Among the most welcome trends in the contemporary Christian music scene is the renewed focus on simply putting Scripture to song. Stellar examples abound, including Poor Bishop Hooper’s EveryPsalm Project, Psallos’s art-rock interpretations of biblical books (like Hebrews and Philippians), and the Verses project. Artists like Caroline Cobb have also specialized in Bible-based songwriting, and her just-released Psalms album is fantastic.
One of my favorite artists in the genre is The Corner Room, the moniker of Alabama-based artist Adam Wright. The longtime worship leader at Cahaba Park Church in Birmingham, Wright has said his “life-long pursuit is setting Scripture to music,” creating “a resource to help God’s people engage and treasure the Bible more deeply.”
Through eight musical volumes, each setting to music verbatim Scripture from the ESV Bible, Wright is doing just that. His previous works have included albums on Psalms, 1 Corinthians 13, and Isaiah 52–53 and a wonderful compilation of Scripture songs for kids.
Among the most welcome trends in the contemporary Christian music scene is the renewed focus on simply putting Scripture to song.
Today, Wright releases his newest album, The Words of Jesus, Volume 1, which is exactly what it sounds like. These musical settings of six “red letter” passages (John 3:16–17; Matt. 5:3–12; Matt. 11:28–30; John 17:1–11; John 21:15–19; and Matt. 28:18–20) are truly special. You can listen to the whole album on the streaming site of your choice or via the embedded videos below.
Adam Wright’s Track-by-Track Commentary
I asked Wright to share some behind-the-scenes thoughts on each of the tracks from the record, and you can read his commentaries below as you work your way through the songs. I pray these beautiful tracks help root the words of Jesus in your heart and soul in new ways.
John 3:16–17
This passage is one of the most known and beloved verses in all of Scripture, communicating the gospel in a simple way. I wanted the music to reflect that simplicity and chose a melody that was easy for anyone to sing (my congregation sings this corporately on a regular basis). For the final line in the song, I chose to hold out the word “eternal” to emphasize the everlasting glory that awaits us with our Father in heaven.
Matthew 5:3–12
My favorite albums are those that don’t stick to the same “sound” or genre, and this preference definitely carries over into the music I create. I love acoustic music and had to apply the “bluegrass filter” to this text. We can draw great comfort (and joy!) from acknowledging that the qualities contained in the Beatitudes are things God works in us, not a list of things we can accomplish on our own. The ending of this passage is what solidified the upbeat, fun nature of the arrangement: “Rejoice and be glad, for your reward is great in heaven.”
Matthew 11:28–30
A few years ago I read Gentle and Lowly by Dane Ortlund, and I highly recommend it. His commentary on this passage radically challenged and shaped the way I perceived my “rightness” before Jesus. Ortlund writes,
You don’t need to unburden or collect yourself and then come to Jesus. Your very burden is what qualifies you to come. No payment is required; he says, “I will give you rest.” His rest is gift, not transaction.
The tenderness of the beautiful invitation molded the musical setting I wrote for this passage.
John 17:1–11
This passage was definitely my favorite to set to music. This prayer of Jesus helps us to see his “heartbeat,” revealing an extended look at the intimacy between God the Father and God the Son. I wanted the music to reflect a growing intensity as Jesus prays, singularly focused on the glory of the Father reflected in the redemption of his people. The vocal and guitar ending on the same note at the end was meant to emphasize union with Christ (“That they may be one, even as we are one,” v. 11).
John 21:15–19
“Do you love me more than these?” This is a difficult question to consider and causes us to evaluate our faithfulness to love and serve Jesus and his people. Musically, I wanted to create space and repetition for the listener. I love Jesus’s final command, “Follow me,” reminding us dependency on and communion with him are the fuel we need to obey the first three commands.
Matthew 28:18–20
This melody came together quickly, but I had a difficult time deciding whether or not to make the music feel bigger and more ethereal. On the one hand, Jesus’s final words before his ascension seemed to call for a more dramatic approach; but on the other, the small gathering with his now 11 disciples—imparting final instructions and promises—warranted simplicity. I opted to keep it more intimate and rely on three vocal harmonies to emphasize portions of the text and to bring out a more Trinitarian voice.
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