Forrest Frank is one of the most refreshing voices in contemporary Christian music today. Born on April 8, 1995, in Fulshear, Texas, this singer, songwriter, and producer has carved out a lane that blends lo-fi pop, hip-hop, R&B, and soul-drenched worship in a way that feels completely natural. From his early days as one half of the indie-pop duo Surfaces to becoming Billboard’s No. 1 new Christian artist of 2023, Forrest Frank’s rise has been nothing short of extraordinary. His 2024 album Child of God debuted at No. 1 on the Billboard Top Christian Albums chart and sold over 22,000 copies in its first week. Whether listening through a solid pair of quality headphones or catching him live, the emotional depth in his catalog hits differently every time. This list covers the 20 best Forrest Frank songs of all time — a mix of career-defining anthems, fan favorites, and hidden gems worth knowing.
GOOD DAY
There is a reason “GOOD DAY” became the song that put Forrest Frank on the mainstream Christian music map. This track earned a GMA Dove Award and reached No. 2 on the Hot Christian Songs chart, and every bit of that success makes sense the moment the opening chords roll in. The production is warm and buoyant, layered with acoustic guitar strums and a beat that feels like early morning sunshine — effortless yet polished. Frank’s vocal performance here is unusually conversational, almost like he is talking directly to the listener about choosing joy over circumstance. The bridge is where the song earns its keep emotionally, lifting into a full gospel-influenced swell that lingers long after the track ends.
NO LONGER BOUND
“No Longer Bound” featuring Hulvey is the track that launched the Forrest Frank era in Christian music. Released as part of the California Cowboy album in June 2023, this collaboration with Reach Records rapper Hulvey became one of the most viral songs in CCM history, topping Spotify’s Top 50 Viral Playlist. The production is cinematic — propulsive drums, gospel-rooted harmonies, and a chorus built for arenas. Hulvey’s rap verse adds genuine grit and street-level testimony that grounds the track in real experience rather than polished performance. Playing this one through a high-quality speaker system reveals layers of reverb and spatial production choices that reward careful listening.
LIFT MY HANDS
During his Child of God Part II tour, Forrest Frank revealed that “LIFT MY HANDS” was not written in a conventional studio session — it came to him during prayer. That origin story is audible in the music itself. The song carries an almost involuntary quality, as if the melody arrived fully formed rather than being constructed measure by measure. Musically, it sits in a space between modern worship and lo-fi soul, with a drum pattern that breathes instead of pushing, and layers of background vocals that gradually build into something genuinely moving. On headphones, the stereo width of the outro is particularly striking.
UP!
“UP!” opens the Child of God album with unmistakable energy and purpose. The production immediately signals something different from typical CCM fare — punchy, rhythmically aggressive, with a hip-hop backbone that never loses sight of the melody at its center. Frank’s vocal delivery shifts between rapping and singing with fluidity, showcasing a range that many artists in the genre simply do not have. The lyrical content centers on elevation — spiritual, emotional, and physical — and the track’s sonic arc matches that theme perfectly, building from a lean, clipped intro into a fuller, more layered second half. It is the kind of opener that earns every second of attention it demands.
YOUR WAY’S BETTER
“YOUR WAY’S BETTER” became Forrest Frank’s first leader on the Billboard Hot Christian Songs chart and even crossed over into the Billboard Hot 100, peaking at No. 61. For a song built on such a simple theological premise — trusting God’s plan over personal preference — the production does remarkable work. The instrumentation is restrained in the verses, leaning into sparse guitar and a mellow rhythm section, which makes the chorus feel earned rather than automatic. Frank’s melodic instincts are at their sharpest here; the hook is immediately memorable without feeling manipulative. This is one of those tracks that plays just as well on repeat as it does on first listen.
ALWAYS
“ALWAYS” represents one of Forrest Frank’s more intimate performances on Child of God. The track strips back the production considerably compared to some of the album’s bigger moments, resting instead on a gentle guitar figure and soft percussion that leave plenty of space for the vocals to breathe. The lyrical theme — God’s constant, unchanging presence — is delivered without the triumphalism that can make similar songs feel hollow. Instead, Frank sings it as a personal anchor, something real and held close rather than broadcast loudly. That emotional honesty makes “ALWAYS” one of the most re-listenable songs in the entire catalog.
NEVER GET USED TO THIS
This standout track features JVKE, and their chemistry is immediately apparent. JVKE’s influence on the production is noticeable — there is a piano-forward quality to the arrangement that echoes some of his own solo work — but the collaboration never feels like a clash of aesthetics. Instead, both artists’ sensibilities merge into something genuinely fresh. The song explores the idea of perpetual wonder at grace, and the musical choices reinforce that theme beautifully: the production keeps opening up, adding new textural layers in each section rather than settling into any predictable pattern. The outro, in particular, is worth listening to in isolation.
