Nestled among Chris Tomlin’s sparkling ballads and energetic anthems are intimate glimpses into his small-town roots. Both the acoustic-kissed “Take My Life” and the twangy “Impossible Things” feel tailor-made for the kind of clapboard churches dotting the East Texas landscape where he was raised. Just as telling is “Praise the Father, Praise the Son,” a 21st-century composition that manages to channel the rustic solemnity of traditional worship.