Atlanta-based Christian hip hop artist GodFrame releases his sixth studio album, Hello Jesus 2. It’s the sequel to his 2018 project, ‘Hello Jesus’. Newly signed to Good City Music’s sync division, GodFrame explains that the self-produced album contains some of his most personal and vulnerable songs to date. He hopes to give the fans something to enjoy for the summer!

Features: Chelsea Mabson, Mykiiie, L. DeJuan, Solachi Voz, Meghan Rice

Every great song has a great backstory. Often, what we hear is rarely the only way the song has sounded.

Take “Through the Night” by GodFrame as an example. The multi-talented artist from ATL gave us the opportunity to hear the song’s message in a variety of ways.

“I was actually inspired by the way Justin Bieber’s marketing teams have been rolling out his singles over the past year or so. Every time I’d open YouTube there’d be another ‘version’ of his latest record. So I figured, why not try it myself?”

In the “ORIGINS” series, I’m looking to take you behind the process and be a part of the creative experience. Told with the artist’s own words.

Through the Night has been one of my favorite records of 2021. I was excited to get the opportunity to get to dive into GodFrame’s journey from inspiration to release.

How It Started

“My main love is producing. All of my songs start with just a beat idea. That was the case for Through the Night.”

“The week of Christmas, 2019, my wife and kids and I, were in Virginia visiting family for the holiday. I’d gone several months without making any beats. I was itching to be creative. I’d convinced my wife to let me lug my midi keyboard with us that week…and I’m so glad she did.”

“It was the middle of the week, I think, and everybody was off doing their own thing. It’s a huge tradition in my wife’s family for all the generations to get together in VA for Christmas. When I say everybody, I mean EVERYBODY! Some folks were finishing up their Christmas shopping; the ladies were baking cookies at Grandma’s house up the road; I was at my aunt’s house chilling.”

I remember thinking, “alright, this is probably gonna be my only shot to make some music.”

“So I set up my keyboard and laptop in one of the spare rooms and got after it.”

“It was such a good feeling. You know when you have all this creativity bubbling up inside of you and you finally get to let it out? This was one of those moments…like a breath of fresh air.”


“Granted, most of what I made that night was trash, but I didn’t care. It just felt good to get the cobwebs out.”

“Then I started on the beat that would later become Through the Night. I knew it was gonna be an important one.”

“You’ll probably notice the song sounds like it could be a Post Malone record. That was intentional. All my career up to that point, I’d only made beats with little to no sonic inspiration. I didn’t want to feel like I was copying. While that resulted in some pretty decent beats, a lot of times I missed the mark when it came to tempos, sound/drum selection, etc.”

“That night I was like, ‘man, lemme make something that’s gonna resonate with people and give them a sound they’re accustomed to hearing on commercial records’, while still being authentic to my voice and message.”

“I’d been a fan of Post Malone’s music, so I pulled up a few of his songs on Spotify.”

“[I] really paid attention to the drums. Took note of the synths and pads they used. Honed in on how he delivered the lyrics melodically.”

“From there, I made the beat really quickly. [It] probably took me 30 minutes to an hour because there were only four or five sounds in it overall. Then I sat there and prayed about what to write.”


“The pain of losing my grandmother on my mom’s side right after Thanksgiving that year overhelmed me.”

“I’d also learned earlier that year that a young teen from my hometown took her life after she and a few friends made a suicide pact because they were tired of being bullied.”

“I sat in that room for a couple of hours, crying – praying – writing, and the lyrics came so easily.”

“It was strange too. This was the first time I’d used so few lyrics in a song. Those were the beginnings of Through the Night

“I definitely knew it had a chance to be a special record.”

“First of all, because it resonated with me and the family members I showed it to. That was the real win right there. I knew that if it had such an impact on us, it was bound to touch a few more people as well.”

The Drop(s)

“We lived with that song pretty much all of 2020 before anyone else heard it in 2021. It was like a soundtrack to our lives. My kids even had it memorized! I’d catch them signing it around the house.”

“I’d say the acoustic version and music video are my personal favorite. That one seemed to resonate with my fans quite a bit too, which was surprising. I really only made that version for me. I’ll never forget the day I produced that version.”

“I had already planned on making it at ‘some point’, but that day I had some free time after work and decided to pull out my keyboard just to play around with the sounds a bit. I wasn’t going to take it seriously. When I started laying the piano part on top of the acapella, I started worshipping and talking to God in a way I hadn’t done in a while. I just kept what I’d recorded and laid some strings on top. I think I finished it in 20 or 30 minutes.”

