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        <title>Christian Daily International | Music</title>
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            <title>Christian Daily International | Music</title>
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        <copyright>Christian Daily International © 2026</copyright>
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        <lastBuildDate>Tue, 03 Nov 2026 16:19:25 -0500</lastBuildDate>
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                <title><![CDATA[TWR and K-LOVE partner to expand global Christian radio outreach]]></title>
                <link>https://www.christiandaily.com/news/twr-and-k-love-partner-to-expand-global-christian-radio-outreach</link>
                <guid isPermaLink="true">https://www.christiandaily.com/news/twr-and-k-love-partner-to-expand-global-christian-radio-outreach</guid>
                                                            <dc:creator><![CDATA[CDI Staff]]></dc:creator>
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                            <media:title><![CDATA[K-LOVEs Tom Stultz, left, and TWRs Andy Schick]]></media:title>
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                                    <![CDATA[ Photo: Trans World Radio ]]>
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                                    <![CDATA[ K-LOVE's Tom Stultz, left, and TWR's Andy Schick commemorate the new partnership in which TWR local ministry teams will adapt K-LOVE content to connect with people in their own contexts and heart languages ]]>
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                                                                            <pubDate>Tue, 13 Oct 2026 16:02:00 -0400</pubDate>
                <description><![CDATA[Global media ministry Trans World Radio (TWR) and U.S. Christian radio network K-LOVE have announced a strategic partnership aimed at expanding gospel-focused programming to up to 190 countries, particularly in regions where traditional Christian missionary work is restricted.]]></description>
                <content:encoded><![CDATA[
Global media ministry Trans World Radio (TWR) and U.S. Christian radio network K-LOVE have announced a strategic partnership aimed at expanding gospel-focused programming to up to 190 countries, particularly in regions where traditional Christian missionary work is restricted.
The collaboration combines K-LOVE’s contemporary Christian content with TWR’s international distribution network and multilingual local ministry teams.
“When we realized we could extend our positive and encouraging messages on a global basis, we knew we had to pursue it,” said K-LOVE Chief Executive Officer Tom Stultz. “Our combined mission is to make Christ known where he’s not known.”
Under the agreement, TWR’s local ministry teams will adapt and contextualize K-LOVE content to reflect the cultural and linguistic needs of local audiences across TWR’s global network.
TWR President Andy Schick emphasized the importance of tailoring content for international listeners.
“K-LOVE excels at music and encouragement, and TWR has spent over 70 years reaching people in their own language with local teams around the world,” Schick said. “Tom and the K-LOVE team understand that cultural differences matter, and that ministry in someone's heart language is how you reach them with the love of Christ.”
Founded in 1982, K-LOVE operates two of the largest Christian radio networks in the United States, K-LOVE and Air1, broadcasting on more than 1,100 signals across all 50 states.
TWR, established in 1952 and headquartered for its Americas operations in Cary, North Carolina, distributes biblical programming in more than 200 languages and dialects, reaching listeners in 190 countries.
The partnership aims to extend the ministries’ reach among unreached people groups and in regions where traditional missionary activities are restricted.
“We believe God has brought these two ministries together to help move more people closer to Jesus by combining our strengths, expanding our reach, and creating more opportunities for lives to be transformed,” said Bobby Wood, K-LOVE chief of staff. “Together, we are seeking to make a greater impact than we could alone.”]]></content:encoded>
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                <title><![CDATA[Handel’s ‘Messiah’ performed at site associated with John the Baptist’s beheading in Jordan]]></title>
                <link>https://www.christiandaily.com/news/handels-messiah-performed-at-site-associated-with-john-the-baptists-beheading-in-jordan</link>
                <guid isPermaLink="true">https://www.christiandaily.com/news/handels-messiah-performed-at-site-associated-with-john-the-baptists-beheading-in-jordan</guid>
                                                            <dc:creator><![CDATA[Daoud Kuttab]]></dc:creator>
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                            <media:title><![CDATA[Jordanian soloist Dima Bawab sings during a performance of Handel’s “Messiah” at Mukawir, Jordan, Sept. 12.]]></media:title>
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                                    <![CDATA[ Courtesy of EU JO Project ]]>
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                                    <![CDATA[ Jordanian soloist Dima Bawab sings during a performance of Handel’s “Messiah” at Mukawir, Jordan, Sept. 12. The concert paired a Hungarian orchestra with Arab instruments, including the oud and qanun. ]]>
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                            <media:title><![CDATA[A Hungarian orchestra, choir and soloists perform Handel’s “Messiah” at Mukawir, Jordan, Sept. 12.]]></media:title>
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                                    <![CDATA[ Courtesy of EU JO Project ]]>
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                                    <![CDATA[ A Hungarian orchestra, choir and soloists perform Handel’s “Messiah” at Mukawir, Jordan, Sept. 12. The hilltop fortress traditionally associated with the beheading of John the Baptist is in the background, with the Dead Sea beyond. ]]>
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                            <media:title><![CDATA[Audience members at the performance of Handel’s “Messiah” at Mukawir, Jordan, Sept. 12.]]></media:title>
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                                    <![CDATA[ Courtesy of EU JO Project ]]>
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                                    <![CDATA[ Audience members at the performance of Handel’s “Messiah” at Mukawir, Jordan, Sept. 12. More than 2,500 tickets were sold for the outdoor concert, which was held at the site traditionally associated with the beheading of John the Baptist. ]]>
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                                                                            <pubDate>Fri, 18 Sep 2026 16:41:00 -0400</pubDate>
                <description><![CDATA[A performance of Handel’s “Messiah” blending Western and Eastern music took place Sept. 12 at Mukawir, the hilltop fortress in Jordan traditionally associated with the beheading of John the Baptist. The concert was held under the patronage of HRH Prince El Hassan bin Talal.]]></description>
                <content:encoded><![CDATA[
A performance of Handel’s “Messiah” blending Western and Eastern music took place Sept. 12 at Mukawir, the hilltop fortress in Jordan traditionally associated with the beheading of John the Baptist. The concert was held under the patronage of HRH Prince El Hassan bin Talal.
