Amy Grant readies new album amid faith, fame and backlash

Amy Grant’s new album, The Me That Remains, was released May 8 through Thirty Tigers as a 10-song project that reaches back to the wounded, uncertain parts of her life as much as it looks forward. The official store lists tracks including “The 6th Of January (Yasgur’s Farm),” “How Do We Get There From Here” with Ruby Amanfu, “Please Don’t Make Me Beg,” “The Saint Beautiful,” “Lone Companion,” “The Me That Remains” and “‘Till We Get It Right,” and says the CD edition comes in a digi-pak with a booklet of lyrics and photos.

The album carries the imprint of the serious bicycle accident Grant suffered in Nashville in July 2022, an injury later described as a traumatic brain injury. Grant has said the crash forced her into a long recovery that affected her memory, balance and response time, and that writing again helped her reconnect with the creative part of herself after physical therapy dominated so much of her life. Vince Gill, her husband, urged her to take each day as it came.

That personal reset comes at a moment when Grant’s place in American music still sits at the crossroads of faith and mainstream fame. The Kennedy Center says her career spans more than 40 years, with roots in gospel, more than 30 million albums sold and over 1 billion global streams. GRAMMY.com lists her with six wins and 19 nominations, a record that reflects how deeply she has crossed over from Christian radio into pop culture without ever fully leaving either world.

Grant has also spent years absorbing criticism from some religious conservatives, especially when her public life did not fit their expectations. Her divorce, her move into secular music and her decision to host her niece’s same-sex wedding each drew backlash at different points. In 2023, Franklin Graham publicly criticized her over the wedding, while Grant said she loved her family and saw her role as simply to love them. Faithful America later gathered more than 15,000 signatures in support of her.

Taken together, The Me That Remains reads less like a comeback than a clarification. Grant, long labeled “Christian” by others, is still making room for darker, more complicated songs while refusing to be boxed in by the categories that have trailed her for decades. At a time when listeners are increasingly open to fluid identities and genre boundaries, that insistence on self-definition may be the most modern thing about her.