There is a quiet confidence to Wonders Await, the second album from Alex Krawczyk, that reveals itself gradually. It doesn’t announce its ambitions with grand gestures or dramatic sonic pivots. Instead, it unfolds with patience, inviting the listener into a world where introspection is not indulgent, but necessary.

Krawczyk operates within the broad traditions of contemporary folk and Americana, yet what distinguishes Wonders Await is its emotional clarity. Written with producer Robbie Roth, the album is rooted in lived experience — songs shaped by resilience, self-reflection and a gentle but persistent belief in human connection. There is a sense throughout that these are not merely compositions, but conversations: between past and present, doubt and hope, solitude and community.

Musically, the record is understated but richly detailed. Acoustic guitars provide a steady backbone, while soft electric textures and carefully arranged horns add warmth without overwhelming the intimacy of the performances. Roth’s production is particularly adept at creating space. Nothing feels rushed; nothing feels overworked. It allows Krawczyk’s voice — expressive, unforced, quietly assured — to carry the emotional weight.

The album opens with “Falling in Love,” a track that sets the tone with disarming sincerity. It resists irony, embracing vulnerability in a way that feels increasingly rare. That openness continues on “When the Road Is Uneven,” one of the album’s most affecting moments. Rather than offering platitudes, Krawczyk acknowledges uncertainty, framing perseverance not as triumph but as endurance.

Alex Krawczyk: Wonders Await — a luminous folk record that finds strength in stillness

Stream & Enjoy

Elsewhere, Wonders Await broadens its emotional palette. “The Beach Song” and “West Coast” evoke landscapes of calm and renewal, their imagery rooted in physical places but resonating as emotional refuges. The title track serves as the album’s philosophical centre, its gentle optimism grounded in curiosity and attentiveness rather than naïve idealism.

One of the record’s most compelling qualities is its engagement with mindfulness, though it avoids the clichés often associated with the concept. “Like the Passing Clouds” contemplates the fleeting nature of thought with a light touch, while “Love Through Sound” celebrates music’s capacity to connect across boundaries. These themes are handled with restraint, never tipping into didacticism.

Narrative depth emerges in “Payphone,” a cinematic piece that bridges past and present, while “I Am a Song” offers a quietly powerful meditation on music itself as solace. The closing track, “Carry On,” brings the album full circle, reinforcing its central message of perseverance with a sense of calm assurance.

Krawczyk’s growing reputation — bolstered by international chart success, including multiple UK iTunes Top 20 hits and her #1 National Radio Hits AIRPLAY single “There Will Be Light” — is reflected in the confidence of this record. Yet Wonders Await does not feel like a bid for greater commercial reach. If anything, it feels more personal, more focused.

In a cultural moment often defined by noise and urgency, Wonders Await offers something quieter, and arguably more enduring: a reminder that strength can be found in stillness, and that the most meaningful transformations are often the least visible.

–Judy Rodgers

In honor of Christian Music Month, the Gospel Music Association (GMA) is partnering with The Recording Academy, the organization behind the annual GRAMMY Awards, to launch four exclusive performances of their Positive Vibes Only series, which celebrates gospel and Contemporary Christian music. Featuring Israel Houghton and Adrienne Bailon-Houghton with Diana Marie and Unified Sound, Jamie MacDonald, KB, and MercyMe with Tim Timmons and Sam Wesley, each video will premiere on GRAMMY.com and the Recording Academy Dedicated Playlist throughout March.

March 11th – MercyMe with Tim Timmons and Sam Wesley

March 18th – KB

March 25th – Israel Houghton and Adrienne Bailon-Houghton with Diana Marie and Unified Sound

April 1st – Jamie MacDonald

Integrity Music announced today the signing of a music publishing deal with Aaron Robertson.

Robertson, who is best known for his work as a songwriter, producer and keyboardist with Elevation Worship, has collaborated with many of today’s leading national and international CCM and worship artists, including Phil Wickham, Cody Carnes, Tauren Wells, Pat Barrett, Red Rocks Worship, Jamie MacDonald, Chandler Moore, Christine D’Clario, and Leanna Crawford.

Robertson is a Grammy-nominated, Dove Award- and Billboard Award-winning producer and writer, and his songs have collectively been streamed more than two billion times.

“Aaron carries a rare creative gift that writers and artists are naturally drawn to,” said Stone Meyer, vice president of publishing at Integrity Music. “We love his heart for God and are excited to come alongside Aaron. Our team is ready to champion him as he continues to fulfill his calling, crafting songs that serve the Church and point people toward Jesus.”

