VOICE OF THE CROSS: THE LEGENDARY DUO WHO SHAPED NIGERIAN GOSPEL MUSIC
The remarkable story of Brother Lazarus Chukwuoma and Brother Emmanuel Ogbonna
Long before gospel music became a major part of Nigeria’s commercial music industry, before digital streaming platforms, social media promotions and sophisticated studio productions, there were musicians who carried the message of Christ with little more than their voices, simple instrumentation and an unwavering commitment to the Gospel.
Among the pioneers who helped shape that era was Voice of the Cross, the legendary gospel duo of Brother Lazarus Chukwuoma and Brother Emmanuel Ogbonna.
Emerging from Eastern Nigeria in the early 1970s, the duo became one of the most recognizable gospel music acts of their generation. Their music, particularly their Igbo-language gospel songs, travelled far beyond church walls and became part of crusades, revival meetings, conferences and worship services across Nigeria.
Academic research on the development of Nigerian gospel music also identifies Voice of the Cross as one of the important gospel acts that emerged from Eastern Nigeria during the 1970s. Their music combined Christian lyrics with indigenous musical expressions and helped broaden the sound and reach of Nigerian gospel music.
HOW VOICE OF THE CROSS BEGAN
The story of Voice of the Cross began in Aba, Abia State, in the early 1970s.
Brother Lazarus Chukwuoma and Brother Emmanuel Ogbonna met in a church in Aba. At the time, both men were involved in church music.
According to accounts of their history, Brother Lazarus had recently joined the choir when Brother Emmanuel noticed something unusual about his musical ability: Lazarus could sing multiple vocal parts.
Emmanuel also discovered that their voices blended exceptionally well.
That discovery became the foundation of what would eventually become Voice of the Cross.
Rather than simply singing together as ordinary choir members, the two developed a distinctive vocal partnership. Their ability to harmonize, combined with their passion for Christian ministry, gave birth to a musical sound that would become highly recognizable among Nigerian Christians.
A Nigerian music-history programme describes their meeting in the early 1970s and notes that they began singing together after discovering their musical compatibility.
THE SOUND THAT CAPTURED A GENERATION
Voice of the Cross emerged at a significant period in the development of Nigerian gospel music.
The 1970s saw gospel music increasingly expressed through indigenous Nigerian musical forms rather than exclusively through imported hymn and church traditions.
Voice of the Cross became particularly influential in Eastern Nigeria because they combined Christian messages with indigenous musical expressions, especially the Igbo language.
One academic account describes the group as being led by Emmanuel and Lazarus and notes their use of voice and keyboard, together with indigenous tunes set to Christian texts. Their predominantly Igbo-language music helped make them especially popular in the eastern part of Nigeria.
Their music was not simply entertainment.
It was ministry.
Their songs addressed salvation, Jesus Christ, repentance, faith, eternity, Christian living, praise and the hope of heaven.
This combination of strong Christian messages and memorable melodies enabled their music to move from church congregations into homes and communities.
THE 1970s AND 1980s: THEIR GOLDEN ERA
The 1970s and 1980s became the defining period of Voice of the Cross.
During those years, the voices of Brother Lazarus and Brother Emmanuel became familiar to countless Nigerian Christians.
Their songs were widely used during:
Gospel crusades
Revival meetings
Ministers’ conferences
Church services
Prayer meetings
Christian gatherings
Evangelistic programmes
Contemporary accounts of their career describe their voices as having dominated the Nigerian gospel scene during that era, with their music reaching audiences across different parts of the country.
Their influence was particularly significant because the Nigerian gospel industry had not yet developed the enormous commercial infrastructure that exists today.
There were no Spotify playlists, YouTube premieres, TikTok campaigns or social-media advertisements.
Songs travelled largely through records, tapes, radio, churches, crusade grounds and word of mouth.
Yet Voice of the Cross succeeded in building a remarkably enduring audience.
THEIR MESSAGE: GOSPEL BEFORE COMMERCIALISM
One of the most important aspects of their story is the motivation they have publicly associated with their music.
