When Billboard last caught up with Ryan Trey, the St. Louis-born singer-songwriter was celebrating the deluxe edition of his Streets Say You Still Miss Me album, a release that found him elevating both professionally and artistically. In support of that album, he opened for Mariah the Scientist’s then-ongoing To Be Eaten Alive Tour. But as the last dates approached, Trey found himself desiring to “move on from” the toxicity that inspired some of his most beloved songs.
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A little over a year later, Trey has officially honored those desires. Known for moody, ethereal hip-hop-infused R&B joints like “Mutual Butterflies” (which earned him LeBron James’ co-sign in 2018) and the Bryson Tiller-assisted “Nowhere to Run,” Ryan Trey will now operate independently as a faith-based Christian music artist. Crediting his homeboys’ encouragement and Tiller’s 2010s blueprint of sonic experimentation, Trey decided to pivot into faith-based music around May 2025, after years of discomfort with how the music industry impacted his personal growth and maturation.
“I couldn’t figure out why when I was 18, I was able to freely make music after school, but now I gotta high to get a record done,” he tells Billboard. “And then all the industry parties and stuff… It’s great to connect with people, but you can also fall into traps. Because I was in the industry so young and I didn’t go to college… it molded me into someone that I wasn’t originally. Those instances start to make me uncomfortable, and I started to step away from those things to get a clearer vision.”
Linking up with friend and producer Ayo, Trey began recording his first faith-based songs in Orlando, Fla., resulting in “Faith Too High” and the Deca OTA-assisted “Callin on You.” Both songs — from the swaggering rap-sung cadence of the former to the U.K. drill production of the latter — keep Trey in his established musical wheelhouse. What’s changed are his lyrics, now packed with direct references to the Most High and dripping with earnest testimonies inspired by his own faith journey. “Lord, I can’t seem to get You out of my head/ Lord, it’s something about You that makes me smile,” he coos in the second verse of “Faith.” “And I know that I gotta worship all that I can/ ‘Cause I know without You I’d be out my mind.”
From the Billboard Hot 100 success of Brandon Lake’s “Hard Fought Hallelujah” and Forrest Fank’s “Your Way’s Better” to mainstream secular music converging with Christianity thanks to pop stars like Jelly Roll and Justin Bieber, faith-based music is on the upswing in America — and Ryan Trey is looking to join that wave and provide a perspective younger listeners who were brought up in the traditions of R&B and hip-hop. And with a new album due in the springtime — as well as visions of a live show that notably benches his earlier material — he’s more than ready to inspire a new flock.
Below, Billboard speaks with Ryan Trey about his musical transition, navigating fan reactions and expectations, wrestling with AI advancements and randomly running into The Biebs in Los Angeles.
You’ve said you were initially skeptical about making Christian music because of negative stereotypes. Where do you think those come from?
Our moms was playing [gospel] in the car on the way to school, so I really don’t know when that shift happened. I think it’s the “rap” part of “gospel rap” that people think is corny. I think they’re just bandwagoning and trying to sound cool. It’s like picking on the nerd at school who don’t go to all the parties. Once I started to learn about Hulvey, Lecrae, Sam Rivera, Madison Ryann Ward and Cleo Sol, I loved it. They’re dope, and the music is cleaner on my spirit and ears. I want a catalog I can play for my kids. I don’t want my daughter or son to be like, “Dad, why was you always going through something with your ex?”
How did your team react?
Everybody’s been supportive. I’m almost forcing them to make this shift with me on a business level, so for everyone to take a chance on me is amazing. Nobody walked away, and now we’re all seeing growth in this space. I don’t think there’s anybody from my team that was like, “Oh, no, I ain’t with all that.” Nobody’s made that known to me.
Did you grow up in a particularly churchy household?
My grandmother [was pretty churchy]; my parents, not so much. I grew up in St. Louis, so there was a family church that we had, but I only went for funerals. The pastors were always good, and their sermons always stuck with me, but I never did any deep diving. I always felt better after listening to those men speak, but I never did any research behind it.
How do your recording sessions for faith-based music compare to your previous ones?
When I first started making music, it was always scary getting into the studio. And this time it was also scary because I was thinking about outside opinions. That’s why I appreciate my boy Ayo so much; he had so many people come through the studio, some who knew me and some who didn’t, and they were giving me so much praise on the new music. I have people that was like, “I didn’t even know this was Christian music, it just sounded cool through the walls while you were recording.” Once I put out “Faith Too High,” and it was received very well, then it was like, “Okay, it’s go time.” I just had to have faith that entire time.
I used to record with the lights off. The room, I realize now, was just a reflection of how I was feeling on the inside. The room had to be dark. I had to have moody red lights and keep it super low-key and quiet. Now, I can record in the middle of the day. And my sound is the same; it’s just the message that has changed. I’m just encouraging people to give God a chance. The only reason I was able to come out of these situations that inspired my other project is because of Him.
