Josiah Queen Stays True to His Convictions and His Artistic Identity on Third Album in Three Years, ‘Damascus Road’
Fresh off his first GMA Dove Award wins — including the coveted prize for Song of the Year, courtesy of “Dusty Bibles” — Josiah Queen drops “Damascus Road,” his third full-length album in three years. The 23-year-old is releasing music at warp speed, and the tickets to his inaugural arena tour in 2027 are selling at a similar pace.
Queen’s unprecedented rise continues to be fueled by a steady stream of new material, viral momentum and a strong artistic identity that finds the Florida native immediately drawing comparisons to a Christian version of Noah Kahan. The correlation remains accurate on his third effort. Sonically, Queen stays true to the banjo-driven, kick-drum-heavy melodies found on his previous endeavors. Lyrically, he continues to lean into heartfelt reflections that speak to his generation with the kind of conviction that belies his age.
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Of his three projects to date, “Damascus Road” emerges as the most mature. Playing the long game — both as a burgeoning artist and a growing believer — Queen eyes eternity on multiple tracks, dreaming of heaven and pondering how he can help bring as many people there as possible.
Album opener “Out Of Breath” finds the singer-songwriter focused on running the race specifically marked out for him. Poignant selections, “When I See You” and “Paradise,” offer sketches of what the hereafter might encompass as Queen attempts to articulate the moment when he finally meets His Maker face to face. Elsewhere, “Make Heaven Crowded” encourages listeners to share their faith with urgency; while pop-centric project closer “Jesus Is Coming Back Soon,” with Forrest Frank, celebrates Christ’s return.
“Judas” — an instant standout — reveals why Queen has quickly become a buzzworthy lyricist. Much like his song, “I Am Barabbas,” he steps into the shoes of the least-liked disciple with vulnerability and conviction, confessing how he’s betrayed Jesus, at times, for a lot less than the 30 pieces of silver Judas collected. Meanwhile, “Sundays” could easily be a sister to “Dusty Bibles,” with Queen admitting that simply feasting on the Word of God one day each week only leads to hunger as he needs the Lord’s guidance and instruction on a regular basis to survive.
He sings of life-changing transformation on the title cut and heart-racing anxiety on “Demons.” On the expansive “Galaxies,” he boasts of God’s vast love on a singular track that leans more ’90s rock than folk, providing a welcome diversion.
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The chart-topping artist enlisted the usual suspects for his “Damascus Road” writes: Zac Lawson, Dylan Thomas and John Michael Howell. Additionally, this time around, he welcomed a few fresh names into his inner circle, including fellow folk aficionados, Jervis Campbell and Gable Price. Meanwhile, in addition to Frank, Queen collabs with an array of diverse talent, including Elevation Rhythm, ZVC (Lawson’s moniker), Aodhán King and SEU Worship’s Chelsea Plank.
“Damascus Road” feels like watching an artist scale career rungs in real time. More than his infectious folk melodies, massive choruses and frequent use of Gen-Z buzzwords, Queen stays true to his theology. In fact, he’s built an entire arena tour on the foundation of his convictions, never offering to compromise his stance, bend his beliefs or forsake his values to obtain mainstream success. That might just be more impressive than the music itself. It’s refreshing (and rare) to see someone so young profess their faith so boldly and resolutely and encourage his peers to do the same.
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Queen will take “Damascus Road” on the road next year, visiting the biggest venues of his career. He’ll kick off 2027 with a headlining slot at Universal Orlando Resort’s Rock The Universe before launching his 19-city North American run, for which half of the dates are already sold out, including a final stop at Red Rocks Amphitheatre in May.
