Top 10 Contemporary Christian Music Albums of the 2020S

Are We There Yet? arrived during the deepest uncertainty of the pandemic era and gave voice to communal disorientation with cinematic production and honest lyricism. The album debuted at number one on the ARIA Charts and topped Billboard's Christian Albums chart, demonstrating Hillsong UNITED's enduring global reach. Songs like "People" and "Finish Line" became anthems for churches navigating lockdowns and social isolation. It remains one of the most emotionally resonant large-scale worship records of the decade.

What Are We Waiting For? solidified for KING & COUNTRY's position as one of CCM's premier crossover acts, blending arena pop with gospel-inflected anthems and urgent social messaging. The album debuted at number one on the Billboard Christian Albums chart and produced multiple radio hits including the title track. Brothers Joel and Luke Smallbone brought their trademark cinematic sound to a record that called Christians to active, present-tense faith rather than passive waiting. It earned them Grammy nominations and further cemented their mainstream credibility.

Brandon Lake emerged from the Maverick City orbit to release Coat of Many Colors, an album that showcased his ability to blend soulful R&B textures with theologically rich worship writing. The album earned him a Grammy Award for Best Contemporary Christian Music Album and established him as one of the most significant new voices in the genre. Its sonic diversity — from intimate piano ballads to full-gospel choir moments — demonstrated that CCM could encompass far more than its guitar-driven heritage. Lake's vocal performances throughout are among the finest in recent Christian music history.

Hymn of Heaven arrived as a meditation on eternity and corporate worship, with Phil Wickham's crystalline tenor guiding listeners through sweeping, hymn-influenced anthems. The title track became one of the most sung worship songs of 2021-2022, appearing in churches across nearly every denomination. Wickham's gift for writing melodies that lodge permanently in the memory was on full display, and the album's theological depth rewarded repeated listening. It reinforced his standing as one of the most consistently excellent songwriters in the CCM world.

Lion demonstrated Elevation Worship's ability to craft anthemic, production-rich worship that works equally well in a 20,000-seat arena and a living room. The album featured the viral hit "Jireh," a Maverick City Music collaboration that became one of the most streamed worship songs of the decade. Its combination of polished sonics and theologically substantive lyrics challenged the assumption that accessible worship must be shallow. The record earned multiple Dove Award nominations and produced songs that remain Sunday morning staples.

Lauren Daigle's self-titled third studio album marked a bold artistic evolution, leaning further into soul and pop influences while maintaining the faith-rooted lyrical perspective that made her a crossover sensation. It debuted at number one on the Billboard 200, making Daigle only the second Christian artist in history to achieve that feat. The album's polished production and Daigle's extraordinary vocal instrument attracted listeners far outside the traditional CCM audience. Critics noted it as the moment she fully transcended genre boundaries without abandoning her convictions.

Life After Death was TobyMac's most personal record, written in the shadow of his son Truett's accidental death in 2019 at age 21. The album confronted grief, doubt, and the struggle to maintain faith in devastating loss with honesty that felt almost too raw for a mainstream CCM release. Yet its emotional authenticity made it resonate with listeners who had experienced their own losses, and it debuted at number one on multiple Christian music charts. It stands as TobyMac's most enduring artistic statement.

CeCe Winans returned with Believe For It, a declaration-driven worship album that leaned fully into gospel tradition while remaining accessible to contemporary CCM audiences. The title track became an instant Sunday morning staple and earned Winans a Grammy for Best Gospel Album, adding to her record collection as the most-awarded female gospel artist in Grammy history. The album was notable for its full-throated theological confidence at a time when much of Christian music was trending toward introspective uncertainty. Winans delivered it all with the assured authority of a living legend.

Healer arrived as Casting Crowns' most explicitly pastoral album, addressing specific struggles — addiction, anxiety, broken marriages — with the directness that has always defined lead singer Mark Hall's writing. The album debuted at number three on the Billboard 200 and produced several songs that became cornerstones of small-group and recovery-ministry playlists. Casting Crowns' gift for making complex grace accessible without reducing it to sentimentality was at its sharpest here. The record confirmed their position as one of the most enduring acts in CCM history.