“The music video is one of my favorites too.”

“The original location wasn’t available the morning we went out to shoot. We ending up finding that abandoned movie theater by my house. [It] turned out to be a perfect backdrop.”

“I was simple, but still rugged enough to give the video some character. I really felt like I ‘went for it’ emotionally when I was on camera too. Playing the keys like that took me back to all those years I grew up playing keyboard at the small Baptist church in my hometown. I think that video will always mean something special to me.”

“I’m not sure I’d do it that way (multiple versions of the same record) again though. At least not without a dedicated crew. Juggling all of that between my wife and myself got really overwhelming honestly. I’m glad we went for it though!”


“I didn’t want to take any chances with COVID, so we decided to do all the music videos ourselves. We meaning, my wife Jasmine and I.”

“She handled the shooting and I did the editing. The post-production wasn’t a big deal for me because I’ve been shooting and editing since I was in middle school. I have to give her props, seriously. She’s helped with camera work a few times, but never to this extent. Never back-to-back like this. Juggling businesses, homeschooling the kids, and just being an overall wife, mother, sister, and daughter…it took a lot for her to help me with my stuff. But she was a trooper and executed her role phenomenally. I’m super grateful she’s always got my back.”

“I own and operate a creative agency call Lamar Haaley Creative, shameless plug, full-time.”

“We shot the Light and Dark versions on the same day in our living room. Which was pretty cool because our kids got to see it and be a part. My 6-year-old daughter, Jaelle, shot behind the scene footage using one of my wife’s old digital cameras. My 3-year-old son, Jensen, was dubbed Head of Craft Services because he kept asking for snacks every 30 minutes.”

“The acoustic video was fun to shoot too.”

“We parked in a random parking lot near our house one morning and just went for it. The kids were in our van off-camera watching a Lion Guard DVD and eating snacks. We were able to knock it out without any interruptions or issues, except when they needed potty breaks. Overall, that homegrown approach made everything fun and gave us something to be proud of as a family. I’m glad we’ll have those memories to look back on.”

GodFrame’s new album, Hello Jesus 2, drops across digital music retailers on April 23, 2021. Pre-order it exclusively at now!

Atlanta-based CHH artist and producer GodFrame releases his third single of 2021. FRMRZ Anthem is dedicated to his fanbase. The self-produced track was designed sonically to be a bop, but the intent was still missional.

Atlanta-based Christian hip hop artist and producer, GodFrame, releases his second single of 2021. Party, Pt. 2 is a sequel to the fan-favorite by the same title.

Through the Night is an 808-infused, emotional, pop-rap sound reminiscent of Post Malone and T-Pain. It is the soundtrack for anyone with a broken heart.

‘Hello Jesus’ is the latest full-length album by rapper, producer, and youth speaker GodFrame

The artist has a very down-to-earth, God-glorifying style that is a pleasure to listen to. Add that to his occasionally melodic, occasionally straight rap style, and this album is a refreshment indeed.


Begin ft. John C. Richards Jr – ‘Hello Jesus’ begins (pun intended) with a clip of John C. Richards, Jr. talking about Jesus’ role as Creator and Sustainer of all things, which seems appropriate for a project titled ‘Hello Jesus’. The instrumental is dramatic and energetic, coming to a forte right as Richards declares, “He created all things.” At its loudest, the track can seem a little overpowering in relative volume to the clip, but that would be my only slight complaint about this surprisingly epic intro track.

Hello Jesus“If Jesus could change me, why wouldn’t he change you? / Open your heart and let Him in, hello Jesus, make a move, let’s move.”

The title track starts off with a minimalistic beat, and GodFrame begins telling the story of how he came to know Jesus through growing up in the church and struggling with sin. “I spent my whole life surrounded by these lies and these rules / that if I did enough good, me and God would be cool / but it ain’t about what you do, it’s all about what He did / Jehovah gave His only kid for the sins of His friends” As he continues masterfully telling his testimony, the beat keeps things interesting and never quite stays the same for long.

La Vida Libre ft. Meghan Rice – Track 3 switches the vibe to what is immediately recognizable as a turn-up song. The style reminds me a lot of some of Skrip’s stuff, especially from ‘Renegades Never Die’. The song has a great balance of not being all about the hook, nor all about the verses, but having quality on both ends. I think a few things, such as the synth lead during the hook, could be a little better, but that’s not to say they’re bad. This song feels like an EDM song and had me dancing along within the first few seconds.