In accounts of interviews with the duo, Brother Lazarus emphasized that when they began singing, their primary objective was to bring people to God rather than to pursue music primarily as a money-making venture.
That philosophy reflected an important characteristic of early Nigerian gospel music.
Many of the pioneers viewed music primarily as an instrument of evangelism.
Their songs were therefore often written and performed as musical sermons—songs designed not merely to entertain but to make listeners think about salvation, Christian living, death, eternity and their relationship with God.
This is part of what has allowed many of their recordings to survive across generations.
SOME OF THEIR BEST-KNOWN SONGS
Voice of the Cross produced numerous songs that became associated with the golden era of Nigerian gospel music.
Among the titles associated with the duo are:
Sing Hallelujah
Joy of Salvation
Thank You for Saving Me
Satan Is in Trouble
Good Morning, Jesus
I Have Seen the Light
Hallelujah, Christ Is Coming Very Soon
Omeriwo
Onazuputam
Draw Me Nearer Unto Thee
I Shall Be No Stranger There
Why Worry
On My Way to Calvary
Glory Be to God
What Manner of Man Is Jesus
These titles have continued to circulate through recordings and digital music platforms.
A 2024 report on a Voice of the Cross appearance at a Christian conference in Yenagoa specifically listed several of these songs and described them as compositions associated with Brother Lazarus and Brother Emmanuel.
Their catalogue is also still represented on modern digital music services, demonstrating that the music of the duo has survived the transition from physical recordings to the streaming era.
“SATAN IS IN TROUBLE” AND THEIR POPULAR APPEAL
One of the titles most strongly associated with Voice of the Cross is “Satan Is in Trouble.”
The song became particularly well known during the 1980s.
Historical accounts of Nigerian gospel music identify it among the group’s notable recordings, while contemporary references continue to recognize it as one of their signature songs.
The song illustrates one of the characteristics of Voice of the Cross’ music: they were able to communicate strong spiritual themes through memorable, accessible musical arrangements.
Their songs could function simultaneously as worship, evangelism and congregational music.
WHY THEIR MUSIC SOUNDED DIFFERENT
Part of the uniqueness of Voice of the Cross was the interaction between their voices and the musical arrangements accompanying them.
Their early music relied significantly on vocal harmony and keyboard/organ accompaniment.
Rather than attempting to reproduce Western gospel music exactly, they incorporated indigenous Nigerian musical sensibilities.
This helped make their music understandable and emotionally familiar to Nigerian listeners.
Their use of Igbo was particularly important.
At a time when English dominated much of Nigeria’s recorded popular music, Voice of the Cross demonstrated that Christian music could communicate powerful theological messages through an indigenous language and musical identity.
Their success therefore represented more than the success of two singers.
It was also part of the broader development of an authentically Nigerian gospel sound.
BROTHER LAZARUS CHUKWUOMA
Apostle Lazarus Chukwuoma, popularly known as Brother Lazarus, became one of the two defining voices of Voice of the Cross.
According to the biographical information supplied for this profile, he was born on June 5, 1950, in Amakohia, Ihitte/Uboma Local Government Area of Imo State.
His life eventually developed beyond music into Christian ministry.
After the duo relocated to the United States in 2000, Brother Lazarus later returned to Nigeria.
He subsequently established The Bible Church of Christ International (BCCI), where he serves as the General Overseer.
His return to Nigeria also allowed him to continue his musical ministry.
In recent years, he has appeared at Christian programmes and crusades where some of the classic Voice of the Cross songs have been performed for a new generation.
A 2024 report on the Yenagoa Miracle Crusade and Ministers’ Conference identified Apostle Dr. Lazarus Chukwuoma as a co-founder of Voice of the Cross and reported his participation in the group’s continuing musical ministry.
BROTHER EMMANUEL OGBONNA
Rev. Emmanuel Ogbonna, popularly known during the group’s early years as Brother Emmanuel or Bro. Emma, was the other half of the legendary partnership.
According to the biographical information provided for this article, he was born on November 23, 1953.
He became known for his distinctive vocal contribution to Voice of the Cross and for his songwriting and musical ministry.