_{Front left: Blaine Barcus (president, Integrity Music), Aaron Robertson (songwriter), Stone Meyer (vice president, music publishing). Back left: Ben Wolverton (senior manager, Integrity Worship), Jonathan Lane (vice president, music administrations and contracts), Taylor Agan (creative director, music publishing), Ashley Prigge (A&R/publishing coordinator).} 

Robertson began playing the piano at age 8 and, by age 12, was a member of the worship team at his local church near Columbia, S.C. He continued to write and make music throughout his college years and, by graduation, was programming, producing, and performing music full-time.

He moved to Charlotte, N.C., in 2011 to continue working for Elevation Church and to partner with artists in the worship/CCM world. In 2022, he relocated to Nashville, Tenn., to further pursue his career creating music that glorifies God.

“I’m ready for a team and am very excited to jump into the next season of my career,” said Robertson. “I love the incredible communication, collaborative effort, and energy I see in the Integrity team, and this partnership seems like such a special fit. Their heart for the Church and for worship on a global scale is so apparent, I’m already seeing the evidence of it.”

ABOUT INTEGRITY MUSIC: Integrity Music is part of the Cook Media Global family, a nonprofit global resource provider serving the Church with life-transforming books, curriculum, and music. With offices in both the US and the UK (Nashville, Tenn., and Brighton, East Sussex), Integrity Music partners with artists and worship leaders such as Matt Redman, Paul Baloche, Israel Houghton, Peter Burton, CalledOut Music and many others who create songs that magnify the name of Jesus.

GOSPEL MUSIC ASSOCIATION ANNOUNCES EASTER LIVESTREAM SPECIAL

GMA Easter Celebration To Feature Performances From Brooke Ligertwood, Benjamin William Hastings, KB, and Passion

Livestream Event Happening Wednesday, April 1st, 2026, at 7pm ET

Nashville, TN (March 18th, 2026) – The Gospel Music Association (GMA) is proud to announce a special livestream event, GMA Easter Celebration. In partnership with Museum of the Bible and CREATR, GMA Easter Celebration is happening Wednesday, April 1st, 2026, at 7pm ET. Featuring performances from Brooke Ligertwood, Benjamin William Hastings, KB, and Passion, the special will be available exclusively on gospelmusic.org/easter and will stream all throughout Holy Week.

Filmed in the World Stage Theater at the Museum of the Bible in Washington D.C., GMA Easter Celebration features artist performances honoring the Easter story and the hope found in a risen Savior. The special is in partnership with CREATR, a global learning and development platform designed to equip creatives and church teams to build impactful worship.

ABOUT THE GOSPEL MUSIC ASSOCIATION & FOUNDATION

Since 1964, the Gospel Music Association’s mission has been to expose, promote and celebrate the Gospel through music. The GMA serves the richly diverse creatives and professionals within the Christian and Gospel music industry. With a focus on evangelism, education, and community support, the GMA provides resources to train, equip and strengthen the creative community – from aspiring artists to industry professionals – and works to preserve the legacy of those who’ve gone before us. Through broadcasts like the GMA Dove Awards, now in its 57th year, we celebrate the work of today’s artists while reaching millions of people around the world.

ABOUT MUSEUM OF THE BIBLE

Museum of the Bible invites all people to engage with the transformative power of the Bible. Located just three blocks from the US Capitol in Washington, DC, the stunning 430,000-square-foot museum showcases rare and fascinating artifacts spanning 4,000 years of history and immersive experiences exploring the Bible. In addition to its educational programs, exhibits and experiences, Museum of the Bible hosts the beautiful 476-seat World Stage Theater.

ABOUT CREATR

CREATR is a global learning and development platform designed to equip creatives and church teams to build impactful worship. Through a growing library of exclusive courses, conversations, and resources, CREATR connects individuals and ministries with some of the most trusted voices in worship, songwriting, leadership, and creative ministry.

CREATR provides on-demand training, practical tools, and curated teaching created by experienced church leaders for creatives serving in the Church. The platform is built to help worship leaders, artists, and teams grow in skill, leadership, and spiritual depth as they serve their communities.

With content produced in partnership with leading worship voices and organizations, CREATR exists to develop a creative community that is spiritually grounded, highly skilled, and committed to building the Church with excellence and generosity.

Hope Media Group (HMG) welcomes media personality, author, and community leader Jillian “JJ” Simmons to its on-air lineup. Simmons will bring her signature voice and heart for ministry to listeners on KSBJ/Houston middays and afternoons on the Worship 24/7 national network of stations, further strengthening HMG’s mission.

Simmons is also widely recognized for her heart for service. As the founder of the “I’m Me Foundation”, she has dedicated herself to empowering middle and high school girls through leadership development. A graduate of Houston Christian University, she is currently deepening her impact by pursuing a Master of Divinity at Fuller Seminary.

“Joining Hope Media Group feels both humbling and exciting,” said Simmons. “I have long respected the organization’s commitment to meeting people where they are with messages of hope and faith. I’m grateful for the opportunity to serve listeners and contribute to this incredible ministry.”

