Omemma (feat. Chandler Moore) – Live
Maverick City Music
Live at Maverick City · 2025-02-07
Open in SpotifyLyrics
[Verse]
I know He loves me
I know He cares
Whenever I call
He always is right there
When I’m in trouble
He is my help
I know no fear
I know He’ll be right there
[Chorus]
AYYYY
He really does what He says He will do
My God really moves
AYYYY
Why would I Doubt
When He always come through
My GOD really moves
[Vamp]
Omemma
Always on time
You can’t do no wrong
Omemma
You Leave the ninety-nine
Always for the one
Omemma
Always on time
You can’t do no wrong
Omemma
You Leave the ninety-nine
Always for the one.
Omemma
Always on time
You can’t do no wrong
Omemma
You Leave the ninety-nine
Always for the one
Omemma
Always on time
You can’t do no wrong
Omemma
You Leave the ninety-nine
Always for the one
[Verse]
I know He loves me
I know He cares
Whenever I call
He always is right there
When I’m in trouble
He is my help
I know no fear
I know He’ll be right there
[Chorus]
AYYYY
He really does what He says He will do
My God really moves
AYYYY
Why would I Doubt
When He always come through
My GOD really moves.
AYYYY
He really does what He says He will do
My God really moves
AYYYY
Why would I Doubt
When He always come through
My GOD really moves
[Vamp]
Omemma
Always on time
You can’t do no wrong
Omemma
You Leave the ninety-nine
Always for the one
Omemma
Always on time
You can’t do no wrong
Omemma
You Leave the ninety-nine
Always for the one.
Omemma
Always on time
You can’t do no wrong
Omemma
You Leave the ninety-nine
Always for the one
Omemma
Always on time
You can’t do no wrong
Omemma
You Leave the ninety-nine
Always for the one.
[Chorus]
AYYYY
He really does what He says He will do
My God really moves
AYYYY
Why would I Doubt
When He always come through
My GOD really moves.
AYYYY
He really does what He says He will do
My God really moves
AYYYY
Why would I Doubt
When He always come through
My GOD really moves
Omemma
Always on time
You can’t do no wrong
Omemma
You Leave the ninety-nine
Always for the one
Omemma
Always on time
You can’t do no wrong
Omemma
You Leave the ninety-nine
Always for the one.
Omemma
Always on time
You can’t do no wrong
Omemma
You Leave the ninety-nine
Always for the one
Omemma
Always on time
You can’t do no wrong
Omemma
You Leave the ninety-nine
Always for the one.
Omemma
Always on time
You can’t do no wrong
Omemma
You Leave the ninety-nine
Always for the one
Omemma
Always on time
You can’t do no wrong
Omemma
You Leave the ninety-nine
Always for the one.
Song Meaning & Explanation
Chandler Moore's "Omemma" Trusts Repetition to Do the Preaching
There's a moment in gospel music where the lyric sheet stops mattering and the room takes over — where a phrase gets said enough times that it stops being information and becomes atmosphere. "Omemma" lives entirely in that moment, and it's both the song's boldest move and its biggest gamble.
The verses are plainspoken to the point of bluntness: "I know He loves me / I know He cares" reads less like songwriting than like scripture recited from memory, which is clearly the point. Moore isn't reaching for a clever turn of phrase here — he's stacking declarative certainty on certainty, "I know no fear," until doubt has nowhere left to stand. It's a testimony structure, not a narrative one, and it borrows its power from familiarity rather than surprise.
The title word itself is the song's real engine. "Omemma" — an Igbo term of endearment, roughly "my mother's child" or "beloved" — never gets translated or explained in the lyric, and that's a smart instinct. It sits inside the English lines like a held note, doing emotional work that English wouldn't quite reach. Paired against "You leave the ninety-nine / Always for the one," a clear nod to the parable of the lost sheep, the vamp becomes the song's actual thesis: divine attention as something intimate and singular, not general.
Where the song runs thin is in development. The chorus — "He really does what He says He will do" — is serviceable but generic, the kind of line that could slot into a dozen worship songs interchangeably. And with the vamp repeated as many times as it is here, "Omemma" reads more as a lyric built for the pulpit's slow build than for the page; on paper, the repetition can feel like padding rather than accumulation.
Still, there's real craft in the restraint. Moore trusts a single Igbo word and a borrowed parable to carry the emotional freight, and mostly, they do.
7/10
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