Are We There Yet? arrived during the deepest uncertainty of the pandemic era and gave voice to communal disorientation with cinematic production and honest lyricism. The album debuted at number one on the ARIA Charts and topped Billboard's Christian Albums chart, demonstrating Hillsong UNITED's enduring global reach. Songs like "People" and "Finish Line" became anthems for churches navigating lockdowns and social isolation. It remains one of the most emotionally resonant large-scale worship records of the decade.

What Are We Waiting For? solidified for KING & COUNTRY's position as one of CCM's premier crossover acts, blending arena pop with gospel-inflected anthems and urgent social messaging. The album debuted at number one on the Billboard Christian Albums chart and produced multiple radio hits including the title track. Brothers Joel and Luke Smallbone brought their trademark cinematic sound to a record that called Christians to active, present-tense faith rather than passive waiting. It earned them Grammy nominations and further cemented their mainstream credibility.

Brandon Lake emerged from the Maverick City orbit to release Coat of Many Colors, an album that showcased his ability to blend soulful R&B textures with theologically rich worship writing. The album earned him a Grammy Award for Best Contemporary Christian Music Album and established him as one of the most significant new voices in the genre. Its sonic diversity — from intimate piano ballads to full-gospel choir moments — demonstrated that CCM could encompass far more than its guitar-driven heritage. Lake's vocal performances throughout are among the finest in recent Christian music history.

Hymn of Heaven arrived as a meditation on eternity and corporate worship, with Phil Wickham's crystalline tenor guiding listeners through sweeping, hymn-influenced anthems. The title track became one of the most sung worship songs of 2021-2022, appearing in churches across nearly every denomination. Wickham's gift for writing melodies that lodge permanently in the memory was on full display, and the album's theological depth rewarded repeated listening. It reinforced his standing as one of the most consistently excellent songwriters in the CCM world.

Lion demonstrated Elevation Worship's ability to craft anthemic, production-rich worship that works equally well in a 20,000-seat arena and a living room. The album featured the viral hit "Jireh," a Maverick City Music collaboration that became one of the most streamed worship songs of the decade. Its combination of polished sonics and theologically substantive lyrics challenged the assumption that accessible worship must be shallow. The record earned multiple Dove Award nominations and produced songs that remain Sunday morning staples.

Lauren Daigle's self-titled third studio album marked a bold artistic evolution, leaning further into soul and pop influences while maintaining the faith-rooted lyrical perspective that made her a crossover sensation. It debuted at number one on the Billboard 200, making Daigle only the second Christian artist in history to achieve that feat. The album's polished production and Daigle's extraordinary vocal instrument attracted listeners far outside the traditional CCM audience. Critics noted it as the moment she fully transcended genre boundaries without abandoning her convictions.

Life After Death was TobyMac's most personal record, written in the shadow of his son Truett's accidental death in 2019 at age 21. The album confronted grief, doubt, and the struggle to maintain faith in devastating loss with honesty that felt almost too raw for a mainstream CCM release. Yet its emotional authenticity made it resonate with listeners who had experienced their own losses, and it debuted at number one on multiple Christian music charts. It stands as TobyMac's most enduring artistic statement.

CeCe Winans returned with Believe For It, a declaration-driven worship album that leaned fully into gospel tradition while remaining accessible to contemporary CCM audiences. The title track became an instant Sunday morning staple and earned Winans a Grammy for Best Gospel Album, adding to her record collection as the most-awarded female gospel artist in Grammy history. The album was notable for its full-throated theological confidence at a time when much of Christian music was trending toward introspective uncertainty. Winans delivered it all with the assured authority of a living legend.

Healer arrived as Casting Crowns' most explicitly pastoral album, addressing specific struggles — addiction, anxiety, broken marriages — with the directness that has always defined lead singer Mark Hall's writing. The album debuted at number three on the Billboard 200 and produced several songs that became cornerstones of small-group and recovery-ministry playlists. Casting Crowns' gift for making complex grace accessible without reducing it to sentimentality was at its sharpest here. The record confirmed their position as one of the most enduring acts in CCM history.