Elevation RHYTHM is one of the most innovative worship collectives making music in the faith-based sphere today. Their third effort, “Victory Lap,” finds their creativity at an all-time high. The sounds, the lyrics, the emotions — everything about this album is unorthodox; and quite frankly, that’s why fans can’t get enough of this burgeoning group.
From shimmering electro-pop and rhythmic chants to ’80s EDM and slow-burning worship, the 10 tracks on “Victory Lap” are a divergent feast for the senses. Although the sonic textures might be eclectic, the sincerity of the band shines through on every single selection with sentiments that give their youth-focused audience fresh language to wrap around their growing faith.
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If 2023’s “This Is The Gospel” was centered on discovering a relationship with Jesus, “Victory Lap” is anchored in the freedom found in running the race set before us after an encounter with Him.
“Every song has an element of triumph,” shares ELEVATION RHYTHM’s primary lyricist and producer Josh Holiday. “I didn’t have a specific sound in mind; I just knew I didn’t want to limit what was possible.”
Recorded live, but without an audience, Holiday created a vibey, temporary studio in a meeting room at Elevation Church. After he pressed play, he allowed the recording to flow organically with many of the songs captured in just one take.
Continuing Elevation’s tradition of welcoming other artists into the fold, Joe L Barnes (Maverick City Music), Tiffany Hudson (Elevation Worship) and Abbie Gamboa (UPPERROOM) all make cameos. In addition, “Victory Lap” introduces some new voices, courtesy of Charles Weems and Zach Webb.
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Opening track “Finally Free” and pep-rally chant “Believe It” deliver hope-fueled anthems poised for scream-sing moments on the avant-garde outfit’s first-ever headlining tour, which launches in late August. The prominent gang vocals were actually layered in after group member Davide Mutendji visited his native homeland of South Africa, where he recorded a choir of voices comprised of students from his former elementary school.
Meanwhile, vibrant electro-pop pulses through “Sing of Your Love,” a made-for-summer selection helmed by Barnes. The former Maverick City Music member also appears on cinematic ballad “Abba I Know,” alongside Hudson, whose delicate, emotive vocal shines on the worship standout, affirming over and over again that our Heavenly Father loves us beyond measure.
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Later, Hudson and Gamboa trade verses on the stunning “At the Altar,” a reverent offering that boasts some of the collection’s best lyrics: “Where the tears of the desperate reach the feet of the Savior. Nothing I wouldn’t offer. There’s no waste at the altar. Where the heart of surrender meets the hands of the Maker. Nothing I wouldn’t offer. There’s no waste at the altar.”
Awash in synth, retro-tinged “Where Oh Where” calls out anxiety, doubt, addiction and shame while leaning into the questions posed in 1 Corinthians 15:55: “O death, where is your victory? O death, where is your sting?”
The throwback proves Elevation RHYTHM has a knack for wrapping trendy sonic elements around verbiage that swiftly resonates with this generation. Another prime example lies in “I Was, But God,” the collective’s modern twist on timeless hymn “Amazing Grace.”
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Although listeners will delight in all 10 tracks, the minute “Goodbye Yesterday” begins with that notable directive, “Hands up,” there’s really no denying that this song is the ultimate triple threat. The energy is infectious; the message is significant; and the collaboration with Binion ups the ante in every way. The hype around the manic original is merited. Yet, it should only make even the most casual fan all the more curious about the project as a whole. If Elevation RHYTHM has that in them, what else are they capable of?
Regardless of the reach and breadth of “Goodbye Yesterday,” every track won’t be palatable to every listener; the project is simply far too diverse, despite being thematically on point. Instead of crafting a cohesive album, Elevation RHYTHM kept its Gen Z demographic top of mind, creating something more akin to a sundry playlist than a traditional record.
While their parent counterpart is naturally primed for a wider audience, Elevation RHYTHM remains niche. They may not be everyone’s cup of tea, but that’s not their aim. The group isn’t playing by any set of rules; yet, they make coloring outside the lines feel very cool. In turn, they’ll likely reach a certain subset of people who might not otherwise entertain Christian music. “Victory Lap” is a masterclass in taking risks that pay off.
