Prime Cuts: "King of Kings," "The Lamb, The Lion, The King (All Hail King Jesus)," "Thank You Jesus For The Blood"
Overall Grade: 3/5
Meredith Andrews returns with Live From Liberty University (with Liberty Worship Collective), a seven-track live set recorded at her alma mater that leans heavily into the themes of the cross and resurrection. Released on Good Friday, the project is clearly positioned as a seasonal worship offering-one designed for reflection, participation, and congregational engagement.
The album features a mix of 3.5 originals alongside covers from artists like Brooke Ligertwood, Charity Gayle, and movements like Passion and Bethel Music. While the balance suggests a platform for Andrews' own songwriting, it is ultimately the covers that carry the weight of the record.
Her rendition of "King of Kings" (originally popularized by Brooke Ligertwood) stands out as one of the album's strongest moments. Andrews approaches the song with restraint and reverence, allowing the theological richness of the lyrics to breathe. The performance is deeply worshipful-arguably so effective that it leaves the listener wishing she had committed to an entire album of carefully curated worship covers.
That same strength is even more evident in "Thank You Jesus For The Blood," originally by Charity Gayle. Here, Andrews taps into the emotional core of the song, delivering what becomes the album's emotional nerve center. The performance is earnest, weighty, and fittingly aligned with the Good Friday context of the release. "The Lamb, The Lion, The King (All Hail King Jesus)" also lands among the highlights, bridging Andrews' own catalog with a broader worship tradition and reinforcing the album's central Christological focus.
By contrast, the original material is less compelling. Co-written tracks like "Claim The Blood" and "Prevail" feel anemic and predictable, lyrically and melodically tracing familiar worship tropes without offering fresh insight or memorable hooks. While their theological intent is clear, they lack the depth and distinctiveness needed to stand alongside the stronger, established anthems included in the set.
It is also notable-and somewhat disappointing-that Andrews' powerful song "The Gospel Changes Everything" is absent. Given the album's thematic focus, its inclusion would have elevated the project significantly, as it remains one of her few undeniable must-hear compositions.
Ultimately, Live From Liberty University works best as a live worship document rather than a definitive artistic statement. Its strengths lie in communal atmosphere, familiar songs, and Andrews' ability to lead rather than innovate. As an Easter-season release, it succeeds in pointing listeners toward the cross-but it also highlights the gap between Andrews' interpretive strengths and her current songwriting output.
