Every Friday, FishWorship recognizes one artist whose music has given us something worth discovering, remembering, or sharing. The FishWorship Artist of the Week isn’t necessarily about who is the biggest name in Christian music or who has the most streams. It’s about the artists whose music connects with us, points us toward something bigger than ourselves, and reminds us why Christian music matters. This week, we’re delighted to recognize an artist whose powerful voice, honest songwriting, and unmistakable ability to communicate faith through music have made her one of the most recognizable voices in contemporary Christian music: Lauren Daigle.
There are some artists you discover, and there are others who seem to find you right when you need them. Lauren Daigle has become one of those artists for millions of listeners. With a voice that can be powerful without losing its warmth, and songs that can be deeply rooted in faith without feeling like a sermon, Lauren has built a remarkable career by doing something deceptively difficult: making music that feels both deeply personal and completely accessible.
Her story is especially interesting because Lauren didn’t arrive on the Christian music scene as a manufactured star. Growing up in Lafayette, Louisiana, she was surrounded by gospel, blues, Cajun and zydeco influences, and music became an important part of her life from an early age. She eventually became involved in worship ministry, and that combination of musical influences and Christian faith would become a defining part of her sound.
Lauren’s breakthrough came with her 2015 debut album, How Can It Be, which introduced listeners to a singer with a remarkably distinctive voice and an equally distinctive way of expressing faith. Songs such as “How Can It Be” and “Trust in You” established a pattern that would continue throughout her career: honest questions, genuine vulnerability, and an underlying confidence that God is present even when life doesn’t make much sense.
Then came Look Up Child in 2018 — and, of course, “You Say.” The song became far more than a Christian radio hit. It crossed over into mainstream audiences while retaining the heart of its message, eventually becoming one of the defining songs of Lauren’s career. Look Up Child earned Lauren a Grammy for Best Contemporary Christian Music Album, while “You Say” earned another for Best Contemporary Christian Music Performance/Song.
And that’s one of the things we appreciate about Lauren at FishWorship. Her music doesn’t seem particularly interested in drawing a line between “Christian music” and “regular music.” Instead, she takes her faith with her wherever the music goes. That has allowed songs like “You Say,” “Rescue,” “Hold On to Me,” and “Thank God I Do” to reach listeners far beyond the traditional Christian-music audience.
Her self-titled 2023 album, Lauren Daigle, showed that she wasn’t content simply to repeat the formula that had already made her successful. The album explores pop, soul, gospel and other influences while continuing to center many of the themes that have defined her music: hope, gratitude, perseverance and the presence of God.
Why “Thank God I Do”?
That’s why we chose “Thank God I Do” as the featured video for this Artist of the Week.
It’s a remarkably simple idea: Thank God I don’t have to do this life alone.
There isn’t a complicated theological argument here. There isn’t a list of instructions telling the listener what they should believe. Instead, Lauren sings from a place of gratitude for God’s presence — and somehow that simple idea becomes surprisingly powerful.
The official video takes that same approach visually. Flowers surround Lauren throughout the video, creating an image that is beautiful but also intentionally delicate. The result is something that feels much more like an expression of a person’s faith than a staged performance of it.
And maybe that’s the best way to describe Lauren Daigle.
Genuine. Soulful. Hopeful.
She’s not afraid to sing about faith, but she also doesn’t seem to feel the need to shout about it.
A Few Lauren Daigle Essentials
If you’re new to Lauren’s music, here are a few places to start:
“You Say” — The song that introduced Lauren to an enormous audience beyond Christian radio. It’s an anthem about remembering what God says about us when our own doubts get louder.
“Rescue” — A beautiful reminder that God sees us in the middle of our struggles and doesn’t abandon us there.
“Trust in You” — One of Lauren’s signature songs, built around choosing trust even when we don’t understand what God is doing.
“Hold On to Me” — A vulnerable prayer for God’s presence and strength when our own strength isn’t enough.
“Thank God I Do” — A quieter, deeply personal expression of gratitude for simply having God present in our lives.
And if those songs lead you to explore further, there’s plenty more to discover. Lauren’s catalog has grown considerably since How Can It Be, including the Grammy-winning Look Up Child, the self-titled Lauren Daigle, and the live/acoustic Sessions.
Why Lauren Daigle Is Our Artist of the Week
At FishWorship, we’re not looking for artists who simply tell us what we’re supposed to think.
We’re looking for artists who make us feel something.
Lauren Daigle does that exceptionally well.
Her music can be joyful without being shallow, vulnerable without being self-indulgent, and openly Christian without becoming preachy. She can sing about doubt, hope, loneliness, gratitude and faith in a way that leaves room for the listener to bring their own story along for the ride.
That’s worth celebrating.
So this week, FishWorship is happy to say:
Lauren Daigle is our Artist of the Week.
If you’ve been listening to her for years, maybe this is an excuse to revisit an old favorite.
