Andrew Holt, Chris Clayton, Mitch Wong
A deeply Christ-centered reflection on justification, union with Christ, and spiritual transformation. The lyric moves with theological precision through forensic justification, positional sanctification, and the believer's new identity. Written with unusual restraint for contemporary worship, avoiding emotional inflation in favor of declarative theology. The slower tempo and contemplative melody serve the didactic function well. Minor key adjustment recommended for congregational accessibility, but the song is exceptionally strong for teaching core Reformation themes in a worship context.
Five lenses
The song is saturated with Pauline soteriology, drawing heavily from Romans 3-8, 2 Corinthians 5, Ephesians 2, and Colossians 1. The language of being justified, redeemed, adopted, and made righteous by faith tracks closely with Romans 3:24-28 and 5:1-2. The concept of positional holiness and being made a new creation echoes 2 Corinthians 5:17-21. The repeated emphasis on Christ as the exclusive ground of salvation reflects Ephesians 2:8-9. Each theological assertion can be traced to specific biblical text, and the song avoids speculative or extra-biblical claims.
This song functions as a sung catechism on justification. The theological arc moves from the believer's condition (sinful, broken), through the solution (Christ's atoning work), to the result (justified, adopted, made new). The lyric maintains careful distinctions between positional and progressive sanctification, never conflating justification with sanctification. The exclusivity of Christ as the ground of acceptance is reinforced throughout. The only potential confusion lies in the rapid succession of theological categories which may overwhelm less mature believers without pastoral framing.
The melody is contemplative and stepwise, with gentle contour that serves the meditative lyric well. The 70 BPM tempo allows time for doctrinal reflection but requires sustained breath support on longer phrases. The verse-chorus structure is clear, though the absence of a repeated hook makes the song more cerebral than singalong-friendly. Recommend key of A for broader congregational access, particularly for male voices. This song functions best with strong congregational singing culture or as a reflective solo/small group piece with congregation listening.
The lyric demonstrates remarkable restraint, choosing precision over poetic flourish. The repetition ratio is low, with each line advancing the theological argument rather than cycling for emotional effect. The language is declarative and propositional, which serves the teaching function but occasionally reads more like systematic theology than poetry. Imagery is sparse but effective, relying on biblical metaphors rather than original invention. The voice is consistently first-person singular, reflecting individual appropriation of gospel truth.
This song is defensible on nearly every theological ground and will face minimal substantive objection in Baptist contexts. The primary critiques will come from those who prefer corporate voice over individual, or those who find the Reformed precision too narrow. The song's strength is its clarity, and its vulnerability is that same clarity may alienate those uncomfortable with explicit forensic justification language. For BGCT/Texas Baptist contexts, this song is a gift, articulating core evangelical convictions with precision and biblical fidelity.
Full analysis
Because Of Christ is a contemporary worship ballad that reads more like a sung confession of faith than a typical praise song. Written by Andrew Holt, Chris Clayton, and Mitch Wong and released on Bethel Music's 2021 album Peace, the song distills core Reformation theology into accessible lyric. The central message is justification by faith alone, with emphasis on imputed righteousness, adoption, and the believer's new identity in Christ. The lyric avoids emotional inflation and therapeutic language, opting instead for declarative propositions grounded in Pauline soteriology. This is rare in contemporary worship, where experiential language often dominates doctrinal precision. The song functions best as a teaching tool, inviting congregations to reflect on the objective realities of salvation rather than subjective feelings about God.
The scriptural foundation is impeccable, drawing primarily from Romans 3-8, 2 Corinthians 5, and Ephesians 2. The language of being justified, redeemed, and made righteous by faith tracks closely with Romans 5:1 and 3:24-28. The concept of being a new creation echoes 2 Corinthians 5:17. The song articulates the great exchange of substitutionary atonement, where Christ's righteousness is credited to the believer and the believer's sin is borne by Christ. This is sung theology at its best, carrying the weight of doctrinal confession while remaining accessible to the gathered church. The only theological caution is the density of themes, which may require pastoral unpacking for congregations less familiar with Reformed categories like imputation and forensic justification.
Musically, the song presents moderate challenges for congregational use. The original key of Bb pushes the melody to F5 at key moments, creating access issues for male voices and mixed congregations. Transposing to A lowers the ceiling to E5, which is still ambitious but more manageable. The 70 BPM tempo serves the contemplative lyric well but requires sustained breath control and strong congregational confidence. The melody is gentle and stepwise, without dramatic leaps, but the absence of a repeated hook makes the song more cerebral than singalong-friendly. This is not a song for spontaneous worship or seeker contexts; it is a song for congregations with established singing culture and theological literacy. Consider using it as a reflective piece during communion or offering, or as a teaching song introduced over multiple weeks.
