera Owili lifts the name of God with Tamuno, taking the Ijaw word for the Almighty as the heart of the song. The performance carries the warmth of worship in a gathered room.
Tamuno works as a live gospel worship piece, the energy of a present congregation feeding a vocal given fully to praise. The writing centres on God under a name rooted in the Niger Delta, and the live setting keeps the spontaneity and swell of real worship, the room’s response shaping the sound.
Gospel sung in indigenous Nigerian languages carries a particular depth, rooting worship in the people’s own tongue. A live praise record built on the Ijaw name for God speaks straight to that heritage.
The detail that lands is the moment the arrangement drops back and the voice carries nearly alone, the congregation holding its breath with it. That hush is the song’s most moving turn.
It suits a time of corporate praise or private devotion. Believers from the Delta and beyond will find their worship reflected in it.