Josiah Queen, a rising star in Christian music, is poised to cement his place as a defining voice of the genre with his highly anticipated album, Mt. Zion. Hailing from Florida, this fresh-faced singer-songwriter has swiftly captured hearts with a string of hits like "The Prodigal," "Garden in Manhattan," and "Dusty Bibles," all in a remarkably short time. They all showcase his knack for crafting passionate and singable anthems.

With his sophomore effort, Mt. Zion, Queen takes that momentum up a notch. This is a rafter-raising, arena-ready folk project brimming with joy, resilience, and faith declarations. Think Mumford & Sons' driving earnestness, The Lumineers' communal choruses, and Of Monsters and Men's grand anthemic arcs -- all with lyrics unapologetically centered on Christ.

From the first strum, Queen makes it clear he wants you singing at the top of your lungs. "Dusty Bibles" crackles with banjo, claps, and a chorus that practically begs to be shouted in unison. Its opening line, "Dust on our Bibles, brand new iPhones," levels a cultural critique as pointed as it is catchy. It's equal parts altar call and festival jam. That energy carries over into "Can't Steal My Joy" (featuring Brandon Lake), a fist-pumping call to worship as defiance. Lyrics like "What the world couldn't give, no, it can't take away / Sorrow may come but it can't / Steal my joy" insist that joy is not circumstantial, but rooted in something deeper. It's an anthem designed for thousands of voices echoing back the refrain, reminding listeners that hope can't be shaken, even in the shadowed nights of the soul.

"Yesterday Is Dead" addresses regret by stripping it away and celebrating new life in Christ with a sweaty revival-meeting cadence. "Two Wooden Beams," meanwhile, brings the album's most striking imagery: "Love is the blood stains on two wooden beams." It's simple yet piercing, grounding the record in the bedrock of the gospel.

While Queen rarely lets the tempo drag, there are moments of reflection without losing momentum. That first slowdown moment comes with "Cloud and Fire." Drawing from Israel's wilderness story, this piano-led ballad reminds listeners that God still guides in uncertain terrain. Though quieter in arrangement, it's not "hushed," so much as it is resolutely hopeful -- a pause that underscores the same spirit that fuels the rest of the album. Additionally, two previously unreleased songs also stand tall. "Thief in the Night" leans into country underpinnings with a surprising (though subtle) sound that broadens the sonic palette. The track gets an extra boost from indie rocker Gable Price, whose presence adds urgency and texture to Queen's folk-driven foundation. Then there's the closer, "Adonai (Lord of My Life)," which wraps the record with playful affection and heartfelt devotion. It's light on its feet, adoring in tone, and leaves the album ending not with a whisper, but a smile.

For better or worse, Mt. Zion sticks to its nu-folk formula. The stomp-and-shout template dominates, and some listeners may long for more variety. Yet, the touches of country guitar, tender ballads, and playful tone prove Queen has more colors in his palette than he sometimes shows. For most fans, the consistency won't be a weakness; it'll be a comfort.

Ultimately, Mt. Zion isn't an album for quiet contemplation; it's a soundtrack for resilience. It's meant to be sung in fields, shouted in arenas, and blasted in the car with the windows down. In a cultural moment full of noise and despair, Josiah Queen hands us something simple and refreshing: a collection of songs that dare to live with joy, even in the shadows.

Alongside peers Forrest Frank, Anne Wilson, Gable Price & Friends, and indie band Strings and Heart, Queen is part of a vibrant new wave pushing the boundaries of contemporary Christian music. His authentic lyrics and folk-infused sound have earned him a growing following, marking him as one to watch in the future of faith-based artistry.