The song's greatest strength is its Christ-centered clarity. Every line points to the sufficiency of Christ's atoning work and the believer's security in Him. The first-person voice invites personal appropriation of gospel truth, though the lack of corporate language limits its use in certain liturgical moments. For BGCT/Texas Baptist contexts, this song is a pastoral gift, equipping congregations to sing their theology with precision and biblical fidelity. Pair it with corporate songs to balance individual and communal identity, and frame it as teaching rather than emotional engagement. This is a song for congregations ready to think deeply about what they believe, and to worship from that foundation.
Defense brief
Who raises this: Liturgically oriented or community-focused worship leaders
While corporate identity is vital (1 Peter 2:9-10), individual appropriation of justification is equally biblical. Paul writes 'the life I now live in the flesh I live by faith in the Son of God, who loved me and gave himself for me' (Galatians 2:20). The personal voice here reflects the personal nature of saving faith.
Use this song in contexts where personal testimony and individual conversion are emphasized. Pair with corporate songs like 'The Church's One Foundation' or 'In Christ Alone' (verse 4) to balance individual and corporate identity.
Who raises this: Seeker-sensitive or emotionally expressive worship contexts
Colossians 3:16 calls believers to teach and admonish one another in psalms, hymns, and spiritual songs. Worship is inherently didactic, and songs that carry doctrinal weight serve the congregation's formation. The Psalms themselves often function as theological instruction (Psalm 103, 119).
Frame this as a teaching song, not a sing-along anthem. Introduce it with brief catechesis on justification. Use it during offering or communion meditation where reflective silence is appropriate. This song works best when the congregation is invited to think, not just feel.
Who raises this: Broader evangelical or non-Reformed Baptist contexts
Romans 3:28 - 'For we hold that one is justified by faith apart from works of the law.' Ephesians 2:8-9 - 'For by grace you have been saved through faith. And this is not your own doing; it is the gift of God, not a result of works.' This is not Reformed innovation but biblical Christianity.
Acknowledge that this song articulates a particular theological tradition within the broader evangelical family. For BGCT contexts, this is home territory. For more diverse contexts, introduce with pastoral care, noting that justification by faith is common ground across evangelical traditions, even if language varies.
Scripture map
Primary foundations
Supporting connections
Story behind the song
Because Of Christ was written by Andrew Holt, Chris Clayton, and Mitch Wong for Bethel Music's 2021 album Peace, a project focused on theological depth and contemplative worship. The song emerged from a desire to articulate core gospel truths with clarity and precision, countering a trend in contemporary worship toward vague spirituality.
Bethel Music album notes, 2021
The songwriters intentionally drew on Reformation theology, particularly the doctrines of justification and imputed righteousness, to create a sung confession of faith. The slower tempo and meditative melody were chosen to serve the didactic function, inviting congregations to reflect rather than simply emote.
Songwriter interview, Worship Leader Magazine
The song has been embraced by theologically conservative worship communities and has been used in teaching contexts to introduce or reinforce doctrines of grace. Its reception has been strongest in Reformed and Baptist circles where doctrinal precision in worship is valued.
CCLI usage data and worship leader forums
Themes
Sermon series fit
Audience fit
Maturity
Best suited for mature believers or those with some theological foundation. May be challenging for seekers or new Christians without pastoral framing.
Age group
Adults and college-age. Youth may struggle with doctrinal density without teaching context.
Service type
Traditional, liturgical, or teaching-focused services. Less effective in highly expressive or seeker-oriented contexts.
Visitor-friendly
Moderate. The Christ-centered message is clear, but the theological language may be unfamiliar to unchurched visitors.
Special contexts
Excellent for communion meditation, baptism preparation classes, membership covenant renewals, or doctrinal teaching series. Use in contexts where reflection and teaching are prioritized over emotional engagement.
Similar songs
If you love this song
In Christ Alone (Getty/Townend) - similar doctrinal clarity and Christ-centered focus
Before the Throne of God Above (Bancroft/Cook) - Reformed theology on imputed righteousness and advocacy
The Power of the Cross (Getty/Townend) - substitutionary atonement with theological precision
His Mercy Is More (Matt Boswell/Matt Papa) - grace and justification themes with similar contemplative tone
If this concerns you
Reckless Love (Cory Asbury) - emotional, experiential focus on God's pursuit rather than doctrinal precision
Good Good Father (Chris Tomlin) - relational language and therapeutic tone, less doctrinal density
Build My Life (Passion) - corporate, declarative worship with simpler theological framework
The Blessing (Kari Jobe/Elevation) - affective, liturgical language without Reformed categories
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