ALTAR
Released as part of the CRY EP in 2024, “Altar” showcases a rawer, more vulnerable side of Forrest Frank’s artistry. The production here is less polished than some of his mainstream singles — and that is very much a deliberate choice. A sparse piano line, restrained drums, and intimate vocal layering create a confessional atmosphere that aligns perfectly with the lyrical theme of surrender and coming before God empty-handed. Frank’s vocal performance is understated rather than showy, which gives the track a sincerity that more produced efforts sometimes lack. For fans who want to understand the emotional core underneath all the genre experimentation, “Altar” is an essential listen.
PRAISES
“PRAISES” and its remix demonstrate Forrest Frank’s ability to take a strong musical idea and expand it without losing what made it work in the first place. The original track is celebratory and rhythmically forward, built around a groove that borrows from both gospel and contemporary R&B. The remix adds additional vocal layers and production flourishes that give the song a fuller, more communal feel — the kind of energy that fills a room rather than just filling headphones. The call-and-response dynamics in the remix version are particularly well-executed, turning what began as a solo track into something that feels like a worship experience. Browsing more tracks with this kind of energy is easy through GlobalMusicVibe’s songs section.
GOD IS GOOD
Recorded in association with Caleb Gordon and released as part of the God Is Good EP on April 12, 2024, before its Child of God appearance, this track arrives like a deep breath taken after a long exhale. The production is unhurried — a mid-tempo groove anchored by warm bass tones and a percussion approach that emphasizes feel over flash. Frank and Gordon’s vocal interplay gives the track a conversational texture that makes the central declaration feel earned through experience rather than asserted as doctrine. The song’s arrangement is deceptively simple; repeated listening reveals careful harmonic choices that deepen the emotional impact over time.
Come With Me
“Come With Me” from Surfaces’ Pacifico album captures the summery, sun-warmed quality that defined the duo’s peak mainstream appeal. The production leans into calypso-influenced percussion and reggae-adjacent guitar work, creating a track that functions as both an invitation and a feeling — the musical equivalent of stepping outside on a warm afternoon. Frank’s melodic sensibility is fully present here, crafting vocal hooks that stick without resorting to any obvious tricks. As a reflection of where his artistry sat before the explicitly Christian pivot of 2023, “Come With Me” offers an illuminating window into the creative DNA that would later power his solo catalog.
Amazing Grace
The New Hymns album — released October 30, 2023 — presented Forrest Frank with a uniquely demanding challenge: reimagine some of the most beloved songs in Christian music history without diminishing what makes them timeless. His take on “Amazing Grace” meets that challenge with confidence. The arrangement is rooted in lo-fi production aesthetics, introducing warm tape saturation and a gentle, unhurried drum machine groove that makes the centuries-old melody feel contemporary without feeling disrespectful. The vocal approach is restrained and personal, sung as testimony rather than performance. It is the kind of cover that reminds listeners why the original song has endured for generations.
Hey DJ
“Hey DJ” from California Cowboy is one of the more playful entries in Forrest Frank’s catalog, and that levity is earned rather than frivolous. The track rides a groove that pulls clearly from funk and disco influences, with a horn-inflected production palette that sits in refreshing contrast to the more introspective material elsewhere on the album. It demonstrates that Frank’s faith-based music does not require constant solemnity — joy is just as valid a form of worship as lament. The production is crisp and well-mixed, the kind of track that rewards good audio equipment for revealing the full detail of the low-end arrangement. If considering an upgrade for listening sessions, checking out the best earbuds comparison guide is well worth the time.
Jesus Paid It All
Of all the classic hymns reimagined on New Hymns, “Jesus Paid It All” may be the most effectively transformed. The original hymn’s inherent dramatic weight — built on the theological concept of substitutionary atonement — gets a modern production treatment that honors its gravity without wallowing in it. Frank introduces a rhythmic pulse that gives the track forward motion, while harmonic embellishments in the arrangement add emotional color without overwhelming the melody. The final chorus swells into something genuinely anthemic, and the transition from the stripped-back second verse into that finale is among the best sequenced moments across his entire discography.
HALLELUJAH
“HALLELUJAH” earns its capital letters. As one of the more expansive tracks on Child of God, it builds from a relatively contained opening into a full, layered production that pulls from gospel choir traditions while staying grounded in the album’s contemporary sonic identity. The vocal performance is among Frank’s most committed — there is real urgency in the delivery, a sense that the word being sung is not just a lyric but a declaration. The mixing on this track is notably spacious, allowing each element to occupy its own defined frequency range while still contributing to the collective emotional impact of the whole.