The event featured a Hungarian orchestra, French and Jordanian soloists and oriental instrumentalists. It was held outdoors at the fortress, in an area believed to be connected to where John the Baptist was beheaded by Herod Antipas.
Organized by Friends of Jordan Festivals under the theme “Echoes of Faith, Voices of Heritage,” the performance was presented as the start of a broader cultural and spiritual journey toward the global commemorations of St. John the Baptist in 2030.
The event was part of the European Union’s continued support for preserving and promoting Jordan’s cultural heritage, and its commitment to fostering cultural exchange and bringing Jordan’s historic sites to life through public engagement.

Dima Bawab, the Jordanian soloist, told Christian Daily International (CDI) that when her mother, Souha Bawab, executive director of Friends of Jordan Festivals, contacted her about performing a classical outdoor concert, she knew exactly what would work.
“I wanted a popular, well-known musical which is easy to hear, and appropriate for the location that the Jordanian tourism ministry wanted to promote,” Bawab said.
She had performed “Messiah” 10 years earlier, but this time she faced a few challenges. The concert was allotted 70 minutes, and performing the entire “Messiah” would take more than three hours.
She therefore suggested limiting the performance to the first and second parts, which cover the birth and life of Jesus, and ending the program with the famous “Hallelujah” chorus. She also believed that including parts three and four would not be uplifting and might not be appropriate for an outdoor event.
Bawab told CDI that preparing this mixed act across a long distance and in a short time was not something she was used to, but modern technology helped. “We were able to exchange recordings and hold a number of rehearsals on Zoom.”
She said she had worked with Jordan’s lead instrumentalist, Tareq Jundi, on a performance of “Messiah” 10 years earlier, and she asked him to play the oud. She also contacted Rula Barghouti, who plays the qanun, a harp-like instrument that rests flat on a table.
The plan was to let them improvise on the hijaz scales before the orchestra re-entered with “Messiah,” and to give them an opportunity to support the concert, especially in the final “Hallelujah” chorus.
Jundi, the oud player, said the team from Jordan worked together virtually for months on the concert and even held rehearsals online. “But the actual rehearsals with the entire team from Hungary and Jordan only occurred in the last two days before the concert.”
He said he had performed “Messiah” 10 years earlier, and that he and the Jordanian soloists who live in France, including Bawab, were in regular touch to prepare for the concert.
Jundi said he was proud to be part of a performance that showed real harmony between his oud and Barghouti’s qanun, alongside the full Hungarian orchestra.
“I studied music in the West, and I am familiar with their classical music, and I was delighted to be able to present a joint Western classical instrument with Oriental ones to produce a great musical effort in a historic biblical location,” he said.

Bawab described how the Jordanian musicians achieved musical harmony while preserving the beauty of the Arab instruments. “They would do an improvisation, let’s say, in C major, which then blended seamlessly with the following parts of the orchestra.”
She also noted a technical difference in how the music is tuned. “When Handel created this masterpiece, the tuning standard was closer to A=415 Hz, while modern classical music is performed at A=442 Hz.” She said Arab instruments such as the oud, and performers such as Jundi, can tune to either frequency with ease.
Logistics were complicated. Many people arrived on hired buses, with many leaving at 4 p.m. to be seated by 7 p.m., when the concert started on time to catch the sunset.
“It was a wonderful scene of the orchestra and musicians, and the background was the hill where John the Baptist lost his life, with the Dead Sea further behind,” Bawab said.
More than 2,500 tickets were sold, though some estimates put attendance at 3,000. Large screens displayed text and images telling the story of John the Baptist.
Bawab said that while “Messiah” is about the life and death of Jesus, the concert focused on the life and mission of John the Baptist.
“Remember that this was happening in Jordan, and the goal was to have a wonderful, moving musical like ‘The Messiah,’ but also to promote a location many around the world and even in Jordan didn’t even know about.”
The choice of Mukawir was central to the initiative. The site, traditionally associated with the martyrdom of St. John the Baptist, forms part of Jordan’s cultural and religious tourism landscape.
“The European Union has a longstanding commitment to supporting the preservation, protection and sustainable development of Jordan’s cultural heritage, including the historic site of Mukawir,” said European Union Ambassador Pierre-Christophe Chatzisavas.
He said the EU remains committed to advancing culture as “a driver of sustainable development and community engagement.”
Tourism and Antiquities Minister Emad Hijazeen described the initiative as the launch of “a cultural and spiritual journey towards the global commemorations of St. John the Baptist in 2030.” He said it contributes to preserving shared heritage and strengthens Jordan’s position as a destination for Christian pilgrimage, cultural tourism and international dialogue.
