Light in the Darkness
When it comes to Sin City, the maxim is still as infamous as ever: “What happens in Vegas stays in Vegas.” But for worship leader Freddy Rodriguez, the vision is a little different: He wants the spirit and the songs of his impressive Integrity Music debut Light in the Darkness, which he recorded in Vegas, to shine bright like a city on a hill, both locally and beyond.
Recorded live before a packed house at The Champion Center in Las Vegas and produced by Freddy himself, Light in the Darknessis destined to become a church classic that’s brimming with congregational value and a cross-cultural vibe for universal appeal. Gospel, Latin and pop influences converge to create a heavenly sound, one that transcends ethnicities and encourages worshippers to be united in praise.
“There was so much excitement and expectation,” Freddy says of the night of the recording. “That’s going to be a weekend the church will remember for a long time! There was great unity in the environment—great enthusiasm, great support. The Spirit of God was strong.”
From top to bottom, Light in the Darknesssounds ready-made to make an impact across ethnic and generational boundaries in the Body of Christ, with its explosive blend of contemporary gospel praise in the vein of Israel & New Breed’s Live from Another Level and Martha Munizzi’s The Best Is Yet to Come.
For Freddy, the title Light in the Darkness has an even deeper implication: It almost serves as a metaphor for his own journey of faith, one that took him from a dark place of confusion and sin into God’s marvelous light.
A native of Chicago, Freddy was born into a poor Puerto Rican household, with parents who lived off of welfare and never quite lived the typical church life. His father was an occasional song leader at an old-school Hispanic congregation, but instability at home and the absence of a truly Christian upbringing rang more loudly than any song his father would sing.
His parents eventually divorced when he was 3 years old, sending the young boy on a rollercoaster of dysfunction and unsteadiness. By the time he was 13, he tried to find some refuge in music, joining his school’s choir, fostering a desire to learn piano, and reveling in the sounds of early Boyz II Men and Brian McKnight.
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