Wave of You
“Wave of You” appeared in 2021 and offers an interesting look at Forrest Frank’s production instincts during a transitional creative period. The track leans into oceanic imagery both lyrically and sonically — sustained synth tones, gentle rhythmic wash, and a melodic structure that feels more cyclical than linear, mimicking the natural rhythm of waves rolling in and receding. The production is immersive in a way that particularly rewards headphone listening, with careful stereo placement of atmospheric elements that creates a genuine sense of space. It is a more ambient, meditative side of Frank’s artistry that surfaces less frequently in his later, more structured work.
How Far Is Your Love
The Good Morning EP from 2024 introduced several strong tracks, and “How Far Is Your Love” stands among the best of them. The song poses the album’s central question in musical terms — how vast is grace? — and the production expands accordingly, building from an intimate acoustic intro into a spacious, orchestrally inflected arrangement by the final section. Frank’s vocal range is on full display, moving comfortably between a hushed lower register in the verses and something more open and searching in the chorus. The lyrical imagery draws from natural scale — oceans, skies, horizons — to externalize an internal theological wonder.
Nothing But The Blood
Featuring Lecrae, “Nothing But The Blood” is one of the most compelling collaborations in Forrest Frank’s catalog. Lecrae’s verse brings a street-level directness to a hymn that can sometimes feel distant in more traditional arrangements, and the contrast between his rap delivery and Frank’s melodic approach creates genuine dramatic tension that serves the song’s message. The production bridges gospel-influenced chord progressions with a modern trap-adjacent drum pattern, a combination that sounds riskier on paper than it does in practice. The end result is a version of a classic that stands entirely on its own terms rather than simply borrowing prestige from the original.
Fly Away
Featuring Hulvey, “Fly Away” closes out the New Hymns era with real emotional force. The track functions as a kind of extended exhale after the album’s more intense doctrinal meditations, leaning into a lighter, almost gospel-pop feeling that emphasizes hope and freedom over weight and complexity. Frank and Hulvey’s rapport as collaborators is palpable — there is an ease in how their vocal energies interact that only comes from genuine creative familiarity. The production’s airy quality — bright acoustic guitars, light percussion, open harmonic space — reinforces the song’s lyrical themes without being literal about it.
Let Me Know
Closing this list with “Let Me Know” from Surfaces’ Pacifico album is a reminder of how long Forrest Frank has been operating at a high creative level. The track showcases the melodic instincts and lo-fi pop sensibility that would later become the foundation of his solo Christian music. The production is warm and unhurried, built on interlocking guitar parts and a rhythm section that prioritizes feel over precision. Frank’s vocal performance is entirely at ease, delivering a melody that floats above the groove without ever losing contact with it. As a chapter in the broader story of his artistic development, “Let Me Know” demonstrates that the gifts driving his current success were present and active long before his breakthrough moment.
Frequently Asked Questions
What genre is Forrest Frank’s music?
Forrest Frank’s music is primarily contemporary Christian, but his sound incorporates elements of lo-fi pop, hip-hop, R&B, gospel, and soft rock. This genre-blending approach is intentional — Frank has spoken about wanting to make Christian music that functions just as well in everyday listening environments as it does in worship contexts.
What is Forrest Frank’s most popular song?
“GOOD DAY” from the 2024 album Child of God is widely considered his signature song, having won a GMA Dove Award and reaching No. 2 on the Billboard Hot Christian Songs chart. “No Longer Bound” with Hulvey is a close second in terms of cultural impact, having topped Spotify’s Viral 50 chart in 2023.
Is Forrest Frank part of any music groups?
Yes. Forrest Frank is one half of the indie-pop duo Surfaces, formed in 2017 with Colin Padalecki. Their song “Sunday Best” went platinum and reached No. 19 on the Billboard Hot 100. In 2026, he also formed the CCM duo Party Wave with Noah Hayden.
What album should a new listener start with?
Child of God (2024) is the ideal entry point for new listeners. It represents Forrest Frank’s most polished and cohesive work as a solo Christian artist, featuring guest spots from JVKE, Tori Kelly, CAIN, and Hulvey, and it spent 35 non-consecutive weeks at No. 1 on the Billboard Top Christian Albums chart.
Did Forrest Frank win any awards?
Yes. Forrest Frank won a GMA Dove Award for “GOOD DAY” and was named Billboard’s No. 1 new Christian artist of 2023. His album Child of God II also received a Grammy Award nomination for Best Contemporary Christian Music Album.
Who has Forrest Frank collaborated with?
Forrest Frank has collaborated with a wide range of artists including Hulvey, JVKE, Lecrae, Tori Kelly, CAIN, nobigdyl, Thomas Rhett, Caleb Gordon, Connor Price, and Elevation Rhythm. His collaborative instincts have consistently elevated individual tracks by pairing contrasting styles in ways that feel intentional rather than commercial.