From the 5x Platinum Heart in Motion to her six GRAMMY awards, Amy Grant possesses one of - if not the most - successful careers in all of Christian music. Following the release of How Mercy Looks From Here in 2013, Grant slowed down a bit, working on a few singles, smaller projects, and a Christmas album while also recovering from an open heart surgery and a biking accident. Now, almost fifty years after her debut, and ending the longest break between studio albums of her career, she returns with her latest effort, The Me That Remains.

"The 6th of January (Yasgur's Farm)" opens the record. The strumstick, played by Sandy Emory Lawrence, who also wrote the song, stands out and makes the tune particularly memorable. The title may suggest politically divisive lyrics, but the track explores the idea of unity amidst the chaos in the world. "How Do We Get There From Here," a duet with Ruby Afarmu, follows and poses the question hinted at in the prior song. The longing for a better state of the world shines through both in the lyrics and the delivery of the vocalists. The track does not speak only generically, but also calls for a personal response to the tragedy in our world: "When the ink dries on our story / What will history reveal / Will we have been part of the problem / Or a part of how we heal?" "Please Don't Make Me Beg" comes as the most country sounding of all the offerings, which despite not loving country music as a whole, this song is a personal favorite for this reviewer. A tune that Grant co-wrote with Jon Foreman of Switchfoot, "Please Don't Make Me Beg" highlights the core human longings that each person shares. The track serves as a reminder that each of us should work to see the needs of others and help where we can, but it also acknowledges how Christ perfectly fulfills our desires to be loved, have enough, and have someone to trust.

A song penned with longtime friend and collaborator Michael W. Smith, "The Saint" highlights Grant's knack for storytelling. She describes a woman who struggles with addiction and loses most of what she has but, through time and healing, finds grace and becomes transformed. People like these, Grant says, may be some of the greatest saints among us. As a lyrical highpoint, "Beautiful Lone Companion" glances into the natural world and describes how God is seen in all of His creation, and fills a role that no person can in our lives: "He keeps to the mountains and the valleys / He sleeps by the rivers and the streams / He dwells at the edges of the shadows / To water your life and deepest dreams." The music appropriately is minimal for the tune, allowing the lyrics to draw in the listener and remain the focus. Starting the back half of the record, the title track picks up the pace a little bit. Grant reflects on how her life has changed since the start of her career, but she sees the beauty in the life she has now, and wants to treasure it for what it is: "So much has changed / But I recognize / A light in my eyes / That never did fade / And I'm gonna find / Yeah, find and revive / The me that remains." The track becomes a standout and nicely encapsulates the overall theme of the record.

The next two selections bring the greatest musical variety of the album. For "'Til We Get It Right," the electric guitar takes the spotlight. While one of the weaker tracks overall, the guitar work from Rob McNelley helps it remain memorable and fun to listen to. The biggest outlier from a musical standpoint, the reggae-infused "(Nothing Like A) Sunny Day," feels like the perfect song to listen to when relaxing by the beach. The lyrics match the sentiment and encourage the listener to open up and let go of what they cling to unnecessarily by finding joy in the simple gifts in life.

If anyone was worried about the closing songs starting to feel generic and weakening the project, Grant saves two of the album's three features for the end of the tracklist. The first, a duet with her husband, Vince Gill, is not an all-out country song, but certainly draws inspiration from the genre. Together, they celebrate the richness of the marital bond they have through both the good and bad times. The album closes with another family collaboration, "The Other Side of Goodbye," as her daughters Sarah and Corrina join in on the vocals. Grant shares her experience at her mom's side in the final moments before she passed away, and the joy Grant saw in her mom's eyes. She sings, "Like a kid on a carnival ride / Like Disneyland without any lines / Fireworks on the 4th of July / I guess she was seeing the other side / Oh, the other side / The other side of goodbye." The song ends the album nicely, looking to the promise of eternal life and how we can anticipate that more than even the greatest pleasures on this earth.

While some artists who have been in the industry for fifty years show signs of fatigue and a downward trajectory in the quality of their craft, others bring wisdom and an approach that only comes from time and experience. Thankfully, through The Me That Remains, Amy Grant excels in doing the latter. This release comes with both a freshness and perspective that only a talented veteran can share, and the album is a worthy addition to Grant's already large and impressive catalog. Though some may wish they did not have to wait as long for this latest album of hers, one can tell that The Me That Remains benefits from Grant having the opportunity to work on the project at her own pace. Just as she took time to create it, fans will find this album worth their time as well. Enjoyable on the surface while also carrying great depth, The Me That Remains offers plenty for listeners to appreciate. Among the great songs available, "Please Don't Make Me Beg," "Beautiful Lone Companion," and the title track stand out as this reviewer's personal favorites.

- Review date: 5/4/26, written by Noah Schmidt of Jesusfreakhideout.com