Each week, FishWorship shines a spotlight on a Christian artist whose music, message, and ministry are worth discovering. Our Artist of the Week features explore the stories behind some of today’s most inspiring Christian music artists, highlighting their most meaningful Christian songs, worship music, and albums along the way. From well-known favorites to emerging voices, this growing collection is a place to discover new music, revisit familiar favorites, and find Christian artists whose music speaks to your faith and your journey.
Anne Wilson has quickly established herself as one of the distinctive voices in contemporary Christian music, bringing together her Christian faith, Kentucky roots, and a country-influenced sound that feels both authentic and personal. Her breakthrough came with “My Jesus,” a song that introduced her to a worldwide audience with a simple but powerful invitation to tell others about the Savior who had transformed her own life. The song became a defining Christian-music hit and established Wilson as an artist to watch.
What makes Anne particularly compelling is the way she has continued to grow beyond the expectations created by her debut. Her music increasingly embraces the sounds and storytelling traditions of country music while never losing sight of its Christian foundation. That combination has allowed Wilson to reach listeners who might not ordinarily spend much time listening to contemporary Christian music, while giving longtime Christian-music fans an artist whose songs remain firmly centered on faith, hope, and the goodness of God.
Anne’s journey has also included support and collaboration from established artists in Christian music. Her relationship with Mark Hall and Casting Crowns is a good example of that artists-helping-artists tradition, with Anne joining the band on the road and collaborating with them musically. Those opportunities have given a rising artist the chance to learn, grow, and reach new audiences while working alongside musicians with decades of experience.
Wilson’s continuing musical evolution is especially evident in her newest material. Her recent collaboration with country artist Drew Baldridge on “Maker’s Mark” demonstrates her ability to move naturally between Christian and country audiences without compromising the faith that has always been at the center of her music. The result is an artist who can speak authentically to listeners in both worlds while continuing to make music that points back to what matters most to her.
For FishWorship, Anne Wilson represents something especially encouraging: an artist who isn’t afraid to bring her faith into places where Christian music and mainstream country increasingly overlap. Whether she’s singing directly about Jesus, telling stories rooted in her Kentucky upbringing, or collaborating with artists from different corners of the music world, Anne continues to demonstrate that Christian music doesn’t have to fit into just one sound—or one audience.
🎬Featured Video
“Maker’s Mark” — Anne Wilson & Drew Baldridge
Anne Wilson’s collaboration with country artist Drew Baldridge on “Maker’s Mark” is a great example of why FishWorship doesn’t believe Christian music has to be confined to a particular genre or musical format. The song is unmistakably faith-centered, even though it is presented as a country song rather than a traditional contemporary Christian release. Its message is about living with purpose, loving others, leaving something meaningful behind, and ultimately pointing people toward Jesus.
That distinction is important to us. FishWorship is about Christian music, but Christian music isn’t limited to songs released on Christian radio or albums categorized as Christian. When an artist takes a genuine Christian message into another musical audience, we think that’s something worth celebrating—not something that needs an apology or an explanation. “Maker’s Mark” does exactly that, bringing Anne’s unmistakable faith perspective into a country setting alongside Baldridge.
The collaboration is also a natural fit for Anne Wilson. Her Kentucky roots and country-influenced sound have always been part of her musical identity, and “Maker’s Mark” gives her an opportunity to connect with a broader country audience without stepping away from the faith that defines her music. For FishWorship, that’s precisely the kind of musical boundary-crossing we want to recognize.
So we’re pleased to feature the official music video for “Maker’s Mark” as Anne Wilson’s Artist of the Week featured video. It’s a reminder that sometimes the most interesting Christian music isn’t found by looking for a particular genre label—it’s found by listening for the message.
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🎬Bonus Video
“My Jesus”
Calling this a Bonus Video simply doesn’t do it justice. “My Jesus” is the song that introduced Anne Wilson to the world and remains the defining recording of her early career. Its message is direct, personal, and unmistakably Christian: this isn’t simply a song about faith as an idea, but a testimony about knowing Jesus personally and wanting other people to know Him too.
The song’s extraordinary impact helped establish Wilson as one of the most important new voices in contemporary Christian music. “My Jesus” connected with listeners because it didn’t try to make faith complicated. Instead, Wilson sings about a Savior who is present in the middle of ordinary life, someone who meets people where they are and changes them from the inside out.
The official music video captures that same spirit. Rather than treating “My Jesus” simply as a career-making single, it presents the song as a declaration of faith—the kind of message that explains why Anne Wilson’s music belongs on FishWorship in the first place.
So yes, we’re calling this one a Bonus Video. But for anyone discovering Anne Wilson for the first time, we’d suggest starting here. This is the song that began the story.
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Want to hear more from Anne Wilson? Explore her FishWorship artist page for more of her music, essential songs, albums, and videos.
