From a Stable to an Empty Grave: Tommee Profitt Reimagines Easter’s Most Sacred Songs
The composer who transformed Christmas into a cinematic cathedral now turns his lens toward the cross and the empty tomb. Tommee Profitt—the award-winning architect behind some of the most streamed holiday music of the decade—announces THE RESURRECTION OF A KING, arriving March 27, 2026, just in time for Easter. The project follows his monumental THE BIRTH OF A KING, which has surpassed 200 million streams and grown from a studio concept into a sold-out Nashville spectacle featuring full orchestra and choir. But where that album illuminated the hush of Bethlehem, this new work promises thunder. Lead single “He Arose,” released last week with Phil Wickham, transforms the beloved hymn “Up from the Grave He Arose” into something both ancient and urgently new—not a nostalgic echo but a declaration weaponized for modern ears. “This album is a cinematic reimagining of timeless hymns,” Profitt explains. “We took the old and wrote a brand new anthem for today.” Wickham, whose voice has become synonymous with congregational worship, calls the track “epic” and “a massive celebration”—words that hint at the scale Profitt is building toward, where orchestral aggression meets theological awe, and Sunday morning arrives with the force of a score written for the end of silence.
THE RESURRECTION OF A KING does not simply collect Easter standards; it re-crowns them. “The Old Rugged Cross,” “Jesus Paid It All,” “Just As I Am,” and “Amazing Grace” will each receive the Profitt treatment—rebuilt from pews and hymnals into soundtracks for a story that refuses to stay quiet. The featured roster reads like a summit of modern worship’s most trusted voices: CeCe Winans, Crowder, Jenn Johnson, Jon Reddick, Ben Fuller, and Jamie MacDonald join Wickham in bringing these sacred texts into new skin. Profitt describes the project not as artistic ambition but as divine commission—“I truly felt commissioned to make this album, like it was a life purpose”—and the weight of that conviction is audible even in the first single. With over 100 billion global streams, 49 RIAA certifications, and hundreds of major sync placements to his name, Profitt could rest inside what he has already built. Instead, he keeps building. Having given Christmas a new sonic architecture, he now turns to the heart of the faith itself: not just birth, but sacrifice. Not just arrival, but resurrection. The stable became a concert hall. The grave is about to become an anthem.
