Not much is known of Efe Grace in gospel music circles but she was the toast of the audience until Cindy Thompson came on stage.
It was Friday night at the Adom Praiz inside Perez Dome in Accra.
Multimedia Group Ltd, a media conglomerate, had assembled gospel music greats and music lovers to give thanks to the Lord.
The annual event was in its tenth edition. The least the very huge audience expected was spirit filled unadulterated praise and worship.
The list of performers looked ordinary. Names like Daughters of Glorious Jesus, Kwaku Gyasi, Joe Mettle and others like Cindy Thompson did not evince any special expectation.
This names have been around for the last two decades.
What can possibly be new, especially when that same stage has seen performances from world acclaimed gospel icons like Cece Winans, Kirk Franklin, Brooklyn Tabernacle Choir?
Cindy announced her presence with a consuming smile which was innocuous but no less captivating, even seductive.
Then she was lost in music, she did not move very much, but she kept dangling at every turn.
She looked too young for a 45 plus years old. Her spectacles, which gave her the look of a secretary complimented her flowing hair to dismiss the notion she belongs to a generation of gospel musicians who did music two decades ago.
The tall looking Cindy Thompson left a lot to one’s imagination as she had disguised her model looking figure in a evening wear to suit the church setting she performed in.
On this night, it was not just her Beyonce body which was pleasurable to behold, the anointing oozing from that body was infectious too.
She sounded sweet. She knew what she was doing and its effect on her screaming audience. It was clear she was not unfamiliar with big platforms like the Adom Praiz.
Even more, Cindy Thompson knew how to manage the excitement of her audience, bringing their mood to a frenzy and tears at will.
She could have left the stage after her first track because the audience had everything wrapped in one song; praise, worship, dance and a dazzling performer.
But Cindy kept on.
She kept harping on the most sensitive spot of the audience with her hit songs even when it was clear the excitement had peaked.
People began trembling with joy until they sobbed and panted for breath. It was an experience of multiple orgasm at a gospel concert.
And when she turned to leave the stage, the screams were ecstatic, “we want more, we want more,” the crowd begged.
It was such a scene to behold.
What keeps her so evergreen for more than two decades at a time gospel music has seen radical transformation? What can spur a musician coming from a background of rape and street hawking to such great heights?