Welcome to Artist of the Week, a new weekly feature at FishWorship celebrating the artists, songwriters, worship leaders, and musicians whose music helps shape the sound of Christian worship. Each week, we’ll take a closer look at one artist—not simply to tell you who they are, but to explore their music, their story, and the songs that have made an impact on Christian music and worship.
Brooke Ligertwood
For our very first Artist of the Week, Brooke Ligertwood was an almost impossible artist to overlook. Her story reaches from her early career as New Zealand singer-songwriter Brooke Fraser, through her years with Hillsong Worship and Hillsong UNITED, and into her current work as a solo worship artist, songwriter, producer, and musician. Along the way, she has helped create some of the most recognizable worship songs of the modern era, including “What a Beautiful Name,” “King of Kings,” “A Thousand Hallelujahs,” and “Honey in the Rock.”
But Brooke’s significance goes beyond the number of familiar songs attached to her name. What makes her especially compelling is the combination of songwriting, musicianship, production, and genuine worship that runs through her work. Her songs can fill an arena with thousands of voices, yet many of them retain the intimacy of a personal prayer. She has a remarkable ability to take substantial Christian truth and turn it into music that people can actually sing, remember, and make their own.
We also wanted our first Artist of the Week to be someone whose story gives us plenty to explore. And Brooke certainly does. From What to Do with Daylight and Albertine, released under her maiden name, Brooke Fraser, to her Hillsong years, SEVEN, EIGHT, INFINITY, and her newest album EAT, her musical journey is a story of remarkable growth and continuing creativity. There is something fascinating about hearing the young singer-songwriter who began the journey and then following that path to the worship leader and artist she has become.
So we’re delighted to introduce Brooke Ligertwood as the very first FishWorship Artist of the Week. We’ve put together a special Artist page exploring her story, essential songs, featured albums, and a bonus video that offers an especially wonderful glimpse into her worship mindset and musicality.
Welcome to Artist of the Week. And what better way to begin than with Brooke Ligertwood?
If you want to understand what makes Brooke Ligertwood such a compelling artist, spend a few minutes watching her perform “Bless God.” This isn’t simply a polished performance of one of her songs; it feels like a window into the way Brooke approaches worship and music itself. Her musicianship is remarkable, but what makes the performance especially compelling is that the musicianship never seems to become the point. Everything serves the worship.
Watch the way Brooke sings, plays, listens, responds, and interacts with the music around her. There is an extraordinary combination of technical skill, musical sensitivity, and genuine worship happening at the same time. She can be intensely precise one moment and completely spontaneous the next, and the performance never loses its sense of purpose.
For our first Artist of the Week, we couldn’t think of a better way to introduce Brooke Ligertwood. This is Brooke at her best—not simply Brooke the songwriter, Brooke the recording artist, or Brooke the worship leader, but Brooke the musician and worshiper. Turn it up, watch closely, and enjoy the gift God has given her for making music.
Want to take a closer look at Brooke Ligertwood? Visit her FishWorship Artist Page to explore her story, essential songs, featured albums, and more.
Welcome to Artist of the Week. And what a better way to begin than with Brooke Ligertwood?
Brooke Ligertwood is a New Zealand-born singer, songwriter, producer, and worship leader whose music has become a significant part of contemporary Christian worship. Although many listeners first knew her as Brooke Fraser, she has become widely recognized under her married name, Ligertwood, particularly through her work as a songwriter and worship artist. Her songs combine thoughtful, often poetic lyrics with expansive worship arrangements that invite both personal reflection and congregational praise.
Brooke’s journey into worship music is closely connected to Hillsong Worship, where she became one of the most recognizable songwriting and vocal voices associated with the movement. During her years working with Hillsong, initially under her maiden name Brooke Fraser, she contributed to influential worship recordings and became particularly known for her ability to write songs that combined theological depth with memorable, congregational melodies. Her work with Hillsong ultimately produced one of the defining worship songs of the modern era, “What a Beautiful Name,” which she co-wrote with Ben Fielding and originally recorded with Hillsong Worship.
“What a Beautiful Name” became one of the most widely sung worship songs of its generation, earning Brooke and her co-writer a Grammy Award for Best Contemporary Christian Music Performance/Song. She has also written or co-written songs including “King of Kings,” “A Thousand Hallelujahs,” “Honey in the Rock,” and “Hosanna,” contributing to the worship repertoire of churches around the world. Her songwriting has earned numerous honors and Grammy recognition, but perhaps her most significant accomplishment is the way her songs have moved beyond recordings and become songs of worship for countless Christian communities.
While Brooke eventually stepped away from the Hillsong organization and increasingly developed her own artistic identity as Brooke Ligertwood, the influence of those years remains an important part of her musical story. Her Hillsong work helped establish her as a songwriter whose songs could move from the recording studio into churches around the world, while her later solo and collaborative work has allowed her to explore worship, songwriting, production, and musicianship on an even broader canvas. Her journey from Brooke Fraser to Brooke Ligertwood is not simply a change of name, but an evolution of an artist who has continued to grow in both musical expression and spiritual purpose.
