I thought "Man of Sorrows Glorious King" was a new composition by Potter until I found it in older hymnal. This Philip Bliss text and tune could be used by liturgical Christians in Lent if the closing phrase, "Hallelujah, what a Savior" had a seasonal substitute: "Lord, have mercy, what a Savior."
Hymns on this recording are accompanied by the typical modern pop/rock ensemble of keyboard, voice, guitar(s), and drum set. I don't find the drum set or distorted guitar reverent for Divine Service or Divine Office on the Lord's Day, but I need to realize what these other artists, congregations and traditions have become accustomed to on Sunday mornings at worship over the last 50 years. This is definitely a step forward.
Listeners will hear more familiar hymns like "All Creatures of Our God and King," Rock of Ages," "Come Thou Long Expected Jesus," There Is a Fountain," Guide Me O Thou Great Jehovah," and Be Thou My Vision" alongside "You Are the One" and "The Greatness of His Mercy." The album concludes with acoustic arrangements of "Man of Sorrows," "You Are the One," and "The Greatness of His Mercy." I am more worshipful with those versions because I find natural sounds (even if amplified for clarity of communication) more appropriate than artificial ones (and that includes electronic organs, too).
David Potter's album is representative of hymnody resurgent. He reinterprets hymns from his own Christian tradition by changing the instrumentation, harmonies, arrangments, and often the melody to communicate and worship with a new generation of Christians seeking something of substance in theology and praise.
Hymnody resurgent borrows some techniques from historic Christian worship and so-called contemporary worship, as does the modern hymnody of Keith Getty and Stuart Townend et al. One will hear musical interludes in-between hymn stanzas (like traditional Lutheran organ playing). One will also note new or altered melodies (not unlike tone painting to emphasize texual phrases or entire hymn stanzas) and the addition of refrains to encourage congregational singing.
As an album, Man of Sorrows Glorious King is an example of the resurgence of the theology of the cross and a better theology of worship in American Evangelicalism. I'll be listening for more from David Potter.