When Maverick City Music teamed up with gospel legend Kirk Franklin, the result was more than a new record – it became a cultural moment. The collaborative album Kingdom Book One dropped on June 17, 2022 via Tribl Records, Fo Yo Soul Entertainment and RCA Inspiration, with a deluxe edition arriving on July 22, 2022. Recorded inside the Everglades Correctional Institution in Miami‑Dade, Florida, the project blended worship, gospel, and a bold social statement about mass incarceration.
Background of the Collaboration
The partnership began early 2022 when Tony Brown, co‑founder and CEO of Maverick City Music, reached out to Franklin with an idea: bring a choir of inmates into a gospel‑centric worship experience. Brown recalled, “We wanted the music to echo the walls we were recording in – raw, hopeful, and unapologetically real.” Both parties shared a track record of Grammy recognition – Maverick City Music had already collected a handful of Grammy trophies, while Franklin’s 16‑time Grammy resume made him an instant heavyweight.
Recording Inside Everglades Prison
In March 2022, a mobile studio set up inside the prison’s recreation hall. More than 1,300 inmates participated, with roughly ninety percent of the housing units joining the chorus at some point. Lead vocalists Naomi Raine, Chandler Moore, Brandon Lake, Lizzie Morgan, Dante Bowe, Maryanne J. George and Ryan Ofei sang alongside Franklin, who weaved exhortations and biblical reflections throughout the session.
“It felt like a revival,” said Naomi Raine. “The walls weren’t just concrete – they were testimonies waiting to be turned into song.” The unique environment inspired tracks that stretched past ten minutes, such as the soaring “Fear is Not My Future” and the ethereal “The One You Love.” The album closed with a 19‑minute meditation titled “Take Me Back,” giving listeners a 90‑plus‑minute worship marathon.
Chart Performance and Grammy Wins
When the standard edition hit stores, it entered the Billboard 200 at No. 151 with 8,000 album‑equivalent units. Simultaneously, it climbed to No. 2 on both the Top Christian Albums and Top Gospel Albums charts in the United States, and landed at No. 5 on the Official Charts Company’s Christian & Gospel chart in the United Kingdom.
The title track “Kingdom” made a splash on the Hot Christian Songs (peaking at No. 17) and Hot Gospel Songs (peaking at No. 6) charts. At the 2023 Grammy Awards, the album earned a nomination for Best Gospel Album, while the song “Kingdom” walked away with the Grammy for Best Gospel Performance/Song.
Deluxe Edition and New Songs
Fans got an extra treat on July 22, 2022 when the deluxe edition dropped, adding nine fresh tracks recorded on tour. Two standout singles – “Exodus” and “The Name” – directly reference the prison experience, with lyrics that ask listeners to imagine freedom beyond concrete walls. The deluxe version also features a live rendition of “Bless Me,” which originally peaked at No. 19 on the Hot Christian Songs chart.
- 9 new songs, including “Exodus” and “The Name.”
- Extended worship moments, some stretching beyond 12 minutes.
- Recorded during the 2022 Kingdom Tour stops in Nashville and Los Angeles.
Kingdom Tour and Media Appearances
Following the release, Maverick City Music and Franklin launched the Kingdom Tour. The run kicked off with sold‑out nights in Miami, Orlando, Tampa and Atlanta, then rolled into larger arenas – Detroit’s Little Caesars Arena on June 18, 2022, and Pittsburgh’s PPG Paints Arena on June 19. The final leg, dubbed “Kingdom Nights,” visited Kansas City, Cleveland, St. Paul and Chicago, each featuring Grammy‑winning vocalist Tamela Mann.
The duo also made a television splash, performing on The View on June 20, 2022, and later appearing at the BET Awards, where both Maverick City’s “Jireh” and Franklin’s “We Win” received nods for the Dr. Bobby Jones Gospel/Inspiration Award. Their Tiny Desk (NPR) concert on June 24, part of Black Music Month, showcased a stripped‑down version of “Take Me Back,” drawing praise for its vulnerability.
Critical Reception and Impact
Critics lauded the project as a “transcendent kaleidoscope of humanity” (Los Angeles Times) and “a gospel‑meets‑CCM‑meets‑Coldplay ambiance” (Journal of Gospel Music). Reviewers highlighted the social conscience behind recording in a prison, noting that it sparked conversations about rehabilitation versus punishment in the worship community.
Beyond the music, the album’s outreach arm partnered with the Florida Department of Corrections to fund literacy programs for inmates. According to Jonathan Jay, Maverick City’s artistic director, “We hope the songs become a bridge – reminding listeners that behind every cell number is a story worth hearing.”
Key Facts
- Release dates: June 17, 2022 (standard), July 22, 2022 (deluxe)
- Recording venue: Everglades Correctional Institution, Miami‑Dade, FL
- Billboard peak: No. 2 on Top Christian & Gospel Albums
- Grammy accolades: Best Gospel Performance/Song (2023)
- Tour: 26 dates across the U.S., featuring Tamela Mann on final four shows
Frequently Asked Questions
Why did Maverick City Music choose a prison for the recording?