I’m Alive – GodFrame introduces “I’m Alive” as a trap song, but he approaches the style in a very unique way. Mixed in with high hats, autotune, and 808s are trumpets, organ samples, and quality lyricism. The content is solid (something I’m beginning to see as a pattern in this album) as the artist emphasizes that it’s only God’s saving grace that has made him alive. “I don’t deserve His love ‘cause I ain’t good enough / even if I lived a perfect life, I’m still a scrub”

Forever Always ft. Chadae – GodFrame seems to have a talent for hitting multiple styles while still sounding like the same artist. “Forever Always” brings a more pop-infused sound to the table with a positive and encouraging message. GodFrame keeps us listening to the message by switching up the cadence and melody of his flows repeatedly throughout. I almost think I would rather hear him sing the chorus himself, but then again, the interplay between him and the featured Chadaé works really well.

Be Anything ft. A. Cheatham – Continuing with the uplifting messages, GodFrame tells the story of a girl facing many troubles in her life, emphasizing that, as the hook says, “You’re capable of anything, just trust Him and believe” The chorus is very strong with a melody that drives the song. This type of song has been done many times before in Christian rap (and even Christian music broadly) and could easily fade into the crowd in that regard. That doesn’t necessarily make it a bad song though, although it did feel just a tad cliché to me.

King of Hearts – The first two verses tell of a girl who got played by her homecoming date and the pain that the action brought her. But GodFrame flips things around with the third verse, revealing that he used to be like the boy in the story before he was saved, and the chorus shifts focus from the “king of hearts” mentioned in the beginning to the King of Hearts that brought about his salvation. My only complaint is that the instrumental feels very uninteresting, but even that helps to emphasize the lyrical content of the song.

Aquafina – “Aquafina” is one of those songs that’s just the right vibe to play while you’re driving around town with friends. GodFrame takes a concept (moderation) that could easily come off as very cheesy and makes it catchy and refreshing. The hook, “Aquafina when I’m thirsty” could be considered a little corny, but within the context of the song, I think it works pretty well. The song ends with a synth outro that I think would’ve been fine to leave out, but also fits the overall feel of the album very well.

Wait On Jesus ft. Jarrett Perry – This track gets off to a slow start with subdued vocal samples and laid-back flows that don’t really work for me. Things start to pick up about a minute into the song as more instruments come in. The meditative chorus is accompanied by an organ, which I like a lot. On this track we see the artist get introspective and personal, which is always a good thing. “There I go yet again, trying to learn how to be a man – better father, husband – so many things I don’t understand.” “Wait On Jesus” shapes up to be a good, but ultimately forgettable song.

Padré – The instrumental of the previous song bleeds directly into this one as GodFrame continues to let us into his life. The track is a long and emotional interlude comprised of a set of voicemails between him and his dad.

Home ft. L. DeJuan, Amaris – Things begin to pick up again as the previous few mellow tracks give way to this groovy vibe. “If you feelin’ homeless, or you feelin’ homesick, call on Jesus phoneless, His presence is where home is” The only aspect of the song I have a hard time embracing is its length.

Castle Makers ft. Julianna Pickens – As soon as the intro starts, we know this is going to be a different type of song. Something big is happening. Then, the guitars and drums hit, and it all becomes clear- if you were looking for a hype song on ‘Hello Jesus’, this is it. “Who else could be a god? Nobody but God” True to form, GodFrame weighs the troubles of this world against the hope we have in Jesus.

“He’s still sovereign in spite of the ever-popular / belief that He don’t exist and He’s forgotten us / He’s got a plan in His hands that we don’t understand”

This Love“We need this love”

The album ends on a mellow, very soulful note with “This Love”. GodFrame begins by talking about body positivity and how he can relate to hating one’s own body. “But guess what? God loves you just the way you are” He then moves on to call Christians to renew their commitment to “be love to the unloved” He concludes the third verse by talking about Christ and how we should emulate Him.

“If God cares for us then we should learn to love each other”

All-in-all, this is my favorite of the more chill songs on ‘Hello Jesus’, and I think it’s a great track to end the project on.

Overall, I found this to be an incredibly solid album, and I’m glad to have had the chance to review it. I honestly found it difficult to find things to critique. ‘Hello Jesus’ is a very well-put-together project and I know I’ll be listening to it again in the future.

My favorite tracks:
1. Hello Jesus
2. Castle Makers
3. La Vida Libre