Folabi Nuel's "We Feel Heaven (Live)" Is a Room on Record

In short: Worship, as this album presents it, is not a performance of certainty; it is a room full of people deciding, together and out loud, that God is worth the noise.

There is a point in every live worship record where the crowd stops being an audience and becomes the choir. On "We Feel Heaven (Live)", Folabi Nuel circles that point track after track and never lets it settle.

The record's songs appear in the NGMCharts release feed dated October 30, 2026, among them "He Reigns (Live)", "You Are Worthy (Live)", "My Response (Live)", "He's Alive (Live)" and "Praising The Lord (Live)".

What you notice before anything else is how little the record cares about sounding tidy. Breath before a line, the pause where a vocal hands over to the room, a chorus that keeps going because the people know it: it is all left in. A live album either has a room or it does not, and this one clearly does.

Who is Folabi Nuel?

Folabi Nuel, whose real name is Afolabi Emmanuel Fagbemi, was born on 7 January 1992 in Lagos, Nigeria. The NGMCharts profile files the music under Worship, and describes a United Kingdom-based Nigerian gospel singer, songwriter, and worship leader.

The catalogue in the database opens with "Good God", released on February 4, 2017 with eight tracks, and runs to "Live from London (Live)", released on May 9, 2025 with 13 tracks. Between them sit "Songs from My Bedroom - EP" (six tracks, June 22, 2020), "Hunger - From Our Heart to Yours (Live)" (15 tracks, November 6, 2020), "Revival Is In the Air (RIITA)" (12 tracks, July 10, 2022), the "Bobibi - EP" (five tracks, September 2, 2022), "Bobibi - Forever and a Day" (eight tracks, September 13, 2023) and the "Sonus dulcis - EP" (six tracks, March 22, 2024). There is also "Good God (Deluxe Edition)", released on August 6, 2018 with 11 tracks.

Integrity Worship calls Folabi Nuel an award-winning singer-songwriter and worship leader Integrity Worship. The same page places the story between Lagos and London and names collaborations with Grammy Award winners Matt Redman and Israel Houghton.

That last detail explains a lot about how the new album is built. This is a writer who has stood next to international worship voices, and who still sings as though the most important ears in the building belong to the people in the back row.

What is "We Feel Heaven (Live)" about?

The album is a live set featuring Kaestrings, Greatman Takit, Ibquake and Lifepointe Band AStepFWD.

"He Reigns" starts it with declarations of God's greatness, setting the whole project on the majesty and sovereignty of God. Then "You Are Worthy" and "My Response" continue the atmosphere of adoration, which is the register this scene does better than almost anyone. "Deliverer", with Kaestrings, speaks of God's saving power.

"He's Alive" celebrates the resurrection of Jesus Christ, and "Yahweh Sabaoth", with Greatman Takit, carries a title meaning Lord of Hosts.

"I See The Lord" brings in Ibquake, while "Eledumare" draws its title from the Yoruba name for the Supreme God. "Praising The Lord", with Lifepointe Band, brings a joyful, dance-filled atmosphere to the close.

So the shape of the thing is a rise: wonder at the top, testimony in the middle, dancing at the end. It begins with adoration and ends with thanksgiving, which is the oldest order in Nigerian church music and still the most reliable one.

Folabi's own framing is plain about the intention. The record is a masterpiece and an incredible body of work in the artist's telling, and the people who heard it early kept saying the same thing: it is truly a sound of heaven.

Clickbait would not bother with a guest list like this, or with a running order this patient. The guest list is doing theological work here: each voice widens the frame from one worshipper to a company of them. Kaestrings on the deliverance song, Greatman Takit on the psalm title, Ibquake on the vision of the throne, Lifepointe Band carrying the party out of the door.

Where does "Yahweh Sabaoth (Live)" sit on the charts?

"Yahweh Sabaoth (Live)" had its own life before the album, released by Integrated Music Rights (UK) on 25 Sept 2026 Qobuz.

On the NGMCharts Top 50, "Yahweh Sabaoth (Live)" has peaked at No. 23 and spent two weeks on the chart, with a latest rank of No. 32 in the week of October 9, 2026. On the Worship chart the song peaked at No. 9 across two weeks, sitting at No. 17 in that same week.

A Top 50 peak of that size is respectable for a worship cut with no radio armour around it. The Worship chart peak is the more telling figure, because that is where the people who actually lead these songs on Sunday mornings go looking. Those weeks of chart life give the album a running start: listeners arriving at the record already know one of its songs.

Why the live format matters here

Live worship has long been a significant part of Folabi's music. The 2020 project in the catalogue above was recorded with a room full of guests, including gospel artistes like Nosa, TY Bello, Freke Umoh, Prospa Ochimana and Minister Kenn Wikipedia.

Not everything here is new: "He's Alive" had already gone out as a single with Sunmisola Agbebi on 7 April 2023 Wikipedia.

Hearing it again in a live setting is the point of the format. A song that works alone in a studio can shrink in a hall, and a song that feels ordinary on record can become enormous once a hall full of people decides to answer it. Albums like this are how worship repertoire actually travels: not through playlists, but through congregations who learn the hook and take it home.

Feature choices tell you who the record is for, too. Kaestrings and Greatman Takit and Ibquake are not decoration on a project that needed star names. They read as invitations to different parts of the church: the intercessor, the streetwise psalmist, the voice that carries a room into stillness.

The room is the instrument

The title is a claim, and the record has to earn it. It mostly does, not by manufacturing atmosphere but by refusing to edit it out. Listen for the moments when the band pulls back and the singing does not: those are the seconds that make a live album more useful than a studio one, because they teach a worship leader what a congregation is willing to do without being told.

What stays with me after the last track is the ordinariness of the setting. Nothing here pretends the gathering was flawless. Worship, as this album presents it, is not a performance of certainty; it is a room full of people deciding, together and out loud, that God is worth the noise.

And Folabi Nuel signs it off the way a good host would, with a table already set: "Go and feast!".