Forrest Frank

About Forrest Frank

Forrest Frank started making music in the same place most artists do now: alone in a bedroom, laptop open, no real plan beyond seeing what happens. He grew up in Northern California, raised on a steady diet of church music and the kind of pop sensibilities that stick with you whether you want them to or not. That foundation shows up in everything he makes, even when he's working with trap-influenced beats or leaning into indie production.

He first got attention as part of the duo Surfaces, alongside Colin Padalecki. That project was all sun-soaked acoustic pop, the kind of stuff that soundtracked every optimistic Instagram story from 2019 onwards. Sunday Best became their breakout, racking up hundreds of millions of streams and landing them in that weird space where you're famous enough to headline mid-sized venues but still relatively unknown outside of playlists. The Surfaces sound was intentionally lightweight, designed to feel good without asking too much from the listener. It worked, but it also painted them into a corner.

Forrest eventually stepped away from Surfaces to pursue solo work under his own name, and the shift was immediate. He leaned harder into his faith, making music that sits somewhere between worship and bedroom pop. Lighthouse became the calling card for this new direction—a vulnerable, stripped-back track that connected with people looking for something more substantial than algorithmic chill vibes. The production got more atmospheric, the lyrics more direct. He wasn't hiding behind sunny melodies anymore.

Tracks like Sour Times and Therapy showed his range beyond the expected worship-adjacent material. Sour Times has this lo-fi melancholy that feels like late-night scrolling set to music, while Therapy plays with more propulsive rhythms, letting the beat carry as much emotional weight as the vocals. Crush and Better Days found him exploring romantic themes without losing that earnest, unguarded quality that makes his music land. There's no irony here, no winking at the camera. He means what he's saying, which in 2024 almost feels radical.

His solo work doesn't fit neatly into Christian music or indie pop. It exists in that in-between space where believers and skeptics can both find something that resonates. The production stays modern—trap hi-hats, ambient pads, the occasional guitar loop—but the core is always the song itself. He's not chasing trends so much as filtering them through his own perspective.

Right now, Forrest is building a catalog that feels cohesive without being repetitive. He's touring regularly, steadily growing an audience that seems genuinely invested rather than passively streaming. It's the kind of career that doesn't make headlines but sustains itself, which might be the smarter play anyway.

Frank's shows are low-key affairs where people actually listen. The crowd tends toward attentive silence rather than shouting along. He plays with noticeable restraint, letting the songs breathe. Not the type of set where people check their phones.

Known for Lighthouse, Sour Times, Therapy, Crush, Better Days

See Forrest Frank Live