The move marks a significant addition to the KSBJ and Worship 24/7 talent rosters, blending professional broadcast excellence with a profound commitment to spiritual growth and community engagement.

“J.J.’s love for people and her passion for sharing Hope make her a natural fit for our ministry,” said Jeff Evans, Vice President of Radio for Hope Media Group. “We’re excited for listeners to experience her heart not only on KSBJ but also through Worship 24/7, where worship continues to draw people closer to God.”

Singer-songwriter Evelyn Cormier has signed with BEC Recordings, ushering in a new chapter for the New Hampshire native whose reflective folk-pop sound and faith-driven storytelling are resonating with listeners.

Cormier’s introductory label single, “Like Me Better,” is quickly gaining traction, amassing more than 1.5 million streams in just eight weeks. The synth-laced track features her signature airy vocal and a message of freedom from unhealthy relationships and people-pleasing.

“‘Like Me Better’ is a farewell kiss to endless people pleasing and toxic friendships. It’s a catchy exorcism of the ghosts from your past that love haunting you with your mistakes. It is the musical embodiment of New Year, New Me,” Evelyn Cormier shares.

Originally from New Hampshire, Cormier began singing in church at age 10 and writing songs by 13. She soon formed a family band with her father accompanying her on guitar — a partnership that continues today on stages across the U.S. and internationally. For more than a decade, she released music independently before signing with BEC Recordings in 2025. Cormier first gained national attention in 2019 as a Top 14 finalist on Season 17 of American Idol. Judge Katy Perry praised her voice as “one of my favorite voices I’ve ever heard in my life.”

With her acoustic-rooted folk-pop sound and a growing audience, Cormier hopes her music provides listeners with a moment of stillness.

Alongside her music career, Cormier is also a self-published author of historical fiction, with two novels released and a third slated for 2026. When she’s not writing or performing, she and her husband are restoring a historic farmhouse in New Hampshire — a reflection of her love for preserving the past and making it new.

Miss Freddye has never approached the blues as a stylistic exercise, and Slippin’ Away makes that clear from its opening bars. This is not a performance built on flash or reinterpretation—it’s rooted in the deeper function of the blues as personal testimony. In that sense, the single aligns closely with the classic vocal tradition, where emotional credibility outweighs technical display.

A veteran of the Pittsburgh blues scene, Miss Freddye (Freddye Stover) brings decades of experience shaped by both gospel influence and the practical demands of live performance. That background is evident in her phrasing, which is deliberate and unhurried. She understands how to inhabit a lyric rather than simply deliver it, a quality that distinguishes seasoned blues vocalists from more contemporary interpreters of the form.

The song itself, written by the late Mike Lyzenga, adheres to a familiar thematic structure: the dissolution of a relationship rendered through imagery of loss and inevitability. There are no surprises in the narrative, but that is not a weakness. The blues has always relied on repetition and variation, and Slippin’ Away succeeds because of how it navigates that tradition rather than attempting to escape it.

Musically, the track is restrained. Guitarist Mike Huston provides measured, economical lines that echo the vocal without competing for attention. His phrasing recalls the understated approach of postwar electric blues, where tone and timing take precedence over speed.

Jeff Conner’s keyboard work introduces a subtle gospel undercurrent, reinforcing the song’s emotional gravity without tipping into sentimentality. The rhythm section—Greg Sejko on bass and Bob Dicola on drums—maintains a steady, unobtrusive pulse, allowing the arrangement to remain open and uncluttered.

Miss Freddye’s role as producer is central to the recording’s effectiveness. The mix favors balance and clarity, avoiding the excessive layering that often characterizes modern blues productions. There is a conscious effort to preserve space within the arrangement, which in turn emphasizes the vocal. This approach reflects an understanding of traditional blues recording aesthetics, where immediacy and presence are prioritized over polish.

Vocally, Freddye demonstrates control and nuance. She resists the temptation to oversing, instead allowing the emotional content of the lyric to emerge gradually. When she delivers the line “I feel you slipping through my hands,” the impact comes not from vocal power but from restraint. It is a measured expression of loss, consistent with the blues tradition’s emphasis on understatement.

What Slippin’ Away ultimately reveals is Miss Freddye’s commitment to the core values of the genre: honesty, simplicity, and emotional directness. At a time when blues is frequently hybridized or repackaged for broader audiences, her approach remains grounded in its original intent. This is not revivalism for its own sake, but continuity—an artist working within a tradition and contributing to its ongoing life.

While the single does not seek to innovate structurally or stylistically, it achieves something equally important. It affirms that the essential elements of the blues—voice, story, and feeling—remain sufficient when handled with care and experience. In Slippin’ Away, Miss Freddye offers a recording that is both modest in scope and significant in execution, reinforcing her place within the contemporary blues landscape.