The Rev. Nabeeh Abbasi, president of the Jordanian Baptist Convention, told CDI that attending the performance at Mukawir was a historic and deeply moving experience.
He said the location gave the event a profound spiritual dimension, given John the Baptist’s direct connection to the baptism of Christ in the Jordan River, as preparations continue for the 2,000th anniversary of that occasion.
Abbasi, who is also the Baptist World Alliance’s ambassador to the Middle East and North Africa region, said the performance stood out for its superb organization, high-quality execution and evocative use of visuals.
He said the work’s message — “Christ — the King of Kings and the Risen One” — made it an occasion that instilled pride and strengthened the Christian faith.
Abbasi applauded the Jordanian government for its commitment to “highlighting this authentic Christian heritage, reflecting Jordan’s mission to preserve holy sites and foster values of coexistence and openness.”
Bawab said stage fright is part of the job. “Usually when I return home, this fright is multiplied because of the pressure of having to excel in front of family members and friends, but this time it had a different taste, a mixture of joy and excitement that carried me through the performance with ease.”
She said she was happy with the event, although the biggest challenge was getting the sound right despite the outdoor winds.
“We musicians are perfectionists, and we are used to calibrated indoor settings, so sound was a challenge, but I would love to come back to Jordan, maybe Easter 2027, to do more performances possibly outdoors — but we will need to pay close attention to the sound systems in challenging outdoor settings.”
The event was supported by the European Union, the Jordan Tourism Board, Royal Jordanian, the Goethe-Institute Jordan and the Embassy of Hungary in Jordan.]]></content:encoded>
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                <title><![CDATA[Darlene Zschech reflects on struggles that inspired popular worship song 'Shout to the Lord']]></title>
                <link>https://www.christiandaily.com/news/darlene-zschech-on-struggles-that-inspired-shout-to-the-lord</link>
                <guid isPermaLink="true">https://www.christiandaily.com/news/darlene-zschech-on-struggles-that-inspired-shout-to-the-lord</guid>
                                                            <dc:creator><![CDATA[The Christian Post]]></dc:creator>
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                            <media:title><![CDATA[Darlene Zschech reflects on struggles that inspired popular worship song Shout to the Lord]]></media:title>
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                                    <![CDATA[ Hoganson Media Relations ]]>
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                                    <![CDATA[ Darlene Zschech ]]>
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                                                                            <pubDate>Thu, 03 Sep 2026 23:35:00 -0400</pubDate>
                <description><![CDATA[Veteran worship leader Darlene Zschech believes the Church is once again entering a season in which God is moving powerfully and new expressions of worship are emerging.]]></description>
                <content:encoded><![CDATA[
Veteran worship leader Darlene Zschech believes the Church is once again entering a season in which God is moving powerfully and new expressions of worship are emerging.
The Australian singer and songwriter, formerly of Hillsong, reflected on the relationship between worship and revival during an interview with Michael Foust on his "Crosswalk Talk" podcast. 
Looking back at earlier periods of revival and comparing them with what she sees happening today, Zschech said she believes the Church is living in “revival days again.”
“The new song has always coexisted with a fresh revival on the Earth, wherever it was,” she said. “It was always a new song that accompanied historical revivals, and we’re there again.”
She is encouraged by a new generation of Christian songwriters emerging within the Church and urges them to build upon the foundations laid by those who came before them.
“Seriously, I’m in awe of some of these songwriters now that are picking up these new frequencies, but their job is still the same,” she said.
“When we’re creating worship for the church, we’re not trying to be clever; we’re trying to release something out of people.”
Zschech said she wanted younger worship leaders and songwriters to “get on our shoulders and go as high and as wide as you can,” adding that she found this season “so exciting.”
Her reflections came as she discussed "The House of Worship,"    a new film bringing together influential worship artists and looking back over 25 years of songs that have shaped contemporary Christian worship.
Zschech recalled experiencing what she now recognizes as revival during the formative years of the modern worship movement in Australia, when worship services would frequently lead directly into calls for people to respond to the Gospel.
“We were living in revival days,” she said. “We’d lead worship, and rather than, you know, polite clap and someone walks up and preaches, [we’d] lead worship and someone would do an altar call, and just heaps of people would come and get saved.”
Although acknowledging there was “some messiness later,” Zschech said those years had a profound impact on her own faith and the community around her and that she “wouldn’t be sitting here today … without those days, where God really shaped us as a community of faith.” 
“He shaped us as a community of worship, leaders of worship, musicians, production, writers. We were being formed and forged together.”
She said one of the blessings of that period was that those involved were largely unknown outside their own circles, allowing their spiritual foundations to develop away from wider attention.
“It was like God hid us for a season while the roots went down deep,” she said. “And I’m so thankful for those days.”
During the interview, Zschech also reflected on the unlikely beginnings of “Shout to the Lord,” one of the most popular contemporary worship songs in the world.
She wrote the song during a difficult period in her family’s life, when she and her husband were raising two young children and struggling financially. Their business wasn't doing well, and Zschech was singing advertising jingles to help bring in money.
Against that backdrop, she sat down at her piano one day and began pouring out her heart to God. The song came together in around 20 minutes.
“I just sang it, and I sang it, and I sang it, and it was just a prayer to the Lord,” she said.
At the time, Zschech lacked confidence in her songwriting and initially didn't show it to her church’s worship pastor.
