When “She Must & Shall Go Free” was released in 2003, Webb received backlash from the Christian music scene that took issue with a few of his songs. Notably, Webb addresses Jesus and describes the church — and himself — as an adulteress by singing, "I'm a whore, I do confess / I put you on like a wedding dress." The track "Saint & Sinner" struck the word "damned" from the final recording after pressure from his label. The controversy would continue, as future albums would criticize Christian support of war and allegiance between church and state. His 2009 album “Stockholm Syndrome” used a cuss word in a song about homosexuality and the church. That same word hit the fan, and he had to release the physical album without that track — the album's most important song, according to him. Now it's been 10 years since Derek Webb left Caedmon's Call and took a look at the church, culture and ultimately himself on that first solo album. The most recent work from Derek Webb, “I Was Wrong, I'm Sorry & I Love You,” is a reflection on those same questions that produced “She Must & Shall Go Free.”

RANGES FROM COUNTRY TO ELECTRONIC SOUNDS

Never settling down into one style, Webb's albums range from country to rock to electronic sounds, all built off of a folk backbone. “I Was Wrong, I'm Sorry & I Love You,” shows off Webb’s songwriting mastery with a contemporary, indie-folk sound that is easily accessible and rich in tone. From "whoos" and "ohs" gushing from a group of background voices to the variety of instruments that Webb plays himself, the music stands out as a continuation of Webb's effective singer-songwriter style and evolution. Yet as crafted as his albums are, the meat of Webb's songs are in his lyrics.

Opening up the record is the title track that starts with a piano that bleeds into a guitar yearning as much as Webb does on this whole album. This track, an autobiographical reminiscence on a history and relationship with the Christian music scene, establishes the posture both musically and thematically. The reflection brings him to a point where he admits that all he has wanted to say is, "I was wrong, I'm sorry and I love you." It is a posture of a human seeking love through humility. He is still self-critical but there are few confrontations or challenges to the church and no social or political cause he calls into question. Instead, Webb looks at himself and sees where the brokenness lies.

The second track, "Eye of the Hurricane," furthers this sentiment by claiming, "I am the man from which I am running." Finger pointing is still clearly in play, but this time the fingers are mainly pointing at Webb. Webb's protests and provocations are noticeably absent, a growing trend that began in his past two albums. The closest to controversy he comes is in "Closer Than You Think," where the songwriter claims that he and his enemies are more alike than they would admit.

SONGS DELIVER A GENTLE MESSAGE OF HOPE 

But there is also a message of hope and grace. "Lover Part 3" continues a series of songs by Webb told from the perspective of Jesus. Offering a contemplation on the depth of the love Jesus has in spite of the heartache, the third "Lover" stands as a reminder of a simple yet profound story. Encouragement toward hope and perseverance amid darkness pours out like a triumphant proclamation on the strings-heavy marching chorus of "Everything Will Change." But the response to the longing becomes the Anglican chant-influenced "I Measure The Days," a dreamlike meditation on the glory of God and the majesty of his creation. And the elegant, acoustic-minded pensiveness of "Heavy" and "Your Heart Breaks In All The Right Places" showcases the beauty in our brokenness. Essentially, this album points to the love of Jesus, the grace of God and the hope of the age to come as ways to face a sick world and a broken self.

If taken as a 10 year retrospect to his first solo album, “I Was Wrong, I'm Sorry & I Love You” marks the change in Webb's attitude and disposition. The wrestling is still there but it approaches the questions more gently. And if taken as a product coming out of 10 more years in pursuit of Jesus, it is not a surprise to see the clearer move towards humility in answering these questions. A disciple's eyes see that the problem of the world is not out there with others but with the individual. Derek Webb reminds us that, because of Jesus, we can admit our faults with upbeat joy in an indie-folk rock fashion.