–John Sully

Megan Woods recently announced a brand-new devotional inspired by her song “I Believe You.” Believing God for the Unbelievable reflects the heart behind the song, reminding listeners that God’s Word never fails, even in seasons when faith feels difficult.

For the last two months, Joseph Habedank has toured his acclaimed The Church Tour, touching hearts across the country and leaving audiences uplifted and encouraged. The Church Tour has proven to be the most successful tour to date for the award-winning artist, and will be extended into the Spring season! The Spring leg of this tour will include 20 cities across eight states, including Chicago, Dallas, Green Bay, Houston, Minneapolis and Myrtle Beach.

The Church Tour is inspired by Joseph Habedank’s latest chart toping radio single, entitled ‘The Church,’ which was co-written by Habedank, Sue C. Smith and Jason Cox. The song chronicles the impact the singer/songwriter’s childhood church made on his life as a young boy, and the lessons he carries with him to this day. The Church Tour will feature live music from the band, including Joshua Tomlin on keys, Brandon Spoon playing drums, and Jarrod Siler on guitar.

Joseph Habedank is proud to be partnering with Compassion International for this leg of The Church Tour. Compassion International shares the hope of the Gospel in word and action, delivering children around the world from poverty in Jesus’ name through the help of donors. The goal of Compassion is to care for the entire child- mind, body and soul – through a variety of programs and incentives delivered through the local churches in their communities.

Joseph Habedank is a two-time GRAMMY® nominated, Dove Award winning Southern Gospel Artist of the Year and has been named Gospel Music’s Favorite Soloist for seven years. Joseph Habedank has a unique and equally powerful testimony that has been featured on FoxNews.com’s Spirited Debate, TBN’s Praise The Lord, and in such publications as Billboard Magazine, CCM Magazine and Glenn Beck’s The Blaze. He has shared his music in some of America’s greatest churches and venues, including the Brooklyn Tabernacle, Charles Stanley’s First Baptist Atlanta, The Grand Ole Opry, and the historic Ryman Auditorium.

In a world that often celebrates confidence and self-reliance, some of the most powerful Christian messages come through humility. That truth sits at the heart of Richard Lynch’s heartfelt rendition of “Why Me Lord,” the timeless gospel-country classic written by Kris Kristofferson. Lynch’s version doesn’t simply revisit the song—it reminds listeners why it has endured for generations as a deeply moving testimony of faith.

From the opening line—“Why me Lord? What have I ever done to deserve even one of the pleasures I’ve known?”—the song invites listeners into a moment of honest reflection. These words echo a central theme of the Christian walk: the understanding that God’s grace is not something we earn, but something we receive through mercy and love. Lynch delivers the lyric with sincerity and reverence, allowing the spiritual weight of the message to shine through.

Musically, the arrangement is intentionally simple, which perfectly suits the song’s message. Gentle acoustic guitar, soft pedal steel, and a slow, contemplative tempo create a setting that feels almost like a quiet church service. The production avoids distractions, allowing the focus to remain on the words and the emotion behind them.

Lynch’s voice is particularly well suited to material like this. His warm baritone carries a sense of life experience—one that makes the confession in the chorus feel authentic rather than theatrical. When he sings, “Lord help me, Jesus, I’ve wasted it so,” there is a humility in the delivery that many listeners will recognize from their own spiritual journeys. It reflects the biblical understanding that all believers fall short, yet are still welcomed into God’s grace.

Grace in Every Note: Richard Lynch’s “Why Me Lord” as a Song of Humble Faith

Stream & Enjoy

One of the most moving moments arrives in the lines, “But now that I know that I needed you so, help me Jesus, my soul’s in your hands.” This sentiment captures the essence of Christian transformation: the realization that true peace comes from surrendering control and trusting in the Lord’s guidance. Lynch communicates that realization with quiet conviction, letting the lyric resonate rather than pushing it toward dramatic climax.

This performance also aligns beautifully with Lynch’s broader body of work, particularly his inspirational album Pray on the Radio: Songs of Inspiration. The project reflects an artist who understands that music can be more than entertainment—it can also be ministry. By revisiting songs rooted in faith, Lynch offers listeners moments of encouragement, reflection, and spiritual reassurance.

Ultimately, Richard Lynch’s interpretation of “Why Me Lord” serves as a reminder that the Christian message often speaks most clearly through simplicity. The song doesn’t offer flashy arrangements or elaborate vocal flourishes. Instead, it delivers something far more meaningful: gratitude, repentance, and trust in God’s grace.

In that sense, Lynch’s version feels less like a performance and more like a prayer set to music—one that invites listeners to pause, reflect, and remember the blessings they’ve been given.

–Chris Beck