of Jesus". Hall responded to critics who felt the band's material was "preaching to the choir" by saying "How can writing songs that challenge the church, songs that ask Christians to consider their actions, be a bad thing? After all, it’s the message that matters... Everybody is passionate about what they do, about what they feel called to, so for one to say the other’s ministry is more or less meaningful or spiritual or anything is ridiculous". Hall also felt that there were "too many walls in Christian music" and said "I think people listen to you if you’re transparent... People want to hear the truth. You just hang around church for a while, and you’ll see. People don’t want you to talk around it. They want you to tell it like it is, even if it hurts". Hall ultimately wrote songs such as "Does Anybody Hear Her" and "Stained Glass Masquerade", which "challenge believers". According to Hall, he was trying to say that he didn't think it bothers the world if people in the church sin. Rather, he felt that the world is bothered when Christians act like they don't sin. Lifesong was produced by Mark A. Miller, with recording and mixing done by Sam Hewitt at Zoo Studio in Franklin, Tennessee. Additional recording was done at Lifesong Studio in McDonough, Georgia. The album was mastered by Richard Dodd and engineered by Dale Oliver and John Lewis Lee III. The strings on the album were arranged by Bobby Huff and were recorded at Little Big Studio by Boeho Shin and Daewoo Kim. Composition Musically, Lifesong is influenced by adult contemporary and pop rock music. The album also has influence from worship music in the vein of U2, with songs building into "sweeping choruses and dramatic climaxes". Much of the album's lyrical content is devoted to challenging the Christian church and indicting hypocrisy and piousness within the church. Songs such as the title track and "Father, Spirit, Jesus" have worshipful lyrics while others such as "Stained Glass Masquerade" note the inability of church congregations to share their burdens openly. "Does Anybody Hear Her" condemns the church's focus on judging rather than realizing pain and gives the message than condemning other people is wrong. "Set Me Free" is set from the perspective of "the demon-possessed man", who is calling to Jesus for relief. It also incorporates more of a rock sound