On Lauren Daigle‘s self-titled 2023 release, she walks a tightrope between the CCM world that launched her and the broader mainstream audience she’s steadily winning over. It is a bold, expansive effort that the powerhouse vocalist pulls off with grace, authenticity, and a lot of New Orleans soul.

From the opening notes of “Thank God I Do,” Daigle hasn’t lost her knack for crafting deeply personal, spiritually resonant anthems. This track, already a fan favorite, is a stirring reminder of the grounding power of faith and community. Overall, Daigle delivers with the kind of vocal conviction that’s become her trademark.

What’s most impressive about Lauren Daigle is how she splits the difference between two musical worlds. Tracks like “New” and “Waiting” shimmer with pop polish and lyrical accessibility, while still offering enough depth to satisfy longtime CCM listeners. “To Know Me” is a standout in this regard; it’s introspective, vulnerable, and beautifully arranged.

Then there’s the undeniable influence of Daigle’s Louisiana roots. The jazzy, brass-laced “Kaleidoscope Jesus” is a joyful, genre-blurring romp that feels like a second-line parade through the streets of New Orleans. It’s a welcome infusion of color and character that sets this album apart from the more sanitized sounds of typical radio fare.

“These Are the Days” and “Back to Me” continue the trend of strong, hook-laden songwriting. The former offers a hopeful, forward-looking anthem and the latter showcases Daigle’s ability to blend gospel warmth with pop sensibility. “Turbulent Skies,” meanwhile, is a late-album gem that’s moody, cinematic, and emotionally rich.

However, the album’s rollout strategy raises some eyebrows. Releasing a 10-track Part One earlier in the year, followed by a “completed” album with 13 additional tracks (including three interludes), felt more like a marketing experiment than artistic vision. The sequencing of the full 23-track album comes off as haphazard. This may not bother the playlist-oriented listener, but it left this fan of the full-album experience underwhelmed. There’s a much stronger 12-15 song album buried within this sprawling collection, but it’s diluted by tracks that fall into filler territory. Most of those tunes come in the latter half of the full album. For instance, the interludes don’t seem to serve a need. Perhaps, if the second half of the record was a deeper dive into the jazz that Lauren melds with pop, the interludes could have eased slower songs into the more upbeat ones. Alas, as it stands, they would have been better left off the record.

That said, even with a bit of bloat and a confusing release strategy, Lauren Daigle is a partial success. It’s a confident, creatively rich statement from an artist who refuses to be boxed in. Whether you’re a longtime fan from her How Can It Be days, or someone who discovered her on mainstream radio, there’s something here for you. And that, perhaps, is the album’s greatest achievement.

– Review date: 7/31/25, written by Josh Balogh of Jesusfreakhideout.com