Her artistry extends well beyond songwriting. Ligertwood brings together vocals, piano, guitar, production, and a deep appreciation for the craft of music, while maintaining a strong emphasis on the spiritual purpose behind the songs. Whether performing in an intimate setting or leading thousands in worship, she has a distinctive ability to make contemporary worship music feel both musically rich and deeply personal. Her latest album, EAT, released in May 2026, represents another chapter in that continuing journey, giving listeners an opportunity to hear where this remarkable songwriter and worship artist is today.
🎵Essential Songs
“What a Beautiful Name”
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“What a Beautiful Name” is the song that introduced Brooke Ligertwood’s songwriting to millions of worshipers around the world and remains one of the defining worship songs of the modern era. Written by Brooke Ligertwood and Ben Fielding and recorded by Hillsong Worship for the 2016 album let there be light., the song moves from the identity of Jesus as the Word made flesh to His death, resurrection, and ultimate victory. Hillsong’s official resources credit both Ligertwood and Fielding as the song’s writers.
The song’s remarkable strength is its simplicity: it takes profound Christian theology and turns it into something a congregation can easily sing as an act of worship. The verses tell the story of Christ, while the bridge builds toward declarations of His victory, kingdom, glory, and name above all names. The live performance was recorded at Hillsong Conference in Sydney and captures the song in the environment for which it was ultimately intended—not simply as a recording, but as a song being sung by the gathered church.
This is also an important song in understanding Brooke Ligertwood’s place in Christian music. Before she became known primarily as Brooke Ligertwood, many listeners knew her as Brooke Fraser; “What a Beautiful Name” became a bridge between those chapters of her career and established her as one of the most influential worship songwriters of her generation. The official Hillsong Worship recording credits Brooke as both composer and producer, making this not merely a song she happened to sing, but a significant expression of her songwriting and musical leadership.
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“King of Kings”
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“King of Kings” is one of Brooke Ligertwood’s most significant contributions to modern worship, and it is a particularly good example of her ability to take the sweeping story of the Christian gospel and turn it into a song the whole church can sing. Written by Brooke Ligertwood, her husband Scott Ligertwood, and Jason Ingram, the song became the lead single from Hillsong Worship’s 2019 album Awake. Brooke also served as a producer on the recording.
What makes the song especially powerful is its storytelling. Rather than focusing on one moment or theme, “King of Kings” moves through the biblical story of salvation—from Christ’s coming into the world, through His suffering and death, to the resurrection and the birth of the Church. The final verse brings that story into the present, connecting the gospel with the freedom and new life experienced by believers.
The chorus then distills that enormous story into a simple response of worship: praise to the Father, Son, and Spirit. That combination of biblical narrative and congregational simplicity is a big part of why “King of Kings” has become such an enduring worship song. It isn’t merely telling Christians what they believe; it gives the congregation an opportunity to respond together to the story it has just heard.
The live performance you’re featuring was recorded in Sydney, Australia, during the 2019 Hillsong Conference and released through the official Hillsong Worship YouTube channel. The live setting is particularly compelling because the song’s sweeping gospel narrative naturally builds toward a corporate declaration of praise. Awake also includes the performance as “King of Kings – Live at Hillsong Conference.”
And there’s a nice connection back to Brooke’s story: “What a Beautiful Name” showed the world what Brooke could write; “King of Kings” showed just how effectively she could tell the gospel story through worship. Together, they make an excellent pair for introducing visitors to her songwriting.
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“A Thousand Hallelujas”
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“A Thousand Hallelujahs” is one of Brooke Ligertwood’s signature worship songs and a beautiful expression of a simple but enormous idea: God is worthy of more praise than we could ever give Him. Written by Brooke with her husband, Scott Ligertwood, and Phil Wickham, the song became the lead single from her first live album, SEVEN, released in 2022.
The song begins by looking outward at creation and imagining the worship that surrounds us—the rocks, the stars, and all that God has made. But Brooke quickly turns that thought inward. Creation may long for words to worship its Creator, but we have been given that privilege ourselves. The result is a song that feels both intimate and expansive, moving from personal gratitude into a declaration of worship to Jesus.
One of the most beautiful ideas in “A Thousand Hallelujahs” is that there simply isn’t enough time in one life to praise God for everything He has done. Yet that limitation doesn’t make the attempt meaningless; it points toward eternity. The song’s vision grows from one thousand hallelujahs to “a thousand more,” and ultimately toward an eternity of worship before the Lord, the Lamb, and the King of Heaven.
The live performance we’re featuring comes from Brooke’s own channel and captures the song in the setting where it works so naturally: gathered worship. Recorded in Nashville, the performance allows Brooke’s vocals and the musicians and singers around her to gradually build the song from a quiet declaration into a powerful celebration of Christ’s resurrection and reign.