When she eventually played it for him, she was so embarrassed that she asked him to turn his back while she sang and kept offering to change parts, fearing they were not good enough. By the time she finished, the worship pastor had tears in his eyes and told her the church would sing it that weekend.
A visiting minister told her that day that the song would quickly travel around the world, a prediction she initially struggled to comprehend.
What followed was particularly meaningful to Zschech because it happened before social media and today’s opportunities for musicians to promote their work internationally.
“It was a miracle of God,” she said. “There was no kind of master plan, and I really liked that, because none of us can take credit for it.”
She recalled beginning to receive letters from people around the world and wondering how they had even encountered the song.
“God took this song and just breathed on it,” she said. “When God wants something out there, He can do it.”
More than three decades later, Zschech said she remains humbled when she hears congregations singing songs she has written, often becoming so absorbed in worship that she forgets she wrote them.
Looking ahead, Zschech said she believes worship will continue to have an important place in what she sees as an emerging spiritual awakening.
“I think we’re on the brink of something so magnificent,” she said.
Originally published by The Christian Post.]]></content:encoded>
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                <title><![CDATA[Keith Getty says Christians must ‘sing the Bible’ in the age of AI ahead of Sing! Conference]]></title>
                <link>https://www.christiandaily.com/news/keith-getty-says-christians-must-sing-the-bible-in-the-age-of-ai-ahead-of-sing-conference</link>
                <guid isPermaLink="true">https://www.christiandaily.com/news/keith-getty-says-christians-must-sing-the-bible-in-the-age-of-ai-ahead-of-sing-conference</guid>
                                                            <dc:creator><![CDATA[The Christian Post]]></dc:creator>
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                            <media:title><![CDATA[Keith Getty says Christians must ‘sing the Bible’ in the age of AI ahead of Sing! Conference]]></media:title>
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                                    <![CDATA[ Gareth Russell/Jersey Road PR ]]>
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                                    <![CDATA[ The Getty's live at Sing! 2019 ]]>
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                            <media:title><![CDATA[Keith Getty says Christians must ‘sing the Bible’ in the age of AI ahead of Sing! Conference]]></media:title>
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                                    <![CDATA[ Wikimedia Commons ]]>
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                                    <![CDATA[ A 19th century portrait of William Tyndale (c.1490-1536), a Protestant theologian best known for his work to translate the Bible into English. ]]>
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                                                                            <pubDate>Fri, 21 Aug 2026 11:05:00 -0400</pubDate>
                <description><![CDATA[Ten years after Keith and Kristyn Getty launched what was intended to be a one-time event celebrating a book about congregational singing, the Sing! Conference has grown into an international gathering of pastors, theologians, musicians and believers focused on strengthening the singing life of the Church.]]></description>
                <content:encoded><![CDATA[
Ten years after Keith and Kristyn Getty launched what was intended to be a one-time event celebrating a book about congregational singing, the Sing! Conference has grown into an international gathering of pastors, theologians, musicians and believers focused on strengthening the singing life of the Church.
This year, the conference will return to Nashville on Sept. 7–9 with the theme “Symphony of Scripture,” marking the 500th anniversary of William Tyndale’s English New Testament and examining the influence of the Bible on worship, theology, language, culture and the arts.
For Keith Getty, the Grammy-nominated hymn writer behind worship classics including “In Christ Alone,” “Christ Our Hope in Life and Death” and "The Lord Is My Salvation," the focus reflects what he says has always been at the heart of the Sing! movement: helping Christians sing the truth of the Scriptures.
“There are many goals with the Sing! Conference: congregational singing, to improve high artistry, but I think at the heart of it is helping people sing the Bible,” the Irish artist told The Christian Post.
Getty, who shares four daughters with his wife, said the timing of the anniversary was particularly meaningful because the first Sing! Conference was deliberately postponed until 2017 so it could coincide with the 500th anniversary of the Protestant Reformation.
Now, its 10th gathering falls 500 years after Tyndale’s English New Testament helped make Scripture accessible to ordinary English-speaking Christians. The conference will also coincide with the 25th anniversary of the English Standard Version Bible. 
According to Getty, this year’s conference will highlight not only how Scripture has shaped Christianity but also how singing biblical truth has shaped American life and the global Church.
The event, held at the Gaylord Opryland Resort & Convention Center, will feature speakers alongside large-scale hymn sings, theological discussions, instructional sessions and orchestral performances. Crossway is also launching its “Symphony of Scripture” project, Getty said, and a full symphony orchestra will accompany the opening day's programming before the Getty band takes a larger role beginning on the second day.
“We’re excited about all the potential this has to touch people, to bring the Bible to people in a fresh way and to a wider audience. It's a really amazing missional opportunity,” he said. 
Music and poetry are embedded throughout Scripture itself, Getty contended, and have historically functioned as a way of teaching and preserving biblical truth.
“Scripture itself is about 20 percent poems and songs,” Getty said. “The Bible is more biased towards songs and poetry than any Christian book written since. … Singing is exhilarating. It's a holy privilege. It is doxological worship to our God and Heavenly Father. But it's never less than instructional.”
What Christians sing, Getty said, helps shape what they believe and remember. He pointed to Martin Luther’s vision for the Reformation: Scripture should be opened in the language of ordinary people, pastors should faithfully explain it, and believers should carry biblical truths through song.
