Tag: music

Anthem Edition finds its voice on Something’s Goin’ On

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TEXAS GOSPEL VOLUNTEER

Anthem Edition didn’t set out to make a survival record, but that’s kind of what “Something’s Goin’ On” turned into. The Southern Gospel quartet’s new EP, out now on Sonlite Records, catches four singers at different points in their own lives and lets that tension become the whole point of the project.

“When we started searching for songs to record, each member of the group had songs that truly spoke to where they are in life right now,” says Tim Rackley, who co-founded the group back in 2003. “We knew, if the songs moved us in a powerful way, they would move the listeners as well.”

Artists may say this kind of thing without a lot of thought, but Rackley backs it up with a simple production philosophy: match the singer to the song’s emotional center, not the other way around. “You cannot deliver a song fully if you don’t feel it yourself,” he says, and it shows in how the EP moves. The record opens and closes with its two most energetic cuts, “He Is Who He Is” and the title track, but the real character lives in between, in the hushed intimacy of “He Still Washed His Feet,” the front-porch warmth of “Land Of Joy Untold,” and the full-throated testimony of “I’m Another Lazarus.”

The focus track, “I Am Saved,” is where producer Roger Talley leans hardest into a more contemporary sound, building a quartet chorus around a message of grace and redemption that Rackley calls the emotional anchor of the whole project.

“Filled with strong songs, great harmonies, and messages that point people to Christ, this project blends the best of Southern Gospel tradition with a fresh sound for today’s listeners,” Rackley says. “From start to finish, these songs encourage, inspire, and remind us of God’s faithfulness. Something’s Goin’ On shows just how far this lineup has come.”

What started in 2003 as a trio called The Old Paths, founded by Doug Roark and Tim Rackley, grew into a quartet and eventually landed a deal with Crossroad Music’s Sonlite Records in 2012. Their breakout album, ‘Right Now,’ produced two number one hits and a Singing News Fan Award for Favorite New Quartet, a strong start that was followed, in 2015, by a hiatus. The group came back to touring in 2017, rebranded as Anthem Edition in late 2022 with bass vocalist Andrew Utech joining the lineup, and added tenor Cameron Edens in the fall of 2023.

Listen for songs from Something’s Goin’ On throughout the day on Texas Gospel Canada!

How a small North Carolina church shaped Darin & Brooke Aldridge’s new album

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ANDREW TAYLOR SR.

Darin & Brooke Aldridge have spent their career singing about faith, family and home, but on their new album “Soul Condition,” out now on Billy Blue Records, they went looking for something a little more specific: the sound of where they actually come from.

The eleven-track record marks the duo’s 11th studio album and brings in some serious bluegrass and gospel firepower, with Grand Ole Opry members Sonya Isaacs and Becky Isaacs of The Isaacs joining alongside GRAMMY winner Jason Crabb. But for Darin Aldridge, the album’s emotional center didn’t come from a Nashville studio. It came from a small church in Avery County, North Carolina.

“Speaking of our heritage back in western North Carolina, we got to go up to my uncle’s church that he’s pastored at now in Linville Falls, North Carolina,” Aldridge says. He and Brooke called in family for the occasion, pulling together as many aunts, uncles and cousins as could make it on short notice. “We called a bunch of our aunts and uncles and cousins that we could get together in one afternoon,” he recalls. “And we all come to that little community church and sang several hymns that day.”

The session had the feel of a family reunion as much as a recording date. Aldridge played guitar, his cousin Tommy and his mother took turns on piano, and Brooke’s parents rounded out the room. “I played a little guitar. My cousin Tommy played piano and my mom played piano. Brooke’s mom and dad were there,” he says, before turning to his wife to confirm the memory. “Wasn’t it, Brooke?”

The goal was simple: capture one of the songs from Soul Condition sung by an actual family choir, voices that had known each other, and those hymns, for generations.

For Brooke Aldridge, the afternoon delivered more than they expected. “It turned out so very special in that little church there,” she says, “and I think it’ll give people a good taste of where we come from and how we were raised.” That, she adds, is exactly what she and Darin set out to do with the record. “That’s exactly what we were trying to capture in Soul Condition.”

HighRoad brings the American road show to a Norwegian barn, and Sarpsborg sings along

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AMY TURNER / E.J. WILSON

The gardens outside a Nordic Lutheran church built in the 1850s do not typically host a gospel group from Nashville, Tennessee on tour. But that is where HighRoad found itself this week, walking the grounds of a 19th century sanctuary before an evening that would end with a sold out crowd in a converted barn.

The band is deep into a run of Norwegian dates, and the following they have built overseas is starting to look less like a novelty and more like a genuine relationship between a North American act and an audience thousands of miles from home. Vocalist Sarah Davidson has been chronicling the trip in real time, and her updates read like postcards from a tour that has wandered well outside the usual circuit.

Davidson described a day that started with the old church gardens and turned into an impromptu border crossing. “As we walked downtown we also walked over to Sweden,” she said, describing a bridge she stopped to admire before ducking into a small Swedish cafe for coffee and crepes. It is the kind of afternoon that does not usually make it into a tour itinerary, but for a band playing towns close enough to another country to walk there, it became part of the day’s rhythm.

By evening the group had made its way to Sarpsborg, where the venue was a barn with a history of its own. Davidson called it a beautiful, historic space that locals had converted into a music venue, complete with an old pump organ tucked into the corner. The hosts fed the band American style, with hamburgers and hot dogs on the menu, a small gesture that Davidson said made the night feel like a genuine welcome rather than just another stop on the schedule.

