For the first few minutes of Kendrick Lamar’s new song, I only half listened, nodding in time to the hypnotic beat while responding to emails on my laptop. Then came the line that made me sit up and stare bug-eyed at my husband, who was listening beside me on the couch.
“Did he say Lecrae?” We kept listening. A few minutes later, Kendrick said the name again. My mouth dropped open. When the song ended, we played it from the top, this time listening carefully.
The untitled track, released on Instagram on September 11, expresses the acclaimed rapper’s weariness and disgust with the contemporary hip-hop world and the music industry at large. In the song, Kendrick feels jaded by the machinations of the very system in which he has found exceptional success. He has received 17 Grammys, 29 BET Hip Hop Awards, and a 2018 Pulitzer Prize. His Drake diss track “Not Like Us” broke multiple streaming records, becoming so popular that, earlier this year at a sold-out Los Angeles arena, he performed the song to roaring applause five times in a row. Kendrick was recently announced as the headliner for the 2025 Super Bowl Halftime Show.
But instead of celebrating any of these successes, Kendrick spends all five minutes and six seconds of his new song venting his contempt for an industry full of people who “parade in gluttony” and “glorify scamming.” He describes a “culture bred with carnivores,” rife with liars, mercenaries, and cowards whose money emboldens them to make “nasty decisions.” His lyrics are equal parts searching and vengeful. In a repeated refrain, Kendrick pleads for God to give him life, peace, and forgiveness—to “draw the line” between himself and the peers whose wickedness he despises.
Elsewhere, his words turn violent, calling for the “village” to burn down, for heads to crack, for “agony, assault, and battery.” “I think it’s time to watch the party die,” Kendrick repeats again and again. Things are so irredeemably corrupt that he suggests the only solution is destruction, Great Flood style.
The rapper doesn’t waver from his verdict until the final verse, where he asks the question that made me sit up and stare: “Sometimes I wonder what Lecrae would do.”
Lecrae, of course, is the Christian rapper Lecrae Devaughn Moore, whose career began in the early 2000s and whose frequent collaborators have included Andy Mineo, Trip Lee, Sho Baraka, and Jackie Hill Perry. Most of Lecrae’s early work is explicitly theological, with songs like “Don’t Waste Your Life” (“We’re created for him / Outta the dust he made us for him / Elects us and he saves us for him”) and “Tell the World” (“You hung there bleedin’/ And ya’ died for my lies and my cheatin’ / My lust and my greed, and / What is a man that you mindful of him?”) garnering him widespread acclaim in the evangelical world and ins with the likes of John Piper, Tim Keller, Tony Evans, and Judah Smith.
W.W. Jay-Z?
Later, with albums like Gravity (2012) and Anomaly (2014), Lecrae moved away from overtly theological lyrics, instead weaving his faith into songs about identity, relationships, race, and class. In more recent years, he’s written extensively about experiences with corruption, hypocrisy, and racism within the church that resulted in a severe crisis of both faith and mental health.
Still, the core of Lecrae’s music remains his relationship with God and the church. Although a highly successful artist in his own right—with BET Awards, Grammys, and several No. 1 Billboard hits—his audience has always been, perhaps always will be, much smaller than someone like Kendrick Lamar’s.
And yet—his influence matters. Lecrae and Kendrick struck up a friendship early in their careers after the latter released his theodicy-themed track, “Faith.” Kendrick has long been vocal about his relationship with Jesus, and though some have questioned his orthodoxy, his faith remains a central theme in his music.
“Sometimes I wonder what Lecrae would do / F— these n— up or show ’em just what prayer do?” Kendrick wonders. Faced with the same seemingly irredeemable industry, would Lecrae pursue some form of vigilante justice—visceral, instant, immediately satisfying—or the slow, patient route of prayer? Moments later, after a fresh round of denunciations, Kendrick repeats the question: “I mean—[I] wonder what Lecrae would do.”
Perhaps Kendrick has read Lecrae’s memoir, released in 2020, detailing the rapper’s struggles with childhood trauma, depression, and a crisis of faith after the evangelical church’s cold response to a string of police killings of unarmed Black men.
Or perhaps he’s listened to Lecrae’s 2022 track “Deconstruction,” in which the rapper describes hitting rock bottom until a midnight encounter with God broke through the fog of despair.
In both works, Lecrae details a process of healing marked by weakness and surrender, a slow, steady journey entirely dependent on the love of God and others. It’s a stark departure from the brute force and willpower Kendrick finds so attractive. And it’s clear that both Lecrae’s art and his life have been compelling enough to make Kendrick take notice.
As a writer whose work revolves around my Christian faith, I often find myself discouraged, imagining I am destined to obscurity. When peers publish bestsellers or have their books adapted into movies, I find myself wishing my work was more like theirs, addressing Zeitgeisty themes like race, sexuality, or climate anxiety from a primarily agnostic worldview.
Instead, I find myself compulsively writing about spirituality—specifically, the conundrum of being a rational person whose life trajectory has been shaped by supernatural experiences. Sometimes I even feel resentful at my religion, as though it’s a restriction on my art, relegating me to a lifetime of limited reach at best, and irrelevance at worst.
So to hear one of the most talented and decorated rappers alive name-check an artist whose work has revolved around Jesus was deeply heartening. What moves me is not the idea that someday my own work might be noticed by someone more famous. It’s the thought that a sincere, intelligent, and profound artist like Kendrick Lamar, someone who’s seen no end of good ideas and interesting art, might find something in straightforwardly Christian music that gives him pause, that makes him reconsider.
Art that gains this sort of traction must do more than present accurate theological facts or insist on the supremacy of a “Christian worldview.” It must be prophetic.
Prophetic art is art that reveals truths heretofore unrecognized, unseen, or inaccessible. To be recognized as prophetic is one of the highest forms of praise an artist can receive. It’s a word that’s been used to describe Kendrick Lamar, who cunningly folded a lament about toxic drinking culture into his “club-banger” track “Swimming Pools” and spares no one in his excoriating analysis of anti-Blackness in “The Blacker the Berry” (“You hate me, don’t you? / I know you hate me just as much as you hate yourself” and “So why did I weep when Trayvon Martin was in the street / When gang-banging make me kill a n— blacker than me? / Hypocrite!”)
I would argue that “prophetic” is a fitting description for Lecrae’s work as well. Throughout his career, Lecrae has used his music not only to preach the gospel but also to engage his audience with uncomfortable truths about everything from religious hypocrisy (“Bookstore pimpin’ them hope books / Like God don’t know how broke looks / And telling me that I’m gon’ reap a mil’ / If I sow into these low crooks”) to the entrenched racial biases that mar white America’s practice of Christianity (“Right before the fall of 2015, I was all off / It involved killing Michael Brown, had me feeling down / Tweeted ’bout it, Christians call me clown … spoke about my pain, I was met with blame / ‘Shame on you, ’Crae, stop crying, get back to Jesus’ name’”).
Prophetic work is more than just eloquent or insightful, and it doesn’t always find commercial success. It is born of an abiding connection to the Spirit of God—the type of connection that empowers us to create honestly and courageously, even at risk to our comfort and reputation. To make prophetic work is decidedly not to change ourselves to fit the Zeitgeist but to maintain fidelity to the unique questions, ideas, perspectives, and modes of expression God has placed within us—and to make our work unto the Lord, the source of all wisdom and prophecy.
Only then can we contribute something to culture that doesn’t already exist—something capable of causing the Kendrick Lamars of our own disciplines to wonder what we would do.
Christina Gonzalez Ho is the author of the audio series The Last Two Years and the cofounder of Estuaries.
