The Nigerian gospel music industry has over the years witnessed the emergence of many artistic, cultural and philosophical movements. One of these movements is the “singing-in-tongues” paradigm, particularly endorsed by the new generation of Pentecostal hip-hop musicians, many of whom seem bent on redefining the boundaries of Nigerian gospel music. Although remarkable, the singing-in-tongues paradigm (as deployed by Nigerian artistes) has remained understudied or virtually non-theorized by scholars. This paper seeks to fill this apparent gap in knowledge by exploring the singing-in-tongues concept in the light of two philosophical/religious currents, namely esotericism and postmodernism. What has been the place of the singing-in-tongues paradigm in the evolution of the Nigerian gospel music industry? How is singing in tongues esoteric? And how is it a subtle reflection of postmodern Christianity in Nigeria?