Prime Cuts: "I Got Saved," "Jesus Be the Name," "God I'm Just Grateful"
Overall Grade: 3/5
Ten years removed from the Here As In Heaven era that helped define modern worship's sonic landscape, Elevation Worship returns with its 18th live album, So Be It. Framed as a bold declaration that when God speaks, His word is final, the project aims for confident agreement with heaven. What it delivers is solid and serviceable, but rarely surprising.
The title track, "So Be It," opens with cinematic build and declarative intensity. It is polished and powerful in the moment, yet structurally predictable. The formula of restrained verse, rising pre-chorus, and explosive bridge is executed well, but it does not push the group creatively. It feels familiar rather than fresh.
One of the album's brighter spots is "Jesus Be the Name," led by Tiffany Hudson. The melody is simple and highly singable, making it an easy addition to local church sets. Its strength lies in clarity and accessibility. At nearly nine minutes, however, it stretches longer than necessary, which reduces some of its impact.
"I Got Saved," led by Chris Brown, is the most compelling track on the record and a clear prime cut. It revisits the moment of salvation with sincerity and warmth, and its bridge carries authentic congregational energy. Unlike some of the other tracks, this one feels personal before it becomes corporate, and that distinction makes it resonate.
Closing track "God I'm Just Grateful," featuring Chandler Moore, lands with emotional weight. Moore's vocal delivery adds texture and vulnerability, and the song's posture of gratitude provides a welcome shift from the album's repeated emphasis on proclamation. It is one of the few moments that feels dynamically layered rather than structurally expected.
The central theme, the authority and power of Jesus' name, runs through much of the album. While cohesion is commendable, the repetition across songs like "I Know A Name," "Your Name Is God," and "Call God" creates a sense of thematic saturation. Individually, these tracks work. Collectively, they begin to blur together.
Sonically, So Be It remains firmly within Elevation Worship's established blueprint of sweeping builds, layered live vocals, extended bridges, and high-impact declarations. The production is strong, and the live atmosphere is palpable. However, as a full-length project, it does not significantly advance the group's sound or songwriting.
That is ultimately where the 3 out of 5 lands. So Be It is not weak. It is competent, church-ready, and theologically clear. Yet it lacks the innovation, lyrical depth, or musical evolution that would elevate it beyond dependable worship fare. There are standout moments, but the album as a whole feels safe.
For churches looking for accessible, bold declarations of faith, this record will deliver. For listeners hoping for the next defining chapter in Elevation Worship's catalog, it may feel like a steady continuation rather than a breakthrough.
