I Believe

“Gloria a Dios” brings Joseph Opare’s love of Latin rhythms into a lively salsa celebration of faith. With Nicky Brown on keyboards, the song invites you to praise the Lord, bless His name and express that joy through dance.

Joseph had long wanted to explore this sound, hearing a close connection between African and Latin grooves. “Gloria a Dios” celebrates that connection, bringing Latin and African audiences together through rhythm, shared history and a reason to move.

“Heavenly Lane” began with a chord progression Joseph Opare created in the late ’90s. Missionary life left little time to finish it, but years later, guitar work and a reworked rhythm helped the song find its feet. The result is danceable R&B with a reggae flavour, drawing on Jamaican praise and worship music and the song “Goodbye World.”

Opening with memories of younger days in London, the lyrics reflect on choices, habits and influences that can take us off course. Inspired by Yeshua’s teaching about the narrow path in Matthew 7:13–14, the song encourages listeners to change direction and keep their sights on eternal life.

It’s a serious message carried by a joyful groove: think about where you’re heading, leave behind what holds you back and keep walking towards heaven.

“Holy One” began as an R&B-leaning guitar ballad in the early 2000s. Joseph Opare returned to it over the years, writing and rewriting until a fresh influence from rock music helped the song come together.

Drawing inspiration from the hymn “Holy, Holy, Holy,” it combines that spirit of worship with Joseph’s original melody and lyrics. Nicky Brown plays keyboards, while an electronic bass line provided the missing piece that made the rock and R&B fusion click.

The song takes Joseph into a musical direction he hadn’t often explored, bringing his own approach to contemporary rock gospel while keeping worship at its heart.

“I Believe” brings a jazz-funk groove to a bold declaration of faith. Joseph Opare opens with words of encouragement for anyone going through a difficult season: “Don’t you give in to the pressure. I know, I know that you’ve been going through.”

The chorus carries that reassurance forward: “Things are changing, but Yah will work it out.” It’s about holding on to belief when life feels uncertain and refusing to let pressure have the final word.

As the album’s title track, “I Believe” puts its message plainly: even through the struggle, there is still a reason to trust, stand firm and keep going.

“I Just Can’t Get Enough” brings the feel-good energy of ’70s disco into a joyful praise anthem. Joseph Opare wanted a sound that could bring generations together, with a groove that gets both young and old moving.

The chorus keeps it simple: “I just can’t get enough of you, Lord, can’t get enough.” It’s the kind of refrain Joseph could imagine a whole church singing together, full of energy and joy.

At its heart is a desire for more of the Most High—a celebration of faith that invites you to sing along, dance and keep the praise going.

“Rise Up Again” holds a special place in Joseph Opare’s story: it was the first song he wrote, around 1993–94. Facing financial pressure, depression and challenges that seemed impossible to escape, he wrote the encouragement he needed to hear himself.

Years after performing an early version at a church in Tottenham, Joseph revisited the song with a go-go, Latin and R&B feel, touched with jazz, bringing fresh rhythmic energy to its deeply personal message.

Written to lift others as much as himself, “Rise Up Again” holds on to the hope that difficult times can change. Your struggle does not have to be the end of your story—you can rise up again.

“Seek Him” took a long journey to release. Joseph Opare first wrote it in Croydon in the early 2000s, while returning to music with a Carillon audio PC. He revisited it years later while pastoring in Luton, but without the right vocalist available, the song had to wait again.

Rooted in the expressive soul of old-school R&B ballads, “Seek Him” draws on the musical feel of songs like “This Is a Man’s World” and “Georgia.” It’s a worship song written for a singer to really open up and sing from the heart.

Esther D takes the lead, with Joseph on backing vocals and Adeoti Samuel on piano, finally bringing this long-held musical vision to life.

“Tears of Joy” began around 1993–94 as a ballad inspired by the soulful singers Joseph Opare loved at the time. Revisited for I Believe, it takes on a Latin ballad feel while remaining distinctly R&B.

The song captures those moments in deep worship when emotion takes over and the tears begin to flow. Whether at home, in church or somewhere unexpected, experiencing the Lord’s presence can bring an overwhelming sense of joy and gratitude.

These are tears that come from feeling close to the Lord and remembering what He has done. “Tears of Joy” gives that deeply personal experience a melody—a way to express what words alone sometimes cannot.

“Thank You Lord” began as a chorus Joseph Opare wrote in London and sang at the church he served in Tottenham. People loved singing it, but it remained a chorus until he returned to it while making I Believe.

Wanting an Afrobeat highlife praise song for the album, Joseph kept working on the rhythm and bass line until the groove felt right. Rap sections and choir backing vocals brought the arrangement together, giving the familiar chorus fresh energy.

It captures the joyful praise atmosphere Joseph knows from Ghanaian and Nigerian churches—right down to taking out a handkerchief and waving it as you dance. Inspired by Psalm 100’s invitation to enter God’s gates with thanksgiving and His courts with praise, this is a song to join in with: sing, dance, wave your handkerchief and give thanks.

“The World’s Gone Crazy” pairs rap with an old-school ’80s electro sound, giving voice to the feeling of looking around and wondering what’s happening to the world. Joseph Opare reflects on war and suffering in Gaza, racism, financial struggles and fears about AI taking people’s jobs.

A vocoder-style chorus repeats the central refrain: “Crazy, crazy, the world’s gone crazy.” The electronic sound reinforces the song’s sense of unease, while the rap confronts the pressures people are facing.

Through it all, the message is a call to turn to the Lord—to seek faith, direction and hope when everything around us feels uncertain.

“You Make Me Wanna (Reprise)” picks up where the main song leaves off and lets the celebration run. Originally its closing section, the reprise stands on its own as a church shout, inspired by the lively praise breaks Joseph knows from Black Pentecostal churches.

With a driving shout beat and bebop-inspired energy, it carries the song’s joy into a full-hearted invitation to dance and praise. The words have made their declaration; now the celebration keeps going.

“You Make Me Wanna” draws inspiration from Curtis Mayfield and Isaac Hayes, reaching back to the adventurous soul of the ’70s. Joseph Opare wanted to create something distinctive and timeless, full of the musical character he loves from that era.

Tee Mogano returns on lead vocals after singing “I’ll Be There” on In Your Presence, with Nicky Brown on keyboards. The chorus captures the song’s joy: “You make me wanna dance. You make me wanna sing. That’s why I raise my hands and praise you as my King.”

It’s a soulful invitation to express how the Lord makes you feel—a gratitude that turns into movement, music and uplifted hands.