Texas Gospel Canada Top 30 – July 2026

DAVID INGRAM

Welcome to the Texas Gospel Canada Top 30 Songs of July 2026! This list is based on the actual number of plays each song received in the previous month. The Texas Gospel Top 30 is proudly submitted to top Southern Gospel publications including The Singing News and SGNScoops.

This chart is generated by AI using a scan of our actual airplay numbers for each song and verified by one of our human volunteers.

This MonthLast MonthSong TitleArtistLabel
18What Victory?Paid In FullStowTown/Provident-Sony
24Three Nails InsteadNelonsDaywind/New Day
32Beyond The StormJustified QuartetBig Picture Records/New Day
49That’s What Love IsHigh RoadNew Day Records/New Day
56The Anthem (Psalms 98)Phillips & BanksARS/New Day
615Morning For The MourningJordan Family BandARS/New Day
717I Know YouGuardiansDaywind/New Day
87Preacher ManMaster’s VoiceIndependent
913Expecting A MountainPeach GoldmanStowTown/Provident-Sony
1012I Know The Sweet Voice Of The ShepherdLegacy FiveStowTown/Provident-Sony
1110I’m Persuaded To BelieveBinionsStowTown/Provident-Sony
12β€”Whatever HallelujahLeFevre QuartetDaywind/New Day
135Preach JesusDown East BoysStowTown/Provident-Sony
141God Gives Good AnswersKaren Peck & New RiverDaywind/New Day
1516My Oil Ain’t CheapRivenbark MinistriesIndependent
16β€”Garden TombMylon Hayes FamilyIndependent
1711Didn’t Feel Like FaithTodd TilghmanStowTown/Provident-Sony
1823Life Hurts, God HealsKingdom HeirsSonlite/Crossroads
1918For What Earthly ReasonMark Trammell QuartetCrimson Road
20β€”He Is Who He IsAnthem EditionSonlite/Crossroads
21β€”From The Basement To The AltarZane & Donna KingStowTown/Provident-Sony
22β€”When Sunday Morning DawnedKingsmenHorizon/Crossroads
23β€”Your Unfailing LoveDarin & Brooke AldridgeBilly Blue Records/New Day
2414My God Is Still GodKelly GarnerIndependent
25β€”WallsLauren TalleyHorizon/Crossroads
26β€”Forever In HeavenTim LivingstonDiamond Mill Music
27β€”Now I’m On My Way/Jesus brought me outPoet VoicesStowTown/Provident-Sony
2826Better Days AheadBrownsStowTown/Provident-Sony
2930The Battle Belongs To The KingBlake & Jenna BolerjackIndependent
30β€”Breakin’ LooseWeeks RevivalNew Day Records/New Day

Lauren Talley brings raw worship and southern gospel grit to new EP, Walls (Part One)

AMY TURNER

When you listen to a Lauren Talley song, you can usually hear it coming, where the polish drops away and something rawer takes over. It’s not a performance trick. It’s the whole point.

“When I step behind a microphone,” she says, “my most important job is to help the listener encounter the presence of God.” That sentence could double as a mission statement for her upcoming EP, Walls (Part One), out August 21 on Horizon Records and available now for pre-save.

Talley has spent years building a career inside Southern Gospel’s tight-knit world, but this project stretches past those borders. Working alongside producer Jason Webb, she folds inspirational, worship and contemporary Christian elements into the genre’s familiar bones, and the result feels less like a genre exercise and more like five different rooms in the same house of faith.

“In Walls (Part One),” she explains, “we can feel Him in the rhythm and soul of ‘Walls,’ and in the high energy of ‘So So Good.’ He shows up in the vulnerability of ‘Mercy’ and ‘Little Faith,’ and we can give Him all of our worship in the awe-inspiring lyrics of ‘Look At The Lamb.'”

That range is the project’s real achievement. “Little Faith” and “Mercy” open quiet, almost confessional, like Talley is singing to one person in a dim room. By the time “Walls” and “So So Good” kick in, the arrangements widen and her voice climbs with them, bold and unguarded. The closer, “Look at the Lamb,” a song she wrote herself, builds toward a full throated finish that feels earned rather than performed.

