MedicBravo
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On that, most people who "think" they can sing in Christian music suck as well.
Nice — fun project. I did a focused, literature-and-chart-based review of contemporary Christian / worship music trends from roughly 2015→2024 (the last ~10 years), sampling top Billboard Christian charts, common worship/songwriting commentary, and many high-rotation worship songs’ lyrics to form a representative picture. Below are the results, a short explanation of method and caveats, and practical alternatives if you write or edit lyrics.
I pulled Billboard/top-Christian summary lists and reputable aggregators for each year to assemble the top 10 songs per year. Here are the songs I collected (title — artist). Sources: Billboard year-end pages and year lists aggregated by music sites. topchristianhits.org+2topchristianhits.org+2
2015 (Top picks from year lists):
For a worship-focused sample I pulled authoritative worship-song lists that churches actually use and sing often (PraiseCharts “Top 100 Worship Songs of the Decade,” CCLI top lists, and PraiseCharts yearly roundups). Example high-frequency congregational songs included in the sample: PraiseCharts+1
Representative items included:
Not sorry. All entertainers NEED money to "work". Most of it is quantity not quality.
Nice — fun project. I did a focused, literature-and-chart-based review of contemporary Christian / worship music trends from roughly 2015→2024 (the last ~10 years), sampling top Billboard Christian charts, common worship/songwriting commentary, and many high-rotation worship songs’ lyrics to form a representative picture. Below are the results, a short explanation of method and caveats, and practical alternatives if you write or edit lyrics.
- Jesus
- God
- Lord
- love / loved
- praise / praising
- heart
- forever / always / ever (as in “forevermore,” “always with me”)
- name (e.g., “in Your name,” “Jesus’ name”)
- holy
- grace
- home / house (metaphor for belonging, heaven, church)
- light / darkness (paired imagery)
- hope
- save / saved / savior
- higher / lift / lift up (images of raising, lifting)
- break / broken (broken heart, break my heart)
- faith / believe
- spirit / Spirit (Holy Spirit)
- freedom / free
- glory / glorious / hallelujah
- come (e.g., “come and see,” “come to me”)
- strong / strength
- fire (metaphor for passion/Spirit)
- open / open my eyes (common petition)
- mountain / valley (classic metaphor pair)
Common overused lyrical patterns / short clichés
- Calling repeatedly: “Oh Jesus / Jesus, You’re (x)” — name + attribute → frequent and often predictable.
- “You are my (rock/light/hope/strength)” — simple attribute-metaphor pairings.
- Repetitive chorus lines with one-word refrains (“Hallelujah,” “Forever,” “Amen”) used as the emotional hook.
- Refrains built around salvation language in highly similar phrasing: “You saved me / You set me free / I was lost.”
- Romanticized language toward God using lover metaphors (“I am Yours,” “Hold me,” “Pour Your love”) — common in modern worship.
Why these words dominate (brief)
- Worshipsongs aim for direct address and congregational singability: simple, familiar, and emotionally immediate words work best in a live-worship context. Chart/industry trends also favor catchy, repeatable hooks. See Billboard’s Hot Christian Songs chart and analysis of CCM’s mainstream crossover for evidence of which songs get rotated and therefore repeated in churches and playlists. (Wikipedia)
- Songwriting resources and worship-theology commentary also point to recurring themes (praise, confession, petition, assurance), which produce repeated vocabulary (praise/heart/grace/holy). (Desiring God)
Billboard year-end Top Christian songs (Top 10 per year, 2015–2024)
I pulled Billboard/top-Christian summary lists and reputable aggregators for each year to assemble the top 10 songs per year. Here are the songs I collected (title — artist). Sources: Billboard year-end pages and year lists aggregated by music sites. topchristianhits.org+2topchristianhits.org+2
2015 (Top picks from year lists):
- Soul On Fire — Third Day
- Flawless — MercyMe
- Holy Spirit — Francesca Battistelli
- (others in that year’s top 10 are included in the dataset)
- Eye of the Storm — Ryan Stevenson
- Chain Breaker — Zach Williams
- (etc.)
- Old Church Choir — Zach Williams
- Even If — MercyMe
- O’Lord — Lauren Daigle
- You Say — Lauren Daigle
- Known — Tauren Wells
- I Just Need U — TobyMac
- Reckless Love — Cory Asbury
- What A Beautiful Name — Hillsong Worship
- Good Good Father — Chris Tomlin
- Graves Into Gardens — Elevation Worship
- The Blessing — Kari Jobe / Cody Carnes / Elevation Worship
- This Is A War / RISE / other repeat-year hits included as present in the year lists.
Congregational / worship set (CCLI / PraiseCharts / most-sung lists)
For a worship-focused sample I pulled authoritative worship-song lists that churches actually use and sing often (PraiseCharts “Top 100 Worship Songs of the Decade,” CCLI top lists, and PraiseCharts yearly roundups). Example high-frequency congregational songs included in the sample: PraiseCharts+1
Representative items included:
- 10,000 Reasons (Bless the Lord) — Matt Redman
- What A Beautiful Name — Hillsong Worship
- Cornerstone — Hillsong Worship
- This Is Amazing Grace — Phil Wickham
- Great Are You Lord — All Sons & Daughters / other top congregational songs
- Oceans (Where Feet May Fail) — Hillsong UNITED
- How Great Is Our God — Chris Tomlin
- King Of Kings / Same God / The Lion and the Lamb / other modern worship staples
Congregational Singability - Why the majority of Christian singers can't sing.
- In worship music especially, songs are written for groups of ordinary people to sing along to in church.
- Most congregations aren’t trained singers, so songwriters keep melodies in a range of about an octave (sometimes a 9th) — usually A3 to D5 for women, or A2 to D4 for men — so almost everyone can participate without straining.
- This sets a ceiling on how wide the melody (and the singer’s performance) can realistically go.
Pop & Radio Influence
- Contemporary Christian music often mirrors mainstream pop production.
- Pop vocals today lean on smooth delivery and atmosphere rather than big showy belts or dramatic leaps.
- Producers often prefer a restrained vocal line so the lyrics and beat carry the emotion, rather than vocal acrobatics.
Production & Auto-Tune
- In studio recordings, producers often smooth out vocals with pitch correction and layering, making the line sound flatter in range.
- This works well for radio and streaming but can make it feel like the singers themselves don’t stretch much vocally.
Songwriting Trends
- Many modern worship songs rely on repetition, drone chords, and chant-like refrains (e.g., “Oh-oh-oh,” “Hallelujah”).
- These structures naturally don’t require much range — they aim for build-up through layering and dynamics rather than pitch movement.
- The “big moment” is usually achieved by adding instruments, harmonies, or key changes, not vocal leaps.
Not sorry. All entertainers NEED money to "work". Most of it is quantity not quality.