Here’s my personal review of Commando, released 12th August 2024 as a single by Teddy O.T.
Teddy Owusu Twum popularly known as teddy o.t is no new name to the Ghana gospel music industry. Teddy has proven to be a force to reckon with int the urban contemporary gospel industry since 2010.A s someone who has written and promoted some of the genre’s hit songs from Meyi w’aye by Preachers, Dem Go Shame by TKC, Jesus Over Do by Empress Gifty, Live Again by Seth Diamond to mention a few,I know Ghanaians expect much from him.
Now to the song “commando”. I’ll walk through: what the song is about, how it sounds and how it works (production, performance, visuals), what stands out, and what should be improved in his future releases.
Background & inspiration
· Teddy O.T describes the title “Commando” as metaphorical: a defender, fighter, fortress. He likens God’s protection in his life to that of a commando going into the battles for you.
· The song was born out of a moment of personal reflection: challenges faced, deliverances experienced, and gratitude.
· Musically, it is positioned as an Afro-gospel anthem: a blend of worship themes and Afrobeat rhythms, West African sounds.
SOUND & PERFORMANCE
What works:
• The fusion of Afrobeat groove + gospel message gives it energetic yet meaningful feel: your feet might tap, your mind might reflect.
• Teddy’s vocal delivery carries conviction: the sense of testimony (I’ve been defended, I’ve been helped) comes across.
• Lyrically it mixes English with phrases like “Olorun dabobo” (God protect) and other local language touches; this grounds it culturally and gives authenticity.
• The arrangement builds nicely: from more intimate moments to fuller instrumentation; the “when you show your fa-ya-ya (fire)” section stands out as a hook.
What could be improved / Considerations:
• Because it juggles between worship and upbeat Afrobeat, for some listeners the shift might feel abrupt (from intimate testimony to big anthem).
• In terms of international crossover, the language/accents/traditional references might need subtle adaptation to connect globally—but that may reduce local authenticity, so it’s a trade-off.
• Visually (video production) the narrative could be strengthened with more variation or stronger visual metaphors instead of performance-only shots (if indeed the video leans that way).
VISUAL & VIDEO ELEMENTS
· The visual mood supports the message: it shows Teddy O.T in strong lighting, performance scenes, moments of reflection.
· The production value is solid (especially for the Ghana gospel/Afro scene), giving it a polished look.
· The styling and location (Brooklyn, NY referenced in one source) bring an international feel.
· A tip for viewers: keep an eye on how lighting, camera angles, and background scenes emphasise the “battle/defence” metaphors (commando, protector, shield).
STAND-OUT MOMENTS & THEMES
• “You’ve been ma bodyguard” / “You dey kill anything wey come cross this my lane” (from the lyric sheet) are strong vivid lines: they paint God as an active defender, not passive.
• The hook is memorable: “Na your hand-o, Na your hand-o … E bi you dey fight for me like commando” – simple, repeated, and emotive.
• Cultural layering: Use of local language expressions plus Afrobeat rhythms positions the track as both gospel and locally rooted.
• Empowerment to youth: Teddy O.T states he hopes the song resonates especially with youth or anyone who’s experienced deliverance.
OVERALL VERDICT
Commando is a strong offering in the gospel/Afrobeat space: it combines meaningful message, credible performance, and good production. If you enjoy faith-based music with an upbeat, modern African sound, this song delivers. It’s likely to be appreciated both in church/gospel circles and in Afrobeat-friendly social contexts.
Final thoughts
• If you’re not used to gospel lyricism, some of the religious language might feel heavy, but it’s balanced by the rhythm and production.
• Fans of more “pure” secular Afrobeat may find the worship predominance a bit divergent from party-mode songs—but that’s more a matter of listener preference than flaw.
• For future releases, perhaps exploring more storytelling visuals in the videos (beyond performance) could further broaden appeal.
Review By Felix Adomako Mensah
