Cory Asbury almost quit worship music. That’s why his latest project, “Outsing The Angels,” feels like a homecoming. Following a period of disillusionment and burnout, the seasoned worship leader was intent on pointing his musical compass in an entirely different direction. Working toward writing and recording a full-fledged country record, Asbury was quietly following in the footsteps of 2023’s Americana-flavored “Pioneer.” Eventually, however, the father of five chose to completely shelve the project and return to what he knows he’s, ultimately, called to do.
One listen through the 15-track collection, recorded at Nashville’s historic RCA Studio A, and it’s clear Asbury is undoubtedly equipped to steward songs for the Church. On “Outsing The Angels,” Asbury’s resolve is sure; his lyricism is pure and his voice is unvarnished.
Stacked with a wall of guitars and vocals, the rowdy title cut sets a bold tone for the record ahead; but “Outsing The Angels” isn’t overly saturated with driving anthems like this one. In fact, it’s more accurately grounded by vulnerable mid-tempo selections. Still, the lead single shines with its massive sound fit for an arena — or a stadium on Forrest Frank’s record-breaking summer tour, where Asbury was a special guest.
Fifteen artists, all of whom contributed vocals from various locations, join Asbury on the brash track — including Chris Tomlin, Patrick Mayberry, TobyMac, Michael W. Smith and Josh Baldwin — in an attempt to ousting the heavenly host. The song’s all-star choir acts as a subtle embrace, welcoming Asbury back into the Christian music fold.
Meanwhile, “Prodigal God” eloquently articulates Asbury’s wilderness journey as he namechecks an array of prominent Biblical figures. Most notably, he mentions Jonah, whose story of running from his true calling is something the North Carolina-bred singer can acutely identify with.
Fellow worship artists like Aodhán King, Benjamin William Hastings and Matt Maher hold co-writing credit on the project. Additionally, vocalists such as Gracie Binion and Amanda Cook offer background vocals, underscoring the endeavor’s wide communal aspect.
While the tenderness of “Only Ever” and “Holy God,” the upbeat rhythms of “Blessed Be” and “Nothing But Amazed” and the reverent call-to-worship of “All Saints” are tailor-made for congregational settings and primed for large-scale concert venues, “Outsing The Angels” serves up a number of personal reflections. And that’s where Asbury’s artistry is particularly elevated.
The folk-tinged “Hallelujah God Is Near” borrows a page from the thoughtful storytelling that defined “Pioneers” as Asbury pieces together real-life snapshots — both ordinary moments and heartbreaking ones — that speak of God’s presence in every season. The final verse notes His nearness to the brokenhearted as he poignantly sings, “In a folded flag on a wooden box, hallelujah God is near. In the stillborn child still in mother’s arms, hallelujah God is near. And when it feels hope is all but lost, hallelujah God is near.”
The most personal of the bunch, however, lies in autobiographical offering “My Closest Friend” as Asbury looks back on his life only to find that God never left his side. The intimate confession is as raw and real as it gets and stands out as one of the album’s finest moments.
Elsewhere, glimpses of Asbury’s relaxed persona emerge, like on the easy groove of “Here Right Now,” which morphs into an informal jam session colored by audible laughter and hijinks from the singer and his band of friendly, deftly skilled musicians. On “A Father’s Prayer,” one of his daughters giggles in the background, and Asbury fails to hold back his own amusement, as he speaks a prayer over his children before capturing a feeling of innocence on “Faith Of A Child.”
The “Reckless Love” singer concludes the project with a nod toward eternity on wistful ballad “This World Is Not My Home” and instrumental benediction “Glory’s Shore.”
“Outsing The Angels” is a triumph, but its victory isn’t simply found in the sweetness of the project’s melodies or the power of its lyrics. Instead, it’s buried in the story that led to its creation. Others could likely pen similar sentiments, but few could deliver them with the purity, ruggedness and authenticity Asbury exudes. His return to form proves an age-old lesson true: We might think we can outrun our divine calling, but we’ll never get far; and we’ll never enjoy genuine contentment until we’re living it out.
