Abstract: Esa music is originally a chant/song music genre that was used exclusively in the worship of Sango the god of thunder and lightening and the masquerade spirit in Yoruba land. Esa vocalization makes use of free speech rhythms. It mostly comprise of linear unit with poetic line running into another to complete a poetic statement. The songs are used mainly to link the fragments of the chants creating a unilineal interlocking structure between the songs and the instrumental accompaniment. The dwindling patronage in Esa practice has driven the practitioners into a struggle for relevance in the 21st century. This has enlarged the scope of its performance beyond its local setting into a genre in Christian worship. The adoption requires a variation in practice as well as modification of the text of the chant/songs to suit its present audience. Seven artistes were interviewed and the extent of their struggle documented accordingly. The study examines Esa music practitioners and their contributions to Yoruba musical value and reconstruction.