When you press play on MercyMe’s 12th studio project, “Wonder & Awe,” it will take a good four songs before you unearth one that sounds like the signature power pop that’s synonymous with the band. With more than three decades under their belt and a mantle full of accolades, it would have been effortless for the K-LOVE Fan Award-winning outfit to follow a tried-and-true formula. Instead, they found themselves playing in the studio in between tours — for the pure joy of it. They weren’t making a record; they were simply making music. But those playful, unofficial sessions inadvertently laid the groundwork for what would become “Wonder & Awe.”
The 13-track endeavor is a welcome departure for the five-piece. It’s fearless without forsaking their roots; and the sheer delight they experienced in the studio is felt across a diverse tracklisting that runs the spectrum of sonic elements.
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With very little to lose, MercyMe took some calculated risks on “Wonder & Awe,” channeling every bit of childlike faith and whimsy they could muster along the way. K-LOVE listeners were among the first to hear a handful of fresh selections during an exclusive preview in the days leading up to the record’s release; and they likely had to double-check the artist name appearing on their display to make sure this was really MercyMe. Albeit, frontman Bart Millard’s extraordinary tenor is hard to mistake.
From track one, the LP is full of surprises. Starting with unconventional opener “Canary in a Coal Mine” — solely penned by Millard — “Wonder & Awe” sets listeners on a wild ride full of twists and turns. If the intro doesn’t pique your interest, the opening horns on “All God’s People” certainly will. A full-on throwback ensues, recalling a mix of the lightheartedness of “Happy Dance” and the retro sensibilities of previous Gloria Gaynor collaboration “Brand New.” In fact, the offering is so infectious, the group may have just discovered their new encore for their fall tour, featuring Natalie Grant and Sam Wesley.
“Fred Astaire” immediately follows, serving up one of the project’s most kitschy tunes. Don’t let the eyebrow-raising title fool you; the song finds Millard’s creativity at an all-time peak with lyrics that argue we have reason to dance like the well-known luminary.
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Track four, “Overflowing” — that’s where longtime fans will finally release the breath they will have inevitably been holding. While the easy mid-tempo selection is as catchy as the notable guitar riff that undergirds it, “Overflowing” returns MercyMe to their defining sound. The title cut continues to tread familiar territory as Millard takes listeners back in time, describing a vivid memory from his childhood that finds him flying off the top bunk in search of adventure. That same sense of untamed abandon actually permeates the entire record while the band tries new approaches and green lights songs that might not have necessarily made past efforts in the name of brand identity.
Obvious gems “So Many Reasons” and “Trust the One” quietly bubble to the surface with their lyrical depth and emotive potency, boasting some of the most tender lyrics of Millard’s career — a high compliment considering he did write “I Can Only Imagine.”
Like “Imagine,” selections such as chart-topping lead single “Oh Death” and the mournful “Heartbroken Hallelujah” were born from grief. The recent loss of Millard’s father-in-law informs many of the musings across “Wonder & Awe” as he reflects on how the depth of pain after losing a loved one is often indicative of the depth of love we have for them.
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Although multiple songs were written in the wake of death, “Wonder & Awe” actually celebrates life. It toasts the miracle of new beginnings and the mystery of a sovereign God who holds us in the palm of His hand.
No doubt, “Wonder & Awe” stands as MercyMe’s most musically ambitious work to date. Loyal fans, however, will still find plenty to devour. This time around, the band doesn’t change their DNA; they simply give themselves permission to experiment with different sonic textures and fresh language that, frankly, feels invigorating.
Few bands are fortunate enough to hit the 30-year mark with (mostly) the original lineup intact, and if they do, they’ve more than earned the right to traverse new ground. While it’s not a full reinvention, MercyMe’s latest album is an extensive renovation worth the investment. It proves that sometimes the most relevant art comes when you’re not actually making an album at all. It arrives when you’re just making music with your friends.