Luther, who Getty said is his “hero,” envisioned Scripture being opened “in the language of the people" so ordinary Christians could read the Bible while pastors explained and applied its truths. But Luther's vision didn't stop at biblical literacy, he said.
“People would carry the Bible out of church by being able to sing the Bible in their own tongue,” Getty said. “In other words, he thought the singing of the Bible had more to do with Monday to Saturday than the preaching or the reading of the Bible.”
For that reason, the hymn writer said strengthening congregational singing is “hugely important to our Christian health.”
He also sees that mission increasingly extending beyond the Western Church. The songwriter noted that much of Christianity's growth is now occurring outside the English-speaking West, often in places without centuries-old traditions of hymnody. Part of Sing!'s mission, he said, is to “be a supporter” and “help stimulate” the singing life of churches around the world.
“The goal is, number one, to really reform it in the Western Church, and then to go out and be a supporter and someone who could help stimulate and contribute to the singing life of the Church around the world,” he said.
And that emphasis on theology and the power of worship is reflected in the speakers selected for this year's conference, among them John Piper, John Lennox, Wes Huff, Sinclair Ferguson, Malcolm Guite and Os Guinness, among others. 
“We take a theme each year and we share the platform with many people who we believe are wiser and more holy than we are,” he said. “The Sing Conference every year is, to some degree, what Kristyn and I have been learning in the last year, what we've been doing, what we've been writing, what we've been sharing.”

 Unlike previous years, Piper won’t deliver expository Bible teaching at the conference, but will instead tell the story of Tyndale and the extraordinary personal cost of his determination to give English-speaking Christians access to Scripture.
“I think a lot of how grace is taught today is just way too casual. It's way too easy,” Getty said, adding that for Tyndale, faithfulness meant being “turned down 100 times” and ultimately being killed for his work. “I think Piper has a great way of telling that."
Huff, a Canadian Christian apologist who has gained a significant following, will focus on the credibility of Scripture. Getty said Huff is “appealing to a new generation” that churches and Christian conferences have not always successfully reached.
Meanwhile, Guite, an Anglican priest, poet and longtime Cambridge educator, will examine Tyndale's influence on the English language and subsequent literature, while Guinness will address Christianity's engagement with culture. Ferguson, a prolific author and speaker, will focus on theology and worship.
Read: 5 highlights from John Lennox on 'Diary of a CEO': AI, transhumanism and Christ
The conference will also address a decidedly 21st-century issue: artificial intelligence. Getty revealed that Huff and Oxford mathematician and Christian apologist John Lennox will participate in what he described as a first-of-its-kind conversation between the two on “biblical intelligence versus artificial intelligence and the future.”
“As we enter the AI age, both the confusing disparity of what people have known to be true in the past and what is the new reality that they're going to discover in the next one to 10 years will be so dislocating,” Getty said. “With the internet ... rose depression, and then social media rose anxiety. And I think what AI is going to do for loneliness and just the lack of any sense of friendship is so crazy.”
The response, according to Getty, shouldn't be fear, but be to root Christians more deeply in eternal truths and in the physical community of the Church.
“I think all the more important that we sing of Heaven, that we think of Heaven, that our trust is [in] eternal things. Ultimately ... our hope has to be in Heaven,” he said, adding that throughout Christian history, movements of renewal have consistently produced new songs.
“All great movements result in doxology,” Getty said. “They result in people singing because, as the hymn writer says, how can we keep from singing? We just can't. That's how we're made.”
“The world was sung into being," he added. "Heaven is a picture of God's people singing, and we want to help equip the Church to engage more fully in worship.”
Learn more about the Sing! Conference here.
Originally published by The Christian Post.]]></content:encoded>
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                <title><![CDATA[Michael W. Smith warns worship must not become ‘celebrity driven,' says he's seeing revival among Gen Z]]></title>
                <link>https://www.christiandaily.com/news/michael-w-smith-warns-worship-must-not-become-celebrity-driven-says-he-s-seeing-revival-among-gen-z</link>
                <guid isPermaLink="true">https://www.christiandaily.com/news/michael-w-smith-warns-worship-must-not-become-celebrity-driven-says-he-s-seeing-revival-among-gen-z</guid>
                                                            <dc:creator><![CDATA[The Christian Post]]></dc:creator>
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                            <media:title><![CDATA[Michael W. Smith warns worship must not become ‘celebrity driven, says hes seeing revival among Gen Z]]></media:title>
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                                    <![CDATA[ Courtesy of Michael W. Smith ]]>
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                                    <![CDATA[ Michael W. Smith ]]>
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                                                                            <pubDate>Tue, 18 Aug 2026 10:07:00 -0400</pubDate>
                <description><![CDATA[After more than four decades of standing on stages, with crowds singing his songs by heart, Michael W. Smith is convinced that one of the greatest dangers for a worship leader can be the very thing that signals success: attention and celebrity. ]]></description>
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After more than four decades of standing on stages, with crowds singing his songs by heart, Michael W. Smith is convinced that one of the greatest dangers for a worship leader can be the very thing that signals success: attention and celebrity. 
The 68-year-old Christian music veteran has sold more than 15 million albums, written or recorded more than 36 No. 1 songs and collected four Grammy Awards and more than 45 Dove Awards over a career that helped define contemporary Christian music. His songs, from the crossover hit “Place in This World” to “Friends” and worship anthem “Agnus Dei,” are beloved by generations of Christians.