For Brooke Ligertwood, “A Thousand Hallelujahs” represents an important chapter in her evolution from the songwriter and worship leader many listeners knew through Hillsong to an artist increasingly establishing her own musical voice. It is also a wonderful example of what makes her songwriting so effective: deeply rooted Christian truth, expressed with enough simplicity that an entire room full of people can make it their own song of worship.
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“Honey in the Rock”
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“Honey in the Rock” is a powerful declaration of God’s provision, faithfulness, and ability to bring goodness even in the middle of difficult circumstances. Written by Brooke Ligertwood, Brandon Lake, and Mitch Wong, the song draws its title from Psalm 81, where God promises to satisfy His people with “honey from the rock.” Brooke and her co-writers take that ancient image and turn it into a contemporary worship song about trusting God to provide everything we truly need.
The song is filled with images of unexpected provision: honey in the rock, water in the stone, and manna in the wilderness. Those images point back to God’s care for Israel, but the song brings the message directly into the life of the believer. The central declaration isn’t that life will always be easy; it is that God Himself is enough, even when we find ourselves in our own wilderness. The song’s message of trusting God’s provision gives it a particularly encouraging quality without losing its congregational worship focus.
“Honey in the Rock” also has a wonderful musical character. It blends contemporary worship with a soulful, almost gospel-influenced energy, giving Brooke and Brandon plenty of room to interact vocally. Brandon Lake’s presence adds another dimension to the performance, and the combination of their voices turns the song into something that feels celebratory rather than merely reflective.
The live performance we’re featuring comes from Brooke Ligertwood’s official channel and features Brandon Lake. Recorded in Nashville, the performance captures the song in a live worship setting, with Brooke leading from the piano and Brandon contributing vocals and Hammond organ. It is a terrific example of the energy and musical depth that Brooke brings to her worship recordings.
At its heart, “Honey in the Rock” keeps returning to one wonderfully reassuring idea: we don’t have to know where the provision will come from in order to trust the One who provides it. Sometimes the rock is exactly where we least expect to find something sweet. And sometimes, as the song reminds us, recognizing that God Himself is all we need is the greatest provision of all.
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“Hosanna”
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“Hosanna” is one of Brooke Ligertwood’s most enduring worship songs from her years as Brooke Fraser and her work with Hillsong Worship. Originally released on Hillsong United’s All of the Above in 2007, the song quickly became known for its combination of passionate worship, biblical imagery, and a deeply personal prayer for God to transform His people. Unlike some worship songs that focus primarily on celebrating what God has already done, “Hosanna” carries a strong sense of longing: God, change us, refine us, and make us more like You.
The title itself comes from the biblical expression “hosanna,” a cry of praise and supplication associated with Jesus’ triumphal entry into Jerusalem. Brooke takes that biblical word and gives it a broader meaning within the song, moving from declarations about God’s greatness toward a prayer that He would work within His people. The song’s famous refrain asks God to “break our hearts” for what breaks His, creating a powerful connection between worship and spiritual transformation.
That combination is part of what has made “Hosanna” so enduring. The song doesn’t allow worship to remain merely an emotional experience. Its central prayer asks listeners to look beyond themselves—to see the world as God sees it, to recognize the needs of others, and to allow God to reshape their priorities. It is worship that naturally becomes a prayer of surrender.
The live performance we’re featuring comes from the Hillsong Worship channel and provides a wonderful connection to Brooke’s earlier years as one of the movement’s most distinctive songwriters. Hearing “Hosanna” in a live worship setting also highlights something that has remained consistent throughout Brooke’s career: her ability to write songs that are musically beautiful while giving congregations words that express genuine spiritual hunger.
“Hosanna” is therefore an important part of Brooke Ligertwood’s story. Long before “What a Beautiful Name,” “King of Kings,” and her later work under the Ligertwood name, songs like “Hosanna” established her as a songwriter who wasn’t afraid to make worship personal, searching, and transformational. It remains one of the clearest examples of the heart behind much of her music: worship isn’t simply about singing to God—it is also about allowing God to change the person who is singing.
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“None but Jesus”
“None But Jesus” is one of Brooke Ligertwood’s most intimate worship songs from her years as Brooke Fraser and her work with Hillsong UNITED. Originally released on Hillsong UNITED’s More Than Life in 2004, the song is a deeply personal declaration of devotion to Christ. Rather than attempting to tell a sweeping biblical story or build toward a huge congregational anthem, “None But Jesus” feels more like a prayer quietly spoken from one believer to God.
The heart of the song is its recognition that nothing else can ultimately satisfy or replace Jesus. Brooke’s lyrics express a desire to know Christ more deeply, to trust Him through both joy and difficulty, and to find lasting hope in Him rather than in circumstances. The song’s simplicity gives those ideas room to breathe, making it particularly effective as a personal worship song.
