Six years ago, Tommee Profitt released his fan-favorite Christmas album, The Birth of a King to the world; an epic project that brought together a wide array of vocalists from throughout the Christian music industry. Now, for Easter of 2026, we are finally treated to a sequel: The Resurrection of a King, a collection of hymns about the cross.

Arguably more ambitious than Birth, Resurrection is a weighty 19 tracks (two discs on physical media), and clocking in at an hour-and-a-half in length. Thankfully, Tommee applies the same formula here that he did with Birth, bringing in a different guest singer for each track. This helps keep the listener from getting bogged down by the overall length, and helps keep things musically fresh. Whether you go for the crisp pop vocals of Jaime MacDonald, the powerful gospel of CeCe Winans, or the country-rap of Crowder, there will be something for you here.

Those familiar with Tommee's signature, over-the-top sound (it should come as no surprise that he also does music on the side for movies and video games) may be a tad disappointed by the album's overall quiet, reflective sound. The speaker-blowing bangers are here, for sure, but they seem sprinkled in instead of setting the tone. The back half of the album (or disc two for those following along on physical media) manages to coast by without raising the tempo even once -- but I suspect that this was intentional.

Not only does the quieter tone pay proper respect to the subject matter, but it also allows Tommee to showcase what he can do with some softer tracks -- what I like to think of as the "pretty side of epic." And whether the music is in-your-face or reflective, it all has one thing in common: it makes us slow down and really take time to appreciate what these hymns are actually saying. Many of us have sung these hymns to the point of fatigue, but Tommee manages to breathe new life into what many may be tempted to consider stale. Case in point, "He Arose" is an Easter hymn that, while beautiful, has a tune that is nearly unsingable to modern voices. With a fresh arrangement, gorgeous orchestration, Phil Wickam's familiar voice, and a modern yet respectful new bridge, the song is now approachable enough to be embraced by a whole new generation of listeners.

I will spare the reader a full, track-by-track rundown of the lengthy album, but a few more highlights are worth mentioning. "Were you there?", the album's opener, has long been one of my least favorite spiritual songs. However, with some bass, a full orchestra, and the artful inclusion of a human heartbeat, it is now one of my favorites. Bombastic and beautiful, I have a hard time listening to this one without tears coming to my eyes. "Just As I Am" and "There Is Power" get similar treatments. The bass booms. The violins soar. The vocalists get pushed to their very limits. "When I Survey" has long been a favorite of mine, and the shocking spareness of the opening (it's mainly just vocals and a gentle thunderstorm) is a welcome break from the grandiose. Similarly, Tommee uses a light hand on "I'll Fly Away," usually an upbeat bluegrass favorite, and Fleurie's soft, plaintive voice helps ground the album a bit before it winds to a close.

All in all, it would have been nice to have a few more of these hymns get the "epic" treatment that we've come to expect from Tommee, especially in the sedated second half. However, taking the softer tone in stride, there is a lot to like about The Resurrection of a King, especially for those worn out by the familiarity of the songs. Don't write this one off; it is certainly worth a listen, and it will be one that I'll be spinning at Easter time for years to come.