The show itself delivered. Davidson described the crowd as sold out and packed, an audience that showed up ready for HighRoad and made no secret of it. For a Texas gospel band a continent away from home, that kind of reception speaks to how far the group’s reputation has traveled.

The night closed the way a lot of the best tour stories do, with a view nobody planned for. Davidson described the drive home under a sunset around 10 o’clock, still bright at an hour that would be full dark back in Texas, calling it a stunning end to what she summed up simply as a wonderful day.

For a band whose name has occasionally landed sideways in write ups and transcripts, from High Road to Highroad, there was nothing lost in translation on this leg of the trip. Norway heard HighRoad loud and clear.

Kitchens, cathedrals, and the faith of a coal miner’s wife

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TEXAS GOSPEL VOLUNTEER

Chosen Road’s Jonathan Buckner remembers where he was standing the first time he heard “Kitchens & Cathedrals.” He was in his own kitchen, phone in hand, wife nearby, when he hit play on a demo written by Lee Black and Gina Bowe. He didn’t make it past the first verse before he was crying.

“I never will forget the moment that I opened that demo up and I listened to it,” Buckner says. “I was with my wife in our kitchen and I hit play, got through the first verse and I was in tears.”

The song pulled him straight back to his grandmother’s house. She was a preacher’s wife raising ten kids largely on her own, since her husband spent long stretches on the road as a traveling evangelist. Buckner’s grandfather had started out as a coal miner before answering a call to ministry, leaving his wife to hold the household together through faith alone.

“She was an amazing woman who just loved the Lord,” Buckner says of his grandmother. “She really had to lean into her faith.”

That instinct, leaning into faith when circumstances demand it, has defined Chosen Road for more than seventeen years. Formed in the mountains of West Virginia, the band built its sound the way bluegrass has always been built: on front porches and in small country churches, with harmonies worked out standing close enough to hear one another breathe. Their catalog stretches from traditional bluegrass into country, gospel, and Americana, resisting easy genre labels in favor of something the band simply calls honest.

Albums like Appalachian hymns and the newer American morning have carried that approach to a growing national audience, landing on bluegrass and gospel radio charts along the way. “Kitchens & Cathedrals” continues that trajectory, less a departure than a return to the values the band was founded on: faith, family, and music that means something to the people singing it as much as the people hearing it.

For Buckner, the song’s power lies in the way it collapses decades in a single verse, turning a kitchen table memory into something closer to scripture. It is a small moment made large, the kind Chosen Road has spent nearly two decades trying to write.

The Rogers Family isn’t slowing down

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TEXAS GOSPEL VOLUNTEER

The Rogers Family isn’t giving anyone time to catch their breath. Barely a month after “A place to spend the night” hit Southern Gospel airplay, and just weeks removed from the stately “Secret place,” the Horizon Records group is back again, this time with a reimagining of the classic “When Jesus comes in the clouds.” Three releases in the span of a few months is a good pace for any group, but for the Rogers Family, it’s become the norm.

The track opens with studio veteran David Johnson’s fiddle and Samuel Shields’ electric guitar, setting a lively tone from the first note. Samuel handles lead vocals on the opening verses, with sisters Hannah and Rebekah trading harmonies behind him and a banjo threading through for extra old-timey flavor. Soon the energy edges even higher, as Rebekah steps into the lead for the final choruses, and by the time the track winds down, the arrangement has climbed to a full boil, the kind that makes it nearly impossible to stay seated, let alone keep from tapping a foot or singing along.

“We are enjoying putting our own spin on this great classic red back song,” the group said in a press release to radio. “It’s been sung in many, many churches across the country, and we are excited to keep it going. It has the true southern gospel sound we love so much, and we’re anxious to share it with you!”

There’s a reason the song hits differently for this particular family. Long before it was a single, “When Jesus comes in the clouds” was a memory, one stitched into childhood church pews and Sunday mornings. “It takes us back to hearing it as children,” the group notes, “and it serves as a fresh reminder that all sorrow will be past, when Jesus comes in the clouds.” That kind of continuity, between what a song meant growing up and what it means now standing behind a microphone, is at the heart of what makes the Rogers Family’s music feel lived in rather than performed.

That sense of continuity runs deep in the group’s history. The Rogers Family traces its roots back to Northeast Georgia, where Ray and Helen Rogers first raised their voices in local churches, their daughter Kim playing piano alongside them. It was at a church in North Carolina that Kim crossed paths with Sammy Shields, and the two married in 1999, eventually settling in the foothills of the Blue Ridge Mountains, where they raised three children: Rebekah, Samuel, and Hannah.

When Ray passed away in 2010, the family’s music ministry didn’t fade, it evolved. The next generation stepped into more prominent roles, with the children increasingly taking the lead while Kim and Helen remained steady, passionate fixtures within the group. Today, the Rogers Family, Helen, Kim, Sammy, Rebekah, Samuel, and Hannah, travels together sharing their love of Southern Gospel music, with Kim still anchoring the sound from the piano bench.

It’s a family that has weathered loss, generational change, and the natural growing pains of six people building something together, yet they’ve come out the other side with a sound that feels both classic and current. “When Jesus comes in the clouds” isn’t just another single for the Rogers Family, it’s a torch passed from one generation to the next, carried by voices that grew up hearing it in the very pews they now sing from.