Were you nervous about putting out “Faith Too High?” How did your most OG fans respond to a song like that?
That’s who I was thinking about most. My OG fans been supporting me so hard; I’d be lying if I said I wasn’t thinking about them. Are y’all going to just disappear now? Is this something y’all want to hear? Am I pulling the rug from under y’all?
But 99% of the responses I got was like, “Ryan, we was going through stuff when you was going through stuff, so the same way you want a clean slate now, we [do too].” I was parallel with a lot of my fans, and that was dope and really reassuring because I was on the same page as thousands of people I’ve never met. I did have people that was like, “I’m not ready for this,” and that was cool. But for the most part, it was supportive.
You mentioned artists like Cleo Soul and Madison Ryann Ward. What other songs or artists did you look to for this transition?
I’ve been going back to those big universal gospel hits, like “Shackles” by Mary Mary. They were really good at making songs everyone could listen to while still praising the Lord. But I’ve really been in the rap and R&B spaces right now. Sondae is a newer, more R&B-leaning artist I’ve been listening to.
What can you tell us about this upcoming project?
I can’t give the date specifically, but we’ve landed on a two-week span of when we want to drop. We’re aiming for springtime; I’m just finetuning the tracklist. This album will sound like a better version of all of my other projects. It’s a healthier version. I’m 26 now; I’m thinking about kids and getting married. If you just overheard this album playing next door, you would not know it was a Christian album. But when you hear the message, it clicks.
Some fans can get skeptical when their favorite artists incorporate more Christian-adjacent messaging in their music. Sometimes that shift is accompanied by a kind of right-wing spiral. What do you say to fans who may have reservations about your musical transition?
I get it, I’m not gonna lie. And the Bible talks about this, too; there are hypocrites out there. People like that judge and condemn people, and that’s not the way to go. I’m not a holier-than-thou person.I wouldn’t even try to believe in God three years ago. That’s why I livestream Bible studies and try to tap in; I want people to see me more. I think the wholemystique wave for artists is over; people are watching Kai Cenat sleep on a couch for 24 hours.
I think showing my personality is important for people to see what I’m actually doing outside of music. Is it a stunt? Are you putting your feet in the water and then coming right back out? Or is this your actual walk that you’re on? I try to do my best to talk about my testimony and not get into politics. I’m on this walk, I’m trying to correct things that I wasn’t doing well, and that’s it.
Gospel is one of the first genres AI-assisted music started to infiltrate. What are your thoughts on AI in the context of a genre specifically tied to your personal relationship with a higher power?
I’m torn. As an artist, I always respect and love authenticity. But Jesus says, “Hey, even if we don’t agree with how they’re putting the good news out, as long as they’re doing it, they’re with me.” I know there’s one AI artist that [sparked some controversy], but if that song was what someone needed to change their life around or start their own walk, let them rock.
As an artist, I’m like, “I really wish you would have just made the song yourself.” But who am I to rob someone of that opportunity? The music, at least in this space, is supposed to pull people closer to God. If it happened to be through an AI program, then so be it.
Do you think a program has the capacity to make music that deep, soulful and sacred?
That’s where I’m torn. Because I know there’s no spirit in this song. There’s no human actually pushing the song. I can’t hear a specific person’s emotions in the song. Something is missing. I think I’m going to like AI less the more it develops. The creative process is the most important thing to me, but I also don’t want to be like one of those old guys hating on everything. It’s weird right now.
I saw you also ran into Justin Bieber recently.
Oh yeah, I ran into Bieber at Dot in L.A! He had posted something on his story like, “If you run into me outside anywhere and you’re working in this space, hit me.” I just so happened to be there, and he had his people surrounding him, so I tapped him and pulled him to the side. We had never met before, but I was like, “Yo, bro, we got mutuals, and I know you said you really want to make more music about God; it’s a lot of dope artists in this space.” He said, “Let’s connect,” so we’ll see what happens. He was really cool when I was talking to him.
Are there any other collabs that you’re cooking right now? What’s the new dream list of collaborators now that you’re in a new sonic space?
Cleo Sol is really, really high on that list. I love her voice, and she reminds me of someone my mama would have played for me when I was younger. Hopefully, that one could happen this year. Miles Minnick has had a good run in this space, and Lecrae’s a good artist too.
When are you thinking of hitting the road again? Will you ever sing your older songs live?
I don’t think I’ll sing the old catalog anymore. I was scared when I was saying that in my last couple shows where I did those songs, but when I explained the musical transition, I got so many great ovations. People were happy, and I wasn’t expecting that. I think when people hear this album, it’ll be enough. But I’m definitely going to put a bow on that old music, man. I gotta keep moving forward.
