Palestine, TX-based Band Reeves brothers Jeramy and Cody release “Jesus Won’t” via Centricity Music.
We are so thankful for the times when God speaks & gives us a new song to sing! It’s such an honor and a blessing to get to share our first of many new songs to some! Our prayer is that y’all crank it up & share it if that’s your story too. –Band Reeves
Band Reeves Shares “Jesus Won’t”
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The Reeves brothers have taken their hybrid brand of acoustic-grounded storytelling and spiritually-fueled country music to concert venues nationally before being discovered and signed to their first label deal with Centricity Music. A little bit Shane & Shane, a little bit Florida Georgia Line, Band Reeves is forging their own unique path on a patch of back forty dirt where blue-collar living, big family dinners and bonfire worship all converge.
emerging singer-songwriter Emerson Day releases “This House Won’t Fall.” Known for her signature blend of southern rock grit and bold, faith-filled lyrics, Day continues to build momentum as one of Christian music’s rising voices.
Fans will have the chance to hear the new music and her hit song live this fall when Emerson Day joins Micah Tyler’s “God Did It Tour,” alongside Jordan St. Cyr. The tour kicks off this month and runs through November.
“Defe Defe,” a powerful declaration of God’s unwavering faithfulness and the triumph over life’s struggles, translates from Twi to express the sentiment: “Had I not met God, my enemies would have utterly defeated me.” The track’s infectious rhythm, led by the captivating vocals of Naana Asiedu, and its undeniable message of gratitude have propelled it to the #1 spot on multiple streaming charts, breaking barriers for contemporary Ghanaian gospel music.
Team Eternity Ghana issued a statement on the song’s unexpected success: “We are overwhelmed and truly humbled by the response to ‘Defe Defe.’ This song came from a place of recognizing God’s saving grace amidst chaos.
Our only mission is to spread the Gospel, and to see this message of victory and testimony resonate with millions—both believers and non-believers—is a profound confirmation of our vision. It’s not a song about us; it’s a song that points straight to the enduring power and goodness of God.”
The track is an intricate blend of traditional Ghanaian rhythm and contemporary praise, perfectly embodying Team Eternity Ghana’s commitment to ushering in a fresh, vibrant, and youth-focused perspective on gospel music. The viral explosion of “Defe Defe” underscores the universal hunger for authentic worship and powerful lyrical content.
Team Eternity Ghana is a dynamic gospel music collective dedicated to spreading the message of God’s love and eternal salvation through soul-stirring compositions. Formed with a vision to evangelize and nurture spiritual growth, the group is renowned for its unique blend of traditional and contemporary Christian music, captivating audiences and inspiring a renewed passion for faith across the globe.
Translating from the Igbo language as “The River That Never Runs Dry,” this new worship experience is more than just a song, it is a powerful declaration of God’s inexhaustible source of life, provision, healing, and strength. The single, which anchors a live EP, is already resonating deeply with worship communities globally, establishing itself as a must-add to contemporary Christian and African Gospel playlists.
“Oshimiri Atata” captures an intense, live worship session, with a spiritual fervor that is both contagious and deeply moving. Faith Captain masterfully uses the metaphor of an endless river to portray the unceasing flow of the Holy Spirit.
Faith Captain shared the inspiration behind the track, saying, “This song came from a place of deep assurance in God’s faithfulness. In a world full of uncertainties, the one thing we can depend on is that God is the ‘River That Never Runs Dry.’ My prayer is that this track becomes an avenue for revival, bringing healing and renewal to everyone who listens.”
This latest offering follows a string of impactful releases from Faith Captain, including “I Am,” “Prevail,” and “Awake (Live),” solidifying his position as a prominent voice in the global worship movement.
About:
Faith Captain is an emerging Christian Gospel artist and anointed worship leader known for his passionate, Spirit-filled music and deep, resonant lyricism. His sound fuses contemporary worship with the rich, dynamic textures of African Gospel, creating a unique and powerful worship experience designed to draw listeners into the presence of God.