The collective wanted a space that embodied both confinement and redemption. Recording at Everglades Correctional Institution allowed inmates to participate directly, turning their stories into worship while spotlighting the broader issue of mass incarceration.
How did the album perform on mainstream charts?
Beyond its No. 2 spot on Christian and Gospel charts, the album broke into the Billboard 200 at No. 151, moving 8,000 units in its first week. It also reached the top five on the UK Official Christian & Gospel Albums chart.
What new songs are on the deluxe edition?
The deluxe adds nine tracks, including “Exodus,” “The Name,” and a live version of “Bless Me.” Each song extends the prison‑inspired narrative, blending on‑stage energy from the Kingdom Tour with the rawness of the original recordings.
Did the album receive any Grammy recognition?
Yes. At the 2023 Grammy Awards, Kingdom Book One was nominated for Best Gospel Album, and its title track “Kingdom” won the Grammy for Best Gospel Performance/Song.
What impact did the Kingdom Tour have on fans?
The tour’s sold‑out shows, especially the final “Kingdom Nights,” drew crowds of 10,000+ each night. Audience members reported a heightened sense of unity, noting how the live renditions amplified the album’s message of hope and liberation.
J T
October 9, 2025 AT 01:36All hype, same old gospel fluff 😂
A Lina
October 9, 2025 AT 03:33While the hype is palpable, the album’s production employs a hybrid chorale‑orchestral framework that aligns with contemporary worship metrics, securing its top‑two placement on both Gospel and Christian charts.
Virginia Balseiro
October 9, 2025 AT 06:20Wow, this project is a game‑changer that reminds us why music can heal even the toughest walls. Recording inside Everglades Prison gave the choir a raw energy that you can feel in every note. The blend of gospel, CCM, and that epic Coldplay‑like ambience creates a soundscape that feels both familiar and revolutionary. I love how Naomi Raine’s voice rises above the concrete, turning confinement into a celebration of freedom. The 19‑minute meditation “Take Me Back” isn’t just a track; it’s a spiritual pilgrimage that tests your endurance in the best way. When the deluxe edition dropped with “Exodus” and “The Name,” it felt like the story was continuing beyond the prison gates. The Grammy win for Best Gospel Performance/Song proves that the industry finally recognized the cultural weight of this work. Touring with the Kingdom Tour turned those studio moments into massive communal worship experiences across the country. Seeing audiences in Detroit and Chicago sing along to “Fear is Not My Future” made the whole concept of redemption tangible. Even critics who called it a “transcendent kaleidoscope” couldn’t deny the social impact behind the music. By partnering with the Florida Department of Corrections for literacy programs, the artists turned a recording session into lasting community support. It’s rare to see a mainstream release that actively engages with mass incarceration issues without feeling preachy. The collaborative spirit between Maverick City Music and Kirk Franklin shows how two powerhouses can amplify each other’s strengths. I’ve added the album to my daily playlist, and every time I play “Kingdom” I feel a surge of hope and purpose. If you haven’t given it a proper listen yet, set aside at least an hour-you’ll thank yourself for the journey.
Jared Mulconry
October 9, 2025 AT 11:53I hear you, the live energy truly amplifies the studio vibe-especially when the crowd’s singing along in those big arena moments.
Brandon Rosso
October 9, 2025 AT 17:26It is commendable how the collaboration has transcended conventional genre boundaries, thereby fostering a renewed sense of communal worship that resonates on a global scale.
Tracee Dunblazier
October 10, 2025 AT 01:46Although the accolades are noteworthy, one must acknowledge that the lyrical depth occasionally skirts the superficial, relying heavily on repetitive motifs.
Edward Garza
October 10, 2025 AT 15:40Another overproduced gospel album, nothing new here.
Allen Rodi
October 11, 2025 AT 19:26Actually, the inclusion of inmate choirs adds a unique acoustic texture that you won’t find on typical studio releases.
Jody Webster
October 14, 2025 AT 03:00Well… I’m not sure why everyone’s faving this-maybe because it’s just another PR stunt??! The music itself feels… meh.
Steve Goodger
October 16, 2025 AT 10:33I appreciate the passion behind the critique, yet it’s important to recognize the broader implications of this artistic endeavor. By involving incarcerated individuals, the project creates a platform for voices often silenced by society. This inclusion fosters empathy and invites listeners to consider systemic issues beyond the music itself. Moreover, the lyrical content, while at times repetitive, serves as a mantra for hope and transformation, resonating deeply with many faith communities. The collaborative nature of the album also models unity across diverse musical traditions, bridging gaps between contemporary worship and traditional gospel. Listeners who engage with the full 90‑minute experience can witness a narrative arc that mirrors personal journeys of redemption. Ultimately, whether one enjoys every track or not, the cultural conversation sparked by this release holds lasting value. I encourage everyone to approach the album with both critical ears and an open heart.