But these days, Smith said, he's concerned about what happens when the person leading worship becomes more visible than the God being worshiped.
“I just think we have to be careful that this thing is not celebrity-driven,” Smith told The Christian Post. “We can all say, ‘Well, oh, we’re doing it all for Him.’ But you watch social media, and it’s just a little me-focused.”
Perhaps, he added, modern worship has also “lost the reverence.”
Emphasizing he’s not “throwing anyone in particular under the bus,” Smith clarified his warnings come from someone who knows firsthand how easily accolades can distort even the most sincere of intentions.
“The Lord doesn’t share His glory with anybody,” Smith recalled his friend and fellow worship leader Michael Olson telling him several years ago. “Those words sort of took my breath away.”
“It was convicting, honestly, and he was right,” Smith said. “As we’re leading worship, we’re not supposed to be a celebrity. We’re supposed to kind of disappear, honestly, and our goal is to change the atmosphere and allow God to meet people. That’s our job.”
Smith approached “House of Worship,” a new cinematic event arriving in more than 400 theaters nationwide beginning Aug. 23, with that same mindset. Presented by The Fuel Music and Ori Music in association with K-LOVE and Air1, the film gathers 25 prominent Christian artists and songwriters to revisit the songs that helped shape modern Evangelical worship.
Smith and Australian worship pioneer Darlene Zschech serve as executive producers, with a roster that includes CeCe Winans, Kari Jobe, Cody Carnes, Naomi Raine, Matt Redman, Israel Houghton, Paul Baloche, Brian and Jenn Johnson, Charity Gayle, Hillary Scott and others.
Recorded in the round at World Wide Stages in Spring Hill, Tennessee, the project pairs artists across generations. Winans joins Zschech for “Shout to the Lord,” Redman and Scott perform “The Heart of Worship,” Tim Hughes and Carnes revisit “Here I Am to Worship,” while Smith and Elevation Worship’s Chris Brown perform “Agnus Dei.”
“There was just such a unity in the room for two days,” Smith said of the atmosphere as the artists worshipped together. “All the songs, they never really stuck to the template of what we were doing. They all kind of took on a life of their own.”
“Nobody kind of came and sang and left,” he said. “Everybody just stayed. … It was just an emotional two days for me. I’m glad I was a part of it. … It was all I could do to fight the tears.”
Songs like “The Heart of Worship,” “Shout to the Lord,” “Come Now Is the Time to Worship” and others featured in the film have endured for decades because they have “stood the test of time,” he said.
“I think a lot of these young worship leaders and people who worship today, they don’t know a lot of those songs,” Smith said. “And I think they need to.”
Smith still sings “The Heart of Worship,” one of his favorite worship songs, and said he expects to sing “Breathe” for the rest of his life.
“I just hope this next generation can find themselves sort of going back and listening to some of those songs,” he said, “because they probably need to be back in the set list, at least from time to time, in churches around the world.”
Since beginning his recording career in the early 1980s, Smith’s catalog now includes more than three dozen No. 1 songs, and his albums A Million Lights and Surrounded became his 30th and 31st Top 10 entries on Billboard’s Top Christian Albums chart, more than any other solo artist at the time. 
He was inducted into the Gospel Music Hall of Fame, and a 2019 tribute at Nashville’s Bridgestone Arena brought together artists including Amy Grant, Vince Gill, CeCe Winans, Wynonna, Randy Travis and others to celebrate his career.
His influence has also extended beyond Christian radio. Smith performed “Friends” at the funeral services of evangelist Billy Graham and former President George H.W. Bush, and founded Rocketown, a Nashville-based youth organization.
But despite his success, the artist said time, and a deeper walk with the Lord, have given him a different relationship with acclaim over the years.
“I really don’t care what people think of me,” he said. “You just want to lead with humility. You’ve got to have a great spirit.”
“My intent was always right,” Smith said, reflecting on his early years in the music industry. “But you get distracted. You get distracted by the attention, and everybody’s applauding, and you sometimes just kind of lose your way.”
Smith traces a turning point to the recording of Worship, the landmark live album released Sept. 11, 2001. The project, which included “Agnus Dei,” “Above All,” “Breathe” and Rich Mullins’ “Awesome God,” became the bestselling album of Smith’s career. He recalled leaving the stage after the recording in Lakeland, Florida, and finding the artists backstage overwhelmed by what had occurred.
“We all just wept,” Smith recalled. “We were just weeping backstage because we felt like something shifted in the atmosphere.”
The artist said he wondered then whether what they had experienced in the room could translate to a recording, “and it did.”
Today, before Smith steps onto a stage to lead worship, he prays three prayers: that God would be pleased with what he says, does and sings, that he would be “clothed in humility,” and that his motivations would remain pure.
Despite his warnings, Smith said he sees much to celebrate in contemporary worship; young songwriters, he said, are giving their generation language with which to express faith.
“There’s this real move of God, and I love that,” he said. “You’re watching young kids worship and cry. It’s overwhelming. It’s beautiful to watch.”
Smith said the spiritual hunger he’s seeing among young people reminds him of another period that changed his life: the Jesus Movement of the 1960s and 1970s, which impacted even his hometown of Kenova, West Virginia.
“I probably have not seen anything like this since the ’70s,” he said. “I was there for the Jesus Movement. It swept into my little town of Kenova, West Virginia, when I was a teenager, and it changed my life. … I’m having this interview with you because of the Jesus Movement.”
