Inside Min. Adeoluwa's World of Finest Worship

I have reviewed several songs by Adeoluwa Boluwajaiye, whom people know as Min. Adeoluwa, and most of them remain studio recordings. One thing always stands out to me: Scripture runs through his music with incredible naturalness.

He never feels like he tries to quote the Bible to make a point. It feels more like he sits with the Word, and the song comes out of that place. Hearing one of his live recordings made that even clearer.

‘Goodness and Mercy’ starts with the piano, and that opening already says a lot. Before anyone sings, you already know the kind of moment you enter. The sound feels calm and reflective, and it gives you time to settle.

He describes this live expression as scriptural worship, and that feels accurate. The song itself takes directly from Psalm 23:6, and you feel that grounding in the way the music unfolds.

When Min. Adeoluwa’s vocals begin, the entrance feels a bit sudden. It sounds slightly sharp for a live worship setting and caught my attention. This could result from microphone balance or his eagerness to begin.

Considering how long he has led worship, I expected a gentler entry. Still, this marks only his second live release after a worship medley, and the confidence of someone who understands the space he leads remains present. With time, his live recordings will likely reflect his years of experience even more clearly.

What really drew me in, though, was the piano. Watching the video, I noticed two pianists. When I later checked the credits and saw Joonho Wantete listed as the lead pianist, I became curious. I lacked familiarity with him before, but the quality of his playing stood out enough to make me want to know more.

The piano does not just support the song. From the first note, it leads. It carries the weight of the moment and quietly holds everything together. The playing feels calm and thoughtful, with enough space to let the song breathe. Nothing feels rushed or crowded, and the restraint in the playing matters just as much as the notes themselves.

The way the song begins and ends on the piano stayed with me. The opening gently draws you in, and the ending feels like the natural close of a worship moment rather than a sudden stop. It feels complete, like the quiet conclusion of a service after a strong worship flow.

Hints of Jazz exist in how Joonho Wantete plays, especially in his timing and chord choices, but it never feels out of place. Touches rooted in Soul and Afro-influenced expression also appear, which makes the sound feel warm and familiar within a worship setting.

Moments occurred where I found myself paying more attention to the piano than the vocals. In fact, Joonho Wantete’s piano held my attention throughout the recording and carried the emotional weight of the song from beginning to end. Overall, the piano anchors ‘Goodness and Mercy.’

Joonho Wantete’s playing gives the song depth and atmosphere. Without it, the live recording would not carry the same sense of space or impact.