Musically, “None But Jesus” takes a restrained and contemplative approach. The arrangement gradually builds without losing the intimate character of the song, allowing Brooke’s vocal to remain at the center. There is a sense of surrender throughout the performance rather than an attempt to create a dramatic musical climax. That restraint is part of its beauty: the song doesn’t need to shout in order to make a profound declaration.
The live performance we’re featuring comes from the Hillsong UNITED channel and offers a wonderful glimpse into the worship music of Brooke’s earlier career. Hearing the song performed in a live setting emphasizes its prayerful character and connects it to the congregational worship environment in which so many of Brooke’s songs have found their home.
“None But Jesus” is also an important reminder that Brooke Ligertwood’s songwriting has never been defined solely by the enormous worship anthems that came later. Before “What a Beautiful Name” and “King of Kings,” there was this quieter expression of faith and devotion. At its heart, “None But Jesus” is wonderfully uncomplicated: when everything else is stripped away, Christ is enough.
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🎬Bonus Video: “Bless God”
Apple Music subscribers: Sign in above to hear the full song.
“Bless God” offers a wonderful opportunity to see Brooke Ligertwood not simply as a singer or worship songwriter, but as a worship leader who is deeply engaged with the music itself. In the official video from Brooke’s channel, the performance feels less like a conventional music video and more like an invitation into the creative and worshipful world behind the song. Brooke’s presence is remarkably natural, and the performance gives us a sense of someone who is completely at home both in worship and in the craft of making music.
One of the most striking things about the video is Brooke’s musicality. Her musicianship is never presented as an end in itself; instead, every musical decision seems to serve the worship. Her vocals, piano playing, phrasing, dynamics, and interaction with the musicians around her reveal an artist who understands how individual musical elements can build an atmosphere and help communicate the message of a song. There is a wonderful balance between precision and spontaneity, making the performance feel carefully constructed without ever feeling sterile.
The video also provides a glimpse into Brooke’s worship mindset. “Bless God” is not presented as a song performed for an audience so much as an expression of worship that happens to be captured on camera. Brooke appears fully engaged with the words she is singing, and that authenticity gives the performance an unusual intimacy. We get the feeling that we’re watching someone worship rather than watching someone demonstrate how to worship.
For anyone who has encountered Brooke primarily through enormous songs such as “What a Beautiful Name,” “King of Kings,” or “A Thousand Hallelujahs,” this video adds another dimension to her story. Those songs demonstrate what Brooke can write; “Bless God” gives us a better sense of how Brooke thinks, hears, feels, and leads when she is actually making music.
That’s what makes this such a fitting bonus video for the FishWorship Artist of the Week feature. Brooke Ligertwood has spent years helping other people find words with which to worship God. In “Bless God,” we get an unusually close look at the person behind those words—and at the remarkable combination of faith, musicianship, creativity, and genuine worship that has made her such an influential voice in Christian music.
💿Essential Albums
EAT
Apple Music subscribers: Sign in above to hear the full album.
EAT is Brooke Ligertwood’s latest studio album and a fascinating new chapter in the career of an artist who has spent years shaping contemporary Christian worship through songwriting, production, and performance. Released in 2026, the album represents Brooke’s continuing evolution as an artist while retaining the thoughtful, faith-centered songwriting that has characterized so much of her work.
The title EAT is deliberately striking. Rather than immediately sounding like the title of a worship album, the single word invites the listener to ask what it means and what Brooke is asking us to consume, receive, or take in. The album explores faith through a broader artistic lens, giving Brooke room to move beyond the traditional structure of a congregational worship record and into something more personal and exploratory.
Musically, EAT reflects Brooke’s considerable experience as a songwriter and producer. Her work has always combined strong melodic instincts with carefully considered arrangements, and the new album gives those qualities room to develop in different directions. The result is an album that feels less like a collection of worship songs designed for a Sunday morning and more like an artistic statement from a mature Christian songwriter reflecting on faith, life, and the things that nourish the soul.
For listeners who know Brooke primarily through songs such as “What a Beautiful Name,” “King of Kings,” or “A Thousand Hallelujahs,”EAT provides an opportunity to hear another side of her artistry. The album belongs to the same creative journey, but it isn’t simply an attempt to recreate the sound or success of her earlier worship recordings.
As the newest entry in Brooke Ligertwood’s musical story, EAT is also a fitting album with which to encounter her as she is today. From Brooke Fraser’s early singer-songwriter recordings, through her years with Hillsong, to her emergence as Brooke Ligertwood, her career has continually expanded while remaining rooted in a desire to make music that matters. EAT is the latest expression of that journey—and perhaps the most intriguing invitation yet to sit down, listen closely, and take it in.
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EIGHT
Apple Music subscribers: Sign in above to hear the full album.
EIGHT is Brooke Ligertwood’s 2023 worship album and an important milestone in her development as a solo worship artist. Following SEVEN, the album continues the musical and spiritual journey she began under the Ligertwood name while drawing on the songwriting, production, and worship-leading experience she had developed over many years. It is an album that feels both carefully crafted and deeply rooted in the purpose of congregational worship.
