Amy Grant- The Me That Remains
Label: Thirty Tigers
Producer: Mac McAnally
It’s been thirteen years since Amy Grant last graced us with a proper studio album, and those intervening years proved to be incredibly shape-shifting, both in regards to Grant’s own life story, but also in the American landscape. Personally, Grant faced both open-heart surgery and a bicycle accident that left her brain severely injured, and ultimately forced her to relearn how to sing altogether. Meanwhile, as she navigated these challenging tribulations, she and the rest of us observed both a social culture and political landscape spinning off its axis into one of the most divisive periods in American history. All of these events converge in both gripping and beautiful fashion to form the bedrock of The Me That Remains, the twentieth LP in her now half-century as a recording artist. Produced by acclaimed country musician, Mac McAnally and released under the Americana-centric label, Thirty Tigers, the record neither returns Grant to her core-CCM sound or the adult contemporary stylings that made her a pop superstar for a spell in the 1990s. Those wheelhouse trappings are certainly present throughout the album, but at its purest core, The Me That Remains is a contemporary folk album, both thematically and musically. And it proves to be a perfectly-timed pivot, in terms of Grant’s life and career stages, as well as for the stories she tells here.
Grant’s folk influences, and particularly those of one Joni Mitchell, have always been something that she’s worn on her sleeve, but this album is most certainly her most steeped in that realm, at least since 1997’s Behind the Eyes and 1994’s House of Love, which was anchored by her hit rendition of Mitchell’s “Big Yellow Taxi”. Her warm and soulful voice has always fulfilled the folk-tinged role of a musical compass and storyteller, regardless of which genre she was performing within. Her 2026 voice however, with the added layers of rasp and grit that time has gifted it, combined with the undeniably transformed POV and temperament that her recent experiences have informed its deliveries, meets the stylistic and thematic moment in ways that her instrument wouldn’t have been able to as powerfully in past eras of her career. Her singing, lyricism, and messaging continues to strike that relatable balance that she mastered as she straddled the lines between pure Christian and contemporary pop genres. She’s unafraid to tackle challenging topics, or to expose the most painful elements of life and love. As ever before, she does so without any divisive tendencies of judgment or self-righteousness. And she still finds lighthearted corners to temper the tone with lighter, brighter fare as well. McAnally meanwhile consistently colors the material and performances with a straightforwardly organic production palette that knows precisely when to hold back, or pour on the emotional power.
This lofty bar of high-quality standards and touches are immediately established by the project’s opening track and lead single, “The 6th of January (Yasgur’s Farm)”. It’s one of the sole outside songs on the project, and yes it addresses the 2021 political nightmare it implies, but does so merely as a means for Grant and songwriter Sandy Lawrence to grapple with how drastically our cultural fabric has strayed from the idyllic hopes defined by historic 1960s cultural landmarks like Woodstock. It’s difficult to envision another artist doing the justice that Grant does here on this song; it’s easily a new high-point in her impressive career, and is a strong candidate for one of this year’s, not to mention the decade’s, very best singles and songs. This could’ve have easily become a one-song record given the prominence of “January”, but both the musical quality and resonance of Grant’s messages remain strong as the record unfolds, from “How Do We Get There From Here” with the fabulous roots artist Ruby Amanfu and the glowingly tender “Please Don’t Make Me Beg” to tracks like “The Saint” and “Beautiful Lone Companion”, which intertwine Grant’s signature faith. The latter is particularly moving, and easily ranks among Grant’s greatest musical tales of spiritual redemption.
Meanwhile, she makes room for excavation of her more personal battles and experiences of the past decade. The title track and inarguable anchor of the record is a soulful examination of one’s strife and how it can contribute to essential personal rebirth. Elsewhere, husband Vince Gill drops by to provide his signature guest harmonies on “Friend Like You”, a stirring marital anthem, not celebrating pure romance or attraction, but rather the integral companionship and support that makes a long-lasting union truly special. Finally, the album’s closing track, “The Other Side of Goodbye” addresses the loss of Grant’s mother, and it proves to be an uplifting eulogy and bittersweet tribute to the pure and simple beauty of a life well-lived. Supporting vocals are provided by both Grant’s stepdaughter, Corrina Gill and (via archival recordings of course), country legend Sarah Cannon (aka Minnie Pearl) with both contributing an additional layer of potent sweetness. It’s a simple, heartwarming moment, but one that also makes for the powerful emotional album bookend that was required to compliment the stirring open provided by “The 6th of January”.
As I stated during my new review of her concert last week, Amy Grant has been one of popular music’s most taken-for-granted talents since her 90s pop-streak ended. Consequently, her release of what stands to be one of 2026’s essential records feels like one of the year’s most unexpected moments. Nevertheless, that is what The Me That Remains represents, and it deserves to be a long-overdue moment to give her the flowers she richly deserves. Primarily, it’s a tremendously pure and stirring folk-pop production. But on an even grander scale, it’s the kind of late-career triumph and artistic resurrection that many artists aren’t fortunate to see come to fruition. Whether it will be a one-off artistic finale, or the launch of a rich and deeper legacy era remains to be seen, and is ultimately inconsequential. Amy Grant’s musical legacy was already firmly in place prior to the release of The Me That Remains, but it most certainly shines all the brighter now because of it.
Track Listing:
- “The 6th of January (Yasgur’s Farm)” (Sandy Lawrence)
- “How Do We Get There From Here” featuring Ruby Amanfu (Amy Grant, Ruby Amanfu)
- “Please Don’t Make Me Beg” (Grant, Jon Foreman)
- “The Saint” (Grant, Michael W. Smith)
- “Beautiful Lone Companion” (Grant, Mike Reid)
- “The Me That Remains” (Grant, Mac McAnally)
- “Til We Get It Right” (Grant, Caroline Jones)
- “(Nothing Like A) Sunny Day” (McAnally)
- “Friend Like You” featuring Vince Gill (Grant, Chris Eaton)
- “The Other Side of Goodbye featuring Sarah Cannon and Corrina Gill (Grant, Tom Douglas)
The 706 
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