The lyrics shift moods just as freely, but two threads hold the whole EP together: power and grace. On the title track, she sings of a God who flattens every obstacle in His path: “He ain’t never met a wall / That He couldn’t tear down / Watch it crumbling to the ground.” On “Mercy,” the tone turns personal and grateful, a testimony of survival rather than triumph: “Now I’m alive to tell the story / How I’ve overcome / It’s His goodness and mercy / And the power of His blood.”
For Talley, the variety in sound is never the destination, just the vehicle. “Throughout every song I sing,” she says, “regardless of style, I want to take the listener on a ride through all the times we spend with the Lord, and point all the focus back to Him.”

That instinct has guided her since long before she had a record deal. Lauren Talley sang her first solo at age two, toddling onto a stage mid-concert to announce, in toddler logic, that she wanted to “thing.” She grew up to make good on that announcement as part of her family group, The Talleys, lending lead vocals to eleven number one hits and helping the group take home a 2015 Dove Award for “Hidden Heroes.”

Her solo catalogue runs seven albums deep, including the rare move of releasing two records the same day in 2019: Glorious God: Songs of Worship and Wonder and Loudest Praise: Hymns of Mercy, Love and Grace. Her 2017 record, The Gospel, hit number one on Billboard’s Southern Gospel chart, and she’s also written Songs in the Night, a devotional book paired with her 2010 album of the same name. She’s a regular presence on Gaither Homecoming videos and concerts, RFD-TV’s The Music City Show, and In Touch with Dr. Charles Stanley, and in 2014 John Wesley University awarded her an honorary doctorate in Worship Arts.

Off the road, Talley works as a studio background vocalist and producer, and mentors emerging singers as a voice and performance coach. And when she’s not doing any of that, she’s cheering on the Tennessee Volunteers, sipping sweet tea, and making time to laugh with the people closest to her.

Walls (Part One) feels like the natural next step in that long arc: an artist who has spent her whole life pointing toward something bigger than herself, now doing it with a wider musical vocabulary than ever. Pre-save the EP ahead of its August 21 release.

The King James Boys release new bluegrass gospel single “Everything Heaven Won’t Be”

TEXAS GOSPEL VOLUNTEER

Some songs bring comfort, the kind that comes from a song that doesn’t pretend life is easy, but reminds you that none of it lasts forever. That’s the territory The King James Boys are working in with their new single, “Everything Heaven Won’t Be,” the latest cut to be pulled from their celebrated record Get A Transfer.

The band, lineup intact since their 1994 formation in upstate South Carolina, isn’t chasing trends. Randy Spencer handles guitar and lead vocals, his brother Cole Spencer rounds out the harmonies on bass, Curtis Lewis carries the banjo work, and Will Hart fills in mandolin and harmony. More than three decades in, they’ve built their reputation on a simple premise: stay rooted in traditional bluegrass, stay rooted in faith, and let the songs do the convincing.

This one was written by Daryl Mosley, a four-time Songwriter of the Year, who says he never expected to hear his own words come back to him in The King James Boys’ voice. “I’ve been a fan of The King James Boys for a long time, so I’m especially excited that a song I wrote has found its way into their repertoire,” Mosley says. “They absolutely made this song their own! I’m grateful they liked the song and their recording truly knocks it out of the park!”

The song itself plays a clever trick. It runs through the everyday jobs and worries that eat up people’s attention, the deadlines, the anxieties, the noise, and then quietly sets all of it against the backdrop of eternity, where none of that weight exists. It’s not a heavy-handed sermon; it’s more of an invitation, nudging listeners toward what Mosley and the band clearly believe sticks around: faith, relationships, and the long view.

“Everything Heaven Won’t Be” doesn’t arrive in a vacuum. It follows a run of singles from Get A Transfer that have already found an audience, including “Glory Ride,” “Ready and Waiting,” “The News That Never Changes,” “The Best Selling Book Of All Time,” and “Power of Prayer.” The album as a whole has quietly become one of the most decorated of the group’s career, landing multiple No. 1 spots on both the Roots Music Report Charts and the Bluegrass Today Gospel Weekly Airplay Chart. “The Best Selling Book Of All Time,” written by Christopher Burton, has gone further still, advancing to the second round of voting on the IBMA Awards ballot.

For a band thirty years into its run, that kind of momentum isn’t an accident. It’s the product of consistency: the same lineup, the same convictions, and a catalogue that keeps finding new listeners without ever needing to chase them.