Smith recently attended a concert by Forrest Frank, whose hits like “Lemonade” and “Your Way’s Better” have attracted a large Gen Z following. Smith said he was struck by watching young fans sing every word while Frank openly proclaimed his Christian faith.
“To see Forrest up there sharing the Gospel, and he’s not ashamed, it just was awesome,” Smith said, adding that artists like Frank are “young Joshuas” who are “stirring it up.”
“I believe we are at least seeing the beginnings of it,” he said of revival. “We might be in the middle of it, but I think it’s going to get much bigger.”
For Smith, House of Worship offered another glimpse of what can happen when generations of Christians unite and see themselves as a family. During filming, Smith said younger worship leaders repeatedly thanked veteran artists for paving the way, while older artists responded by encouraging them to continue what they were doing.
“It was a family,” Smith said. “There was just a lot of love in the room. You see these artists who are … deep into it on every song. I wouldn’t trade that experience for anything.”
With “House of Worship,” Smith said he hopes audiences leave with hope — from Christians who are exhausted or grieving to those who have never heard the Gospel.
“I hope somebody sees it who doesn’t know the Lord and that they’re just convicted and they give their hearts to Jesus,” Smith said. “That would just be amazing.”
“Just turn on the film, turn on the record, and just sing the songs,” he added. “Regardless of how you feel, just sing the songs. … These songs are full of hope. I think these songs will provide that opportunity and get people through hard times.”
And after more than four decades of recording, touring and watching Christian music transform around him, Smith said he’s “grateful for the journey,” adding: “It’s been awesome.”
“I think my best days are ahead.”
"House of Worship" hits theaters Aug. 23.
Originally published by The Christian Post.]]></content:encoded>
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                <title><![CDATA[Carson Lueders brings Petra's music to new generation in 'Beyond Belief' film]]></title>
                <link>https://www.christiandaily.com/news/carson-lueders-brings-petra-s-music-to-new-generation-in-beyond-belief-film</link>
                <guid isPermaLink="true">https://www.christiandaily.com/news/carson-lueders-brings-petra-s-music-to-new-generation-in-beyond-belief-film</guid>
                                                            <dc:creator><![CDATA[The Christian Post]]></dc:creator>
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                            <media:title><![CDATA[Carson Lueders brings Petras music to new generation in Beyond Belief film]]></media:title>
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                                    <![CDATA[ Beyond Belief ]]>
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                                    <![CDATA[ Beyond Belief ]]>
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                                                                            <pubDate>Tue, 11 Aug 2026 12:04:00 -0400</pubDate>
                <description><![CDATA[The music that helped launch Christian rock four decades ago takes center stage once again in “Beyond Belief,” an upcoming feature film that features the iconic songs of Petra alongside a story about grief, faith and discovering God's calling.]]></description>
                <content:encoded><![CDATA[
The music that helped launch Christian rock four decades ago takes center stage once again in “Beyond Belief,” an upcoming feature film that features the iconic songs of Petra alongside a story about grief, faith and discovering God's calling.
In an interview with The Christian Post, star Carson Lueders shared how stepping into the band's catalog, which includes “Lord I Lift Your Name on High,” "The Coloring Song" and "Grave Robber,” gave him a newfound appreciation for the pioneers of Christian rock and for the story those songs help tell.
"I love their music," the 25-year-old musician said of Petra, formed in 1972 in Fort Wayne, Indiana. "I understand why they were so popular, and they've had such a positive impact on a lot of people. It's cool trying to bridge that gap to now show the younger generation who Petra is and what this music is."
Directed by Johnny Meier, “Beyond Belief,” named after one of Petra’s most popular hits, follows Andy as he dreams of becoming a rock star while wrestling with grief and what he believes is God's calling on his life.
“When a mysterious voice urges him to 'run,' Andy is drawn into an unexpected journey that challenges his ambitions, tests his faith, and forces him to decide what kind of life he's truly meant to live,” notes the film description.
For Lueders, whose own career began on YouTube before growing into a music and acting career with more than 13 million social media followers, the role struck an immediate chord.
"I think this opportunity was a true blessing because what drew me instantly was just the relatability to who I am in everyday life," the Spokane, Washington, native said. "Andy as a character is going through a lot of the same things I was facing in my life of just, 'Who am I? What is my purpose here?'"
"I think a lot of people are going to be able to connect to parts of that search for meaning in life and ultimately pursuing purpose over success," he added. "There were parts of this character that were really relatable to me. Sometimes you don't really know what God's plan is for your life, and then you look back and you see how things were lining up."
Before they concluded touring in 2005, Petra released more than 20 albums, earned four Grammy Awards and 10 Dove Awards, and sold millions of records. 
Lueders said his dad was a fan of the CCM group growing up, and that connection came to life during filming, when Petra members Bob Hartman and lead singer John Schlitt, who have also endorsed the film, visited the set for one of the movie's concert scenes.
"They got to see everything come to life," Lueders recalled. "I also got to FaceTime my dad. He was at work and he's saying 'hi' to Petra, so it was cool."
Part of that effort includes new music from Lueders himself. Last month, producers released the music video for "One Life,” Lueders' updated recording of Petra's classic song that appears in the film, while the young artist also contributed three original songs to the film. 
Beyond the nostalgic soundtrack, Lueders said the movie addresses questions many young adults are asking today about identity and purpose. 