The album includes several songs that demonstrate Brooke’s gift for combining substantial Christian themes with memorable melodies and accessible arrangements. Songs such as “Bless God,” “Fear of God,” “Lead Me to the Cross,” “King of Kings,” and “Soon” cover a wide emotional and theological range, moving from exuberant praise to reverence, surrender, and anticipation. Rather than relying on one particular worship sound, EIGHT gives each song room to develop its own character.
One of the album’s strengths is the way Brooke’s songwriting and production work together. Her songs tend to have a strong sense of musical architecture, building naturally toward moments of communal declaration without sacrificing the intimacy of the underlying message. That makes EIGHT work equally well as an album for personal listening and as a collection of songs designed to live within the worship life of the church.
EIGHT also represents an interesting point in Brooke’s continuing transition from the artist many listeners knew as Brooke Fraser to the worship artist she has become as Brooke Ligertwood. The album doesn’t attempt to erase her earlier work or distance itself from her Hillsong years. Instead, it reflects an artist carrying those experiences forward while increasingly developing her own voice, production style, and creative identity.
For anyone discovering Brooke Ligertwood through songs such as “What a Beautiful Name,” “King of Kings,” or “A Thousand Hallelujahs,”EIGHT is an excellent album to explore. It provides a broader picture of the songwriter behind those familiar songs and demonstrates why Brooke has become such an influential voice in contemporary Christian worship.
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SEVEN
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SEVEN is Brooke Ligertwood’s 2022 live worship album and one of the most important recordings in her emergence as a solo worship artist. Recorded live in Nashville, the album captures Brooke leading worship in a setting that feels both intimate and expansive, allowing the songs to breathe as expressions of gathered worship rather than simply polished studio recordings.
The album features several songs that have become closely associated with Brooke’s work as Brooke Ligertwood, including “A Thousand Hallelujahs,” “Honey in the Rock,” “I Belong to Jesus,” and “King Jesus.” These songs reflect many of the themes that have become central to her songwriting: the worthiness of God, His faithfulness and provision, personal surrender, and the joy of belonging completely to Christ.
One of the defining characteristics of SEVEN is its sense of worship as participation. The album doesn’t simply present Brooke as a performer standing in front of an audience. The live setting creates a sense of a room full of people discovering and declaring these truths together. That quality is particularly evident in “A Thousand Hallelujahs,” where a relatively simple idea—God is worthy of endless praise—grows into a powerful corporate declaration.
SEVEN also marks an important transition in Brooke’s career. After years of contributing some of the most recognizable songs in the Hillsong worship catalog, she was increasingly establishing herself under her own name and developing a distinct identity as an artist, songwriter, and producer. The album carries the experience of those earlier years while making it clear that Brooke Ligertwood was now stepping into her own chapter.
For listeners discovering Brooke through songs such as “What a Beautiful Name” and “King of Kings,”SEVEN is an especially worthwhile place to continue the journey. It shows the songwriter not simply revisiting the worship music that made her famous, but building something of her own—music designed to draw people into worship while reflecting the depth, musicianship, and spiritual conviction that have defined her career.
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INFINITY
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INFINITY is a fascinating entry in Brooke Ligertwood’s catalog because it takes familiar worship material and places it in a very different musical setting. Released in 2024, the album explores Brooke’s songs through an expansive electronic and ambient production style, creating a listening experience that feels more atmospheric and contemplative than a traditional live worship recording.
Rather than functioning simply as another collection of new worship songs, INFINITY offers a different way of experiencing Brooke’s songwriting. Familiar songs are given room to breathe through spacious arrangements, layered textures, and extended instrumental passages. The approach draws attention to the melodies and underlying themes of the songs while demonstrating Brooke’s considerable abilities as a producer and arranger.
The album includes reimagined versions of songs such as “Bless God,” “Fear of God,” “Lead Me to the Cross,” “Desert Song,” and “King of Kings.” Hearing these songs in a substantially different musical environment is particularly interesting because it reveals how strong the underlying songwriting is. The songs don’t depend entirely upon their original worship arrangements; their central melodies and messages remain recognizable even when the musical surroundings change dramatically.
INFINITY also provides an important glimpse into Brooke Ligertwood as an artist beyond the conventional worship-album format. Her career has always involved more than simply standing at a microphone and singing. She has worked extensively as a songwriter, musician, producer, and arranger, and projects such as INFINITY give those creative interests considerably more room to emerge.
For someone exploring Brooke’s catalog, INFINITY is perhaps not the first album to hear—that distinction probably belongs to SEVEN or EIGHT. But it is an especially rewarding album to discover afterward. It demonstrates that Brooke’s songs can occupy very different musical worlds while retaining the spiritual substance that made them meaningful in the first place. INFINITY shows us the worship songwriter experimenting with the possibilities of the music itself.
