Bunmi Akinnaanu, Gospel Singer Omije Ojumi Whose Voice Became a Prayer, Dies at 46

The Nigerian gospel music world was cast into mourning this week with the death of Olubunmi Akinnaanu Adeoye, the evangelist and singer whose voice and testimony shaped worship for a generation of believers. Known widely as Bunmi Akinnaanu and by her enduring stage name, Omije Ojumi, she died on January 12 at a hospital in Lagos after a prolonged illness. Her family confirmed her passing on January 13. She was 46.

For more than two decades, Ms. Adeoye occupied a singular place in Nigerian gospel music, not merely as a performer but as a minister whose songs were treated as prayers. Her music was heard in churches and crusades, in homes and hospital rooms, carried on speakers and whispered by worshippers seeking consolation. Few artists blurred the line between music and ministry so seamlessly.

Born on November 19, 1979, in Lagos State, she was the first daughter and second child of her family, originally from Okitipupa Local Government Area in Ondo State. She began singing at the age of 10, and, according to family and church accounts, early prophecies spoke of a future devoted to God’s service. Those words would later be understood not as metaphor but as destiny.

She pursued a conventional path before embracing a spiritual one. After earning her West African Senior School Certificate in Lagos, she studied Industrial Relations and Personnel Management at Lagos State University. She then built a stable career in banking, working in the sector for more than a decade. It was a life marked by security and professional promise. Yet she eventually walked away from it, describing the decision as an act of obedience to a divine calling.

That choice gave birth to “Omije Ojumi,” a phrase in Yoruba meaning “Tears from My Eyes,” and to the album that bore the same title. The project transformed her into a national figure in Christian circles. The title song, marked by raw emotion and intense spiritual longing, became a worship anthem across Nigeria, especially in prayer meetings and revival services. It was not unusual to hear congregations fall silent as her voice rose, slow and heavy with feeling, carrying lyrics that spoke of surrender, pain, and hope in God’s mercy.

Her rise in the early 2000s coincided with a period when gospel music in Nigeria was becoming both more expressive and more publicly influential. Ms. Adeoye helped define that moment. She followed her debut with a series of albums that deepened her reputation: Dabira, Alatilehinmi, Ma Sunkun Mo, Tujuka, Testimony, and later works such as O Ti Mure Wa, which included the popular track “Ogo F’oruko Re.”

Other songs like “Da Iji Duro,” “O Ti Sure,” and “Ogo” became staples of worship, while collaborations such as “Imisi” with Dorcas Awolumate showcased her willingness to share spiritual space with other voices.

As leader of the Omije Ojumi Gospel International Music Band, she became one of the most sought-after gospel ministers in the country. Invitations came from churches, crusades, and international programs. Her ministry emphasized intense worship, testimony, and encouragement for believers navigating personal hardship. Those who followed her often described her songs as “healing” and her presence as “burden-lifting.”

She was married to Mr. Olurotimi Adeoye, based in London, and together they had children, some of whom hold British and American citizenship. Though her public life was devoted to ministry, she was known among close friends as deeply private, devoted to her family, and protective of her children’s upbringing.

In her final months, her life became more publicly vulnerable. She struggled with serious health challenges, including a severe leg ailment that caused visible swelling. In one widely circulated video from a church service, she was seen seated, her affected leg extended, while a pastor prayed for her healing.

The image moved many, prompting an outpouring of sympathy, prayers, and calls for financial assistance to support her medical treatment. It was a rare moment when the strength she had always projected gave way to visible fragility.

Despite these efforts, her condition worsened. She was hospitalized in Lagos, where she died.

The family’s announcement, signed by Olawale Akinnaanu and shared by fellow gospel singer Alayo Melody, included a photograph of Ms. Adeoye and a brief hospital clip that stirred mixed reactions. While many expressed heartbreak and offered tributes, others questioned the appropriateness of sharing such intimate imagery. Still, the response reflected the depth of public attachment to her life and ministry.

Tributes have since poured in across social media and news platforms. Admirers described her as “a true servant of God,” “a voice of comfort,” and “a woman who worshipped with her whole being.” On X, messages repeated the same prayer: that her soul should “rest in perfect peace,” and that her music should never be forgotten.

In death, as in life, Bunmi Akinnaanu Adeoye remains defined by the emotional gravity of her worship. Her songs continue to echo in churches and prayer rooms, reminders of a ministry that placed vulnerability at the center of faith. For countless believers, Omije Ojumi was not just a singer. She was a companion in sorrow, a guide in prayer, and a witness to endurance.