Singer, songwriter, and worship leader George Case has released his newest single, “Jesus Wanna Be,” to Christian radio. Produced by Jeremy Medkiff and co-written with longtime friend and fellow musician Dennis McCall, the heartfelt track blends Christian AC and Christian Country influences while challenging listeners to model their lives after Jesus Christ.
George and Dennis’ musical journey together began in high school when they played in a band and shared a passion for faith-filled music. Years later, that friendship came full circle as they revisited a song Dennis had originally written, inspired in part by the classic Fannie Crosby hymn “More Like Jesus Would I Be.” The two reworked the lyrics, added a bridge, and crafted a fresh melody that speaks powerfully to believers striving to reflect Christ’s character in today’s world.
George Case Releases “Jesus Wanna Be” To Christian Radio
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Anchored in the truth of 1 John 2:6, which says, “Whoever says he abides in him ought to walk in the same way in which he walked,” “Jesus Wanna Be” paints a vivid picture of humble discipleship. With honest lines like “I’m a walking, talking Jesus Wanna Be… this is what His love has made of me,” the song reminds listeners that while we fall short, God’s grace compels us to live more like Christ.
George’s own story gives depth to the song’s message. Growing up in a small Southern Baptist church near Pickens, South Carolina, he learned faith and music at home from his parents and siblings. After serving around the world in the U.S. military—including a decade with the South Carolina Army National Guard—he returned to his first calling: writing and sharing music that lifts hearts toward Christ.
His previous single, “There is a Place,” reached listeners in over 111 countries and drew more than 500,000 views on YouTube in less than a year.
With “Jesus Wanna Be,” George continues his mission to inspire believers everywhere to live out their faith boldly and love as Christ loved. The single’s warm blend of country-infused melodies and authentic storytelling reflects George’s lifelong journey of worship and service, encouraging listeners to take their next step toward becoming more like Jesus.
The Daytime Rivalry releases a new song titled “Lost Boy” featuring Dove Award Winning artist KJ-52. The track is available now to download and stream.
“I hope to create music that feels like everyone can enjoy and have fun with. Hopefully it opensdoors for bigger conversations about God with the whole family.”
The Daytime Rivalry Releases “Lost Boy” Feat. KJ-52
Robert Peterson and The Crusade have released their latest single, “Coming Out of Babylon,” to Christian radio. The powerful track is from the band’s upcoming album, Change Coming On, which will continue their signature blend of classic and modern rock infused with a message of hope and spiritual awakening.
Formed in St. Paul, Minnesota, and now based in Joplin, Missouri, Robert Peterson and The Crusade describe themselves as a “musical Trojan horse,” delivering a positive, faith-filled message through compelling rock music. Frontman Robert Peterson wrote, arranged, and produced “Coming Out of Babylon,” drawing from his own journey of searching and surrender.
The song’s lyrics reflect an honest confession of wandering aimlessly and finally realizing the need to turn back to God: “Like a ship lost at sea I’d been sailing aimlessly… I just couldn’t carry on in Babylon.”
Robert Peterson And The Crusade Release “Coming Out Of Babylon” To Christian Radio
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The recording features Robert Peterson on lead and rhythm guitars along with lead, harmony, and background vocals; Benji Peterson on harmony lead guitar and background vocals; Jack Vondrachek on bass; Adam Hepner on organ, drums, and percussion; and Annie Jo Brown providing background vocals. Basic tracks were recorded at Tangerine Studios in St. Paul, engineered and mastered by Jack Vondrachek.
The distinctive Hammond B3 organ, inspired by Peterson’s early morning realization that the song needed its warm, soulful tone, became central to the track’s character. With its Leslie speaker-driven swells and classic rock feel reminiscent of Joe Walsh and The James Gang, the organ introduction brings the song to life and sets the stage for its stirring message.