"I think one of the main themes that resonated with me was just that you don't always have to have life figured out," he said. "Sometimes your mistakes are just setbacks. They don't define who you are forever."
"A lot of times we just have to trust the journey of what steps God has for you," he added. "Sometimes it's easy to step back and just say, 'What am I doing here?' But then you realize that everything does happen for a reason, and these certain seasons of your life are ultimately growing character. I'm big on just being a positive impact to those around you. Through faith and positivity, we can make a change."
Lueders, who has earned more than 100 million YouTube views and previously starred in the popular series “Chicken Girls,” said “Beyond Belief” has also sparked a desire to pursue more acting opportunities while continuing to make music.
"I definitely do want to pursue more of it because I had such a great time filming," he said. "The cast and crew, we got a little spoiled just because everyone was awesome. … I want to be able to make music that people can turn on and feel good to and feel encouraged. I'm trying to tap into more of the faith-based music and just be a positive outlook."
The film is the latest to spotlight the world of Christian rock, following recent releases such as “A Week Away” and a Netflix spinoff which featured contemporary Christian hits, and “Electric Jesus,” the coming-of-age comedy inspired by the Christian metal scene of the late 1980s, including the rock group Stryper. The early years of CCM and its highs and lows were also the focal point of the 2021 film “The Jesus Music.” 
"I'm almost jealous of artists today because it was so much harder back then," Schlitt previously told CP. "Now, there are so many doors that are open for artists. I hope that it continues, and I hope the next generation of artists have the courage to be the Christians that they need to be to get the message out in a clear, precise way."
"Beyond Belief" opens in theaters nationwide Aug. 28 through Iconic Events Releasing. Watch the trailer below.
Originally published by The Christian Post.]]></content:encoded>
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                <title><![CDATA['Mi Copa' (My Cup): Funky's new song carries a message of hope beyond the World Cup]]></title>
                <link>https://www.christiandaily.com/news/mi-copa-my-cup-funky-s-new-song-carries-a-message-of-hope-beyond-the-world-cup</link>
                <guid isPermaLink="true">https://www.christiandaily.com/news/mi-copa-my-cup-funky-s-new-song-carries-a-message-of-hope-beyond-the-world-cup</guid>
                                                            <dc:creator><![CDATA[Lizzie Sotola]]></dc:creator>
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                            <media:title><![CDATA[Funky presents Mi Copa, a song inspired by the World Cup atmosphere that uses soccer as a metaphor for a message of hope, grace and victory in Christ.]]></media:title>
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                                    <![CDATA[ Funky presents "Mi Copa," a song inspired by the World Cup atmosphere that uses soccer as a metaphor for a message of hope, grace and victory in Christ. ]]>
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                                                                                                                        <pubDate>Thu, 02 Jul 2026 11:01:00 -0400</pubDate>
                <description><![CDATA[Puerto Rican singer, songwriter and producer Funky has released "Mi Copa" (My Cup), a song that draws on the World Cup mood to share a gospel message of hope. Inspired by Psalm 23:5 — "My cup runneth over" — it asks listeners to look past sporting victories to the redemptive work of Jesus Christ.]]></description>
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Puerto Rican singer, songwriter and producer Funky has released "Mi Copa" (My Cup), a song that draws on the World Cup mood to share a gospel message of hope. Inspired by Psalm 23:5 — "My cup runneth over" — it asks listeners to look past sporting victories to the redemptive work of Jesus Christ.
The song arrives amid heavy World Cup attention, but Funky first held it back out of respect for victims of the earthquakes that struck Venezuela.
"Yesterday I decided to postpone this post out of respect and solidarity with my brothers and sisters in Venezuela. Today I share it with the prayer that this song reminds us all that our hope does not depend on circumstances," he wrote on Instagram.
The song's message
That line captures the song's purpose: to affirm that hope holds firm even amid pain and hardship.
Funky draws a contrast between the cups, or trophies, raised for wins on the field and the "cup" he says believers receive through the work of Christ on the cross.
"Since we're in World Cup mode, that reminds me that there are cups (trophies) that are raised for what's done on the field. But there is a cup that we receive for what Christ did on the cross," he said.
That cup, he added, "does not represent a temporary victory, but a life full of His grace, His peace, and His provision," and offers "a joy that remains even when the scoreboard is not in our favor."
"We don't celebrate because everything always turns out well. We celebrate because, at every moment, even amid pain, God remains faithful," he said.
The music video
The music video for "Mi Copa" was made by Luis Marrero Jr., a content creator who specializes in artificial intelligence and audiovisual storytelling. It pairs the song with visuals drawn from sports and the Christian message.
The song is available on major digital platforms and is part of the latest phase of Funky's musical ministry.
Luis Raúl Marrero, known artistically as Funky, is one of the leading figures in Spanish-language Christian urban music. With more than two decades of experience and two Latin Grammy nominations, he has built a career combining hip-hop and reggaeton with a message of faith.
In recent years he released "Rewind," featuring new versions of some of his best-known songs with guest artists such as René González, Alex Zurdo and Alex Campos. He later released the album "Paréntesis," a more personal work with collaborations from JayKalyl, Mr. Yeison, DJ Fleiva, Lilo, Vaes, Fer Ariza and Gabriel EMC.
He then embarked on the Tour Paréntesis, performing in Latin America and the United States.
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