Following the duo’s relocation to the United States in 2000, Brother Emmanuel remained in America, where he continued his Christian ministry.
Some sources now refer to him as Rev. Dr. Emmanuel Ogbonna. A 2024 report likewise identifies him as Rev. Emmanuel Ogbonna and lists several songs associated with his work with Voice of the Cross.
THE MOVE TO THE UNITED STATES
In 2000, Brother Lazarus and Brother Emmanuel relocated to the United States of America.
Their move marked a significant transition in their personal lives and ministry.
The two men who had spent decades ministering together in Nigeria were now living in different circumstances in America.
A Nigerian music-history account confirms that the duo relocated to the United States in 2000 and that Lazarus subsequently returned to Nigeria while Emmanuel remained in the United States.
Although geographical distance made it more difficult for them to maintain the same level of activity they had enjoyed during their Nigerian years, the Voice of the Cross legacy did not disappear.
Their old songs continued to circulate.
THE LEGACY CONTINUES
Perhaps one of the clearest signs of the influence of Voice of the Cross is the continued interest in their music decades after their peak.
Their songs are still uploaded, streamed, discussed and performed.
GospelSong Download itself has preserved and featured some of their recordings, including “There’s a Man,” “Enwere Enyi,” “The Scriptures Tells the Story” and “Chukwu Onye Dinma.”
Their music has therefore crossed an extraordinary technological journey:
Church choir → live crusades → records and tapes → radio → CDs → MP3 → YouTube → digital streaming.
That journey demonstrates the durability of their musical catalogue.
A NEW GENERATION CARRIES THE SOUND
The Voice of the Cross story has also entered a new generation.
Reports from recent years indicate that Lazarus Nkwachukwu Chukwuoma Jnr., Brother Lazarus’ son, has participated in carrying forward the musical legacy, including singing the part historically associated with Brother Emmanuel.
This is significant because musical legacies are not preserved only through old recordings.
They survive when younger generations learn, perform and reinterpret the songs.
FIVE DECADES OF GOSPEL MUSIC
From their meeting in a church in Aba in the early 1970s to their emergence as major voices in Nigerian gospel music, Voice of the Cross represents more than five decades of Christian musical history.
Their story encompasses:
Faith.
Friendship.
Vocal harmony.
Evangelism.
Indigenous Nigerian music.
Church ministry.
Migration.
Separation.
Legacy.
And generational continuity.
Their contribution belongs to the formative history of Nigerian gospel music.
Long before gospel music became a major digital industry, Brother Lazarus and Brother Emmanuel were already demonstrating that Christian music could reach large audiences while remaining deeply rooted in faith, language and Nigerian cultural expression.
THE VOICE MAY CHANGE, BUT THE MESSAGE REMAINS
The physical circumstances surrounding Voice of the Cross have changed.
Brother Lazarus returned to Nigeria and established his ministry.
Brother Emmanuel continued his ministry in the United States.
The two voices that once stood together before thousands of worshippers are no longer geographically based in the same place.
But their music remains.
For listeners who grew up with their songs, hearing those familiar harmonies can bring back memories of crusades, revival meetings, church services and an earlier era of Nigerian Christianity.
For younger listeners, their recordings provide a window into the foundations upon which today’s Nigerian gospel music industry was built.
That is perhaps the most enduring achievement of Voice of the Cross.
They did not merely make songs.
They helped create a musical legacy.
And more than five decades after their journey began, the voice of the cross continues to be heard.
A LEGACY WORTH PRESERVING
As Nigerian gospel music continues to evolve through streaming platforms, social media and new generations of artists, the contribution of pioneers such as Brother Lazarus Chukwuoma and Rev. Emmanuel Ogbonna deserves to remain documented.
Their story reminds today’s gospel musicians that before the algorithms, playlists, viral videos and digital music stores, there were men and women who carried the Gospel through songs simply because they believed the message was worth singing.
Voice of the Cross remains one of those historic voices.
GospelSong Download celebrates the pioneers whose music helped lay the foundation for Nigerian gospel music.