“Coming Out of Babylon” was the first song Peterson wrote under the name Robert Peterson and The Crusade, beginning in June 2024. Though initially set aside, it came together when the right musical introduction emerged, adding the depth and power Peterson envisioned. The final recording carries a call for listeners to leave behind spiritual captivity and embrace faith, love, and hope: “All of the faith, all of the hope, all of the love and charity… it’s waiting for you, it’s waiting for me.”
With its dynamic sound and heartfelt lyrics, “Coming Out of Babylon” delivers an anthem of freedom and restoration that resonates deeply with those seeking purpose and renewal. The song has been released to Christian Rock radio and builds anticipation for the full album Change Coming On.
Breakout Christian artists Forrest Frank and Josiah Queen appear to be set to join forces on “Jesus Is Coming Back Soon”, a new single slated to arrive on October 3, 2025. Frank recently teased the song and a mystery collaborator on TikTok, and listeners immediately identified Josiah Queen’s signature vocals on this highly anticipated song.
Frank introduced the song as a response to the recent assassination of political activist Charlie Kirk. Since its first tease on September 16, the song has accumulated over seven million views across digital social media platforms.
Forrest Frank and Josiah Queen first worked together on Frank’s “In the Room” which Queen co-wrote allongside Pera Krstajić. However, “Jesus Is Coming Back Soon” will be the first time both Frank’s and Queen’s vocals are featured together.
Ken Holt’s “You Don’t Have to Stand” doesn’t raise its voice, but it does listen. It listens for footsteps in an old house. For the echo of someone who left. It listens for the breath held between apology and invitation. And then, as if from another room, it answers—not with certainty, but with stillness.
This is American music not in genre, but in gesture. It’s the gesture of the open door. The back porch light left on. A song composed entirely in the key of if you want to. Holt’s lyrics—“You don’t have to stand / This place is your place”—seem deceptively simple, like something overheard rather than written. But they carry with them a weight that’s distinctly Southern Gothic, where memory and grace live in the bones of the house.
You could call it Americana. You could call it folk. But really, it’s a form of secular gospel—music about salvation that doesn’t come from the sky but from the kitchen table. Holt isn’t singing about angels or hellfire. He’s singing about the human ritual of not giving up on someone, even after time, silence, and pain have done their best to make you forget how to care.
In the song’s arrangement, we hear restraint masquerading as familiarity. There are no grand instrumental flourishes, no cinematic crescendos. Instead, there’s Kricket Moros on violin, playing as if her strings were dipped in memory. Her lines float across the song like apparitions—fragile, emotive, half-familiar. They remind me not of other musicians, but of places—deserted fairgrounds, quiet rural churches, the faded joy of dance halls emptied out by time.
Mike Geier’s production doesn’t so much support Holt’s voice as it inhabits the same world. Recorded at The Recording Ranch in Florida, you can almost hear the wood-paneled walls and studio dust in the mix. Geier’s rhythm section acts like an old friend who shows up without speaking, just to be there when you need him.
What Holt has done here—and it’s not accidental—is write a song that refuses resolution. We don’t know if the person stays. The locks haven’t changed. The art on the walls is still hers. But we never find out what she decides.
This is a refusal to let music serve the narrative machinery of closure. It is, instead, a testament to presence. Not presence as performative vulnerability, but presence as witness. “Come and sit by my side,” he sings. That’s it. That’s the offering. Nothing more.
“You Don’t Have to Stand”: Ken Holt’s Quiet American Liturgy
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There’s a politics here too, though it never speaks its name. In an age of noise and emotional posturing, Holt’s act of gentleness is itself radical. In not knowing, in not forcing, in not ending, the song becomes more than just another quiet country track—it becomes an alternative moral structure. A belief that dignity can survive the damage. That love can exist without the need to prove itself. That stillness can be a form of speech.
“You Don’t Have to Stand” is not a song you’ll blast out the window on the highway. It’s a song you’ll come back to at the end of the night, when you’re asking yourself what it means to be decent. To wait. To listen. To open the door, just in case someone is ready to come home.