Chuck wagon gang celebrates more than 90 years of gospel music

CONSTANCE TURNER

Ninety years is a long time for any group to stay together, let alone stay relevant. But that’s exactly what the Chuck Wagon Gang has done since they first started singing on local radio back in 1935. Over nine decades, the group has built a legacy that includes performances at Carnegie Hall, the Hollywood Bowl, and the Grand Ole Opry, a level of recognition that few gospel acts ever reach.

Reaching a 90th anniversary is rare in any genre of music. In Southern Gospel, where so many groups have come and gone over the decades, it’s almost unheard of. The Chuck Wagon Gang’s longevity speaks to something deeper than nostalgia. It speaks to a sound and a message that has continued to resonate with listeners across generations.

Part of what has kept that sound alive in recent years is the addition of new voices to the lineup. In 2021, Josh Garner joined the group, bringing with him years of experience from his time with The Florida Boys and Dixie Melody Boys. Garner has always been drawn to groups with deep roots and lasting influence, the kind of acts whose music has stood the test of time.

That same appreciation for tradition is part of what made joining the Chuck Wagon Gang feel like such a natural fit, even though stepping into a mixed group wasn’t something Garner had ever planned for himself.

“One thing that I’ve always focused on is the history of gospel music and the groups that have lasted, that have stood the test of time. That they have a special place in my heart,” Garner said. “And I never dreamed I’d sing in a mixed group, never was on my list of things to do. But when this came open and they presented the opportunity, it just felt natural, like a hand in a glove.”

Since joining, Garner has brought a fresh energy to the group’s sound and stage presence, all while staying true to the classic style that has defined the Chuck Wagon Gang for nine decades. He described the adjustment as a welcome challenge.

“It’s been an interesting challenge because it’s a totally different way of singing, a totally different way of presenting a program,” he said. “But I’m having a ball. They let me have carte blanche to do and say what I want. We’re just, the gang’s having fun.”

That balance, of honouring 90 years of history while welcoming new voices like Garner’s, is part of what continues to set the Chuck Wagon Gang apart. The group isn’t simply marking time. They’re still creating music that carries the same spirit that made them a Southern Gospel staple in the first place.

To mark this milestone anniversary, the Chuck Wagon Gang has released a new single, “When All I Can Cry Is Holy,” from their album Made to Live Forever. The song explores themes of struggle and hope, offering a reflection on the promise of complete redemption, a message that has anchored the group’s music since the very beginning.

Ninety years in, with Garner’s fresh voice now part of the mix, the Chuck Wagon Gang shows no signs of slowing down.

Gary Casto on faith, gospel music, and the project nobody believed in

AMY TURNER

After forty years in the industry, Gary Casto still lights up when he talks about gospel music.

Since 2006, Tribute Quartet, Casto alongside Josh Singletary, Gus Gaches, and Ian Owens, has built a reputation as one of southern gospel’s most reliable forces: a multi-Dove-nominated, award-winning act that’s managed to stay both beloved and dynamic in a genre that doesn’t always reward both at once. Now they’re back in the studio, kicking off work on their fourth Quartet Tribute project, having just wrapped a song selection session with longtime producer Gerald Wolfe.

Gary Casto (tributequartet.com)

Casto, a West Virginia native who’s spent decades in nearly every corner of gospel music, is the group’s manager and lead vocalist, and he’s the one who dreamed up the Quartet Tribute concept in the first place. It wasn’t an easy sell.

“I try to always pick the right songs,” Casto says. “You know, when we started doing the quartet series, several folks told me, industry leaders says, that’s a great idea, but you’ll never be able to mix those songs in with your national projects. There’s no way.”

He wasn’t deterred. If anything, the skepticism lit something in him. “I love a challenge,” he says. “And I just said, Lord, we’ve got to do this. And we do it nightly.”

That stubborn faith has paid off. Tribute Quartet has spent years proving that classic and contemporary material can share a setlist without friction, that southern gospel audiences don’t need to choose between nostalgia and novelty; they want both, often in the same evening. It’s a small rebellion against the industry’s instinct to keep things tidy and categorized, and it’s worked because Casto refused to back down when people told him it wouldn’t.

As the group dives into its fourth installment in the series, that same restless mix of reverence and reinvention is driving them forward: music built to feel timely without losing its center, relevant to the moment without forgetting what brought the audience there in the first place. For Tribute Quartet, the mission underneath the music hasn’t moved an inch, even as everything around it keeps shifting.