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Albertine
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Albertine is the second studio album by New Zealand singer-songwriter Brooke Fraser, released in 2006. Importantly, this album was released under Brooke’s maiden name, Brooke Fraser, years before she became widely known in worship music as Brooke Ligertwood. It belongs to the earlier singer-songwriter chapter of her career and provides an important window into the artist she was becoming before her work with Hillsong Worship brought her music to an even broader Christian audience.
The album was deeply influenced by Brooke’s 2005 visit to Rwanda with World Vision, where she met a young girl named Albertine who had been orphaned during the 1994 Rwandan genocide. That encounter became the inspiration for the album’s title track, “Albertine,” and helped broaden the album beyond personal songwriting into a thoughtful exploration of suffering, compassion, faith, and the responsibility to see and care about people whose circumstances are very different from our own.
Musically, Albertine sits comfortably in the singer-songwriter world, blending pop, folk, piano-driven ballads, and thoughtful lyrical storytelling. Songs such as “Shadowfeet,” “Deciphering Me,” “Love Is Waiting,” “C.S. Lewis Song,” “Faithful,” and the title track demonstrate the depth of Brooke’s songwriting well before the massive worship anthems that would later define much of her career.
The album was a major success in Brooke’s native New Zealand, debuting at No. 1 and eventually achieving multi-platinum status. It also became her first album to gain substantial international attention, including a U.S. release in 2008 and an appearance on the Billboard 200. Its success established Brooke Fraser not simply as a promising young New Zealand artist, but as a songwriter whose work could connect with listeners well beyond her home country.
For the FishWorship story, Albertine is particularly important because it helps us understand Brooke Ligertwood before Brooke Ligertwood. The thoughtful songwriter, the Christian faith, the concern for people beyond her immediate world, and the willingness to wrestle with difficult subjects were already there. Years later, those same qualities would find a new expression through worship songs such as “What a Beautiful Name,” “King of Kings,” and “A Thousand Hallelujahs.” Albertine lets us hear where that journey began.
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What to Do with Daylight
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What to Do with Daylight is the debut studio album by New Zealand singer-songwriter Brooke Fraser, released in 2003. As with Albertine, the album was released under Brooke’s maiden name, Brooke Fraser, long before she became known professionally as Brooke Ligertwood. It gives us an opportunity to hear Brooke at the very beginning of her recording career, before Hillsong Worship, before the major worship anthems, and before the name Ligertwood became familiar to Christian music audiences around the world.
The album emerged from Brooke’s early songwriting and her experiences growing up in New Zealand, with songs that combine thoughtful lyrics, melodic pop, and the intimate qualities of a young singer-songwriter finding her voice. Tracks such as “Lifeline,” “Better,” “Without You,” “Arithmetic,” and the title track demonstrate an artist who was already interested in exploring faith, relationships, identity, and the complexities of growing up through carefully crafted songwriting.
What to Do with Daylight was a remarkable debut. It reached No. 1 on the New Zealand album chart and went on to become one of the country’s best-selling albums of 2004. Brooke was still in her early twenties, yet the album established her as a serious songwriter rather than simply a young vocalist with a record deal. There is a maturity in the writing that makes the album especially interesting when heard in light of everything that came afterward.
And that’s what makes What to Do with Daylight such a fascinating part of Brooke Ligertwood’s story. This is Brooke Ligertwood before Brooke Ligertwood. The worship leader who would eventually write “What a Beautiful Name” and “King of Kings” was already developing the musical instincts, lyrical thoughtfulness, and Christian perspective that would become hallmarks of her later work. The sound would evolve considerably, the audience would become vastly larger, and her name would change—but the songwriter was already there.
For anyone discovering Brooke through her contemporary worship music, going back to What to Do with Daylight is like opening the first chapter of a story whose later chapters became enormously influential. Before the worship stages and thousands of voices singing her songs, there was a young Brooke Fraser with a guitar, a collection of songs, and a remarkable amount of musical potential. This is where the Brooke Ligertwood story begins.
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🎙️Related Artists
Hillsong
Hillsong: Brooke Ligertwood has a long and significant connection with Hillsong, having been closely involved with Hillsong Worship and Hillsong UNITED as both a songwriter and worship leader. Her work during that time included songs that became widely known in churches around the world, making the Hillsong artist page a natural place to explore more of the music and ministry connected to Brooke’s earlier career.
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TAYA
TAYA: Brooke Ligertwood and TAYA share a significant connection through their years with the Hillsong worship movement. Both became prominent voices within Hillsong’s worship music, with TAYA best known for her work with Hillsong UNITED and her distinctive vocals on songs such as “Oceans (Where Feet May Fail).” For listeners who appreciate Brooke’s worship songwriting and TAYA’s vocal style, exploring both artists provides a natural connection between two important voices in contemporary Christian worship.
