Prime Cuts: Here, You Never Let Go (featuring Tammi Haddon), Roar
Overall Grade: 3.75/5
"Roar" isn't just a song on this record. It is an apt description of this album. Sounding fierce, intense, loud, daring, and animated, Timmons approaches these 8 newly crafted songs with all cylinders open. From his vocal execution to the instrumental backings to the industry placed into the composition, you can tell Timmons puts in his heart and soul into this record. Here is Timmons' debut release for integrity music and his first record since 2017's Who I Am. Safe to say, it's his most cohesive collection with all the songs written for the church to sing.
Over the course of 2020, Timmons has been whetting our appetite by dropping a series of four singles from this album. Therefore, half the album may already be familiar with fans. Of the singles, "You Never Let Go" is the most accessible and the most likely candidate to be a congregational favorite. Proclaiming the much-needed to hear message that Jesus is with us in the midst of our trials, the song gets even more palatable with Tammi Haddon's Gospel-ish vocals. Building on the foundation that our God can be counted, "Roar" is the appropriate response. Written by Timmons and Centricity's new artist Patrick Mayberry, "Roar" finds Timmons encouraging us to let our praises "roar like a freight trains."
"This is the Day," with its MercyMe-like reverbs and cascading percussion sounds, makes Psalm 118:24 come alive. Worship leaders looking for a God-centered song that packs a good theological message would do well to listen to "No Other God." The title track "Here" finds Timmons roping in Leeland's Jack Mooring and Travis Ryan as co-writers. "Here" is a pop-centric ballad that is prided for its crescendo-building chorus: Here in Your presence/I am awake and alive/The King of Heaven Is closer than I realize/And I will dwell here/All of the days of my life.
Nevertheless, there is a major weakness in this record. Timmons seems to horde the same intensity-building and stadium-pop template for the entire album. Songs such as "Never Runs Out," "Already Loved," and "Fighting for Me," don't sound very different in terms of production-style and tempo-wise to the other aforementioned tracks. It would have been more profitable if Timmons were to step out out of his comfort zone and try something less "commercial." Maybe a piano ballad to relax the intensity of the album would be nice.