The timeless appeal of Don Moen’s music in Ghana

The concertgoers, who have promptly risen to their feet, are united by an appetite for spirit-minted hymns that have scored their personal histories. At 72, the Minnesota native, who is renowned globally as a key figure in contemporary Christian worship music, especially by believers in Ghana, is still cordial, nifty and captivating. He has hardly aged; clean-shaven and sharp in a royal blue suit, white shirt and brown shoes.

The heart of his set is a stripped-down, intimate presentation: the worship leader on keys supported by another pianist and a loop pedal. Gentle emissions from a fog machine nearby as well as symbolic pictures and deep song lyrics on LED screens behind him conjure up the feeling of floating in the clouds, and spiritually transform the venue into something ethereal.

Before he begins ministering candidly and conversationally about his love for God, His healing power and infinite magnificence, Moen rises to acknowledge the cheers of his announcement and the presence of fellow American gospel vet Ron Kenoly in the crowd. Following that, he quips that his set would constitute an aberration from those immediately preceding him, seeing how much they embodied a vigorous substance targeted at the younger folks in attendance.

“I was watching the livestream, all this energy, and I thought, ‘What am I going to do?’” The audience laughs as if to point out that his fears of a laboured performance are unfounded.

Nigerian singer Moses Bliss, emerging from the pop end of the gospel spectrum and famous for songs like ‘Bigger Everyday’, ‘Miracle’ and ‘Taking Care’, is the show’s other headliner, drawing down the curtains for the night.

This is Ghana, after all, where Don Moen is deeply loved and never forgotten, and where lines from his songs have been repurposed as greetings in church. “God is good,” a pastor would call, to which his congregation responds, “All the time.”

Moen has also enjoyed a special affinity with the country for a long time; this is neither his first trip nor his maiden performance in the country. As a missionary, he has led a number of projects, including turning the first sod for the $90 000 Royal Seed School in Accra three years ago.

The resounding cheers that greet the first few chords of ‘Our Father’ is all the proof he needs. This excitement, fuelled by nostalgia and grace, also drives the rest of his performance. The crowd members, who elect themselves to the role of backing vocalists right away, go through his classics with him, displaying the coordination of a well-rehearsed mass choir on songs like ‘Give Thanks’, ‘I Just Want to Be Where You Are’, ‘Mi Corazon’, ‘I Offer My Life’, ‘God Will Make a Way’, ‘I Am the God that Healeth Thee’ and ‘Be Magnified’.

Moen’s set is also punctuated with testimonies and exhortations offering context to the next track, and the crowd, resonating with these stories, consume the songs, taken from Moen’s formidable and award-winning catalogue of some 40 albums. Slowly and purposefully, their faces grimacing to reflect specific moments of difficulty, and how the songs brought about celestial reprieve.

A dark, slender woman, in her 20s, shrieks song lyrics passionately, tears rolling down the sides of her face. A demure man clad in all white holds his face in his hands, also moved to tears. Next to him, a woman in a red dress fixes a squinted gaze, not at the performing musician but at the ceiling, with one palm on her heart and the other spread out above her head. At different points during his performance, Moen himself lifts his glasses to dab his eyes with a white face towel. Something profound is clearly happening.

Don Moen’s set climaxes with a rousing rendition of ‘God Is Good’, topping off his performance with a spirited violin interlude. The staccato bowing technique earns him a standing ovation and rapturous applause.