Brandon Lake, Dante Bowe, Jonathan Jay, Steffany Frizzell Gretzinger, Tony Brown
Champion is a theologically robust resurrection anthem that marries biblical imagery with energetic, gospel-influenced worship. The song draws deeply from 1 Corinthians 15 and Colossians 2, celebrating Christ's victory over death with vivid language of battle and triumph. Its christological focus is unwavering, and the lyrical craft balances poetic imagery with scriptural precision. The up-tempo energy and octave melody make it moderately challenging for congregations, and the victory language may feel disconnected from seasons of lament, but these are manageable concerns given the song's theological depth and contemporary worship appeal.
Five lenses
The song is saturated with resurrection theology drawn directly from Paul's treatment of Christ's triumph in 1 Corinthians 15:54-57 and Colossians 2:15. The central declaration that death is defeated and the grave has lost echoes Paul's taunt, 'O death, where is your victory? O grave, where is your sting?' The imagery of Christ disarming powers and authorities and making a public spectacle of them comes straight from Colossians 2:15. The song also references the stone being rolled away (Matthew 28:2), the tearing of the veil (Matthew 27:51), and Christ's authoritative name (Philippians 2:9-11). Every major theological claim is traceable to specific biblical texts, creating a comprehensive scriptural portrait of resurrection victory.
The theological arc moves from Christ's resurrection victory to the believer's present confidence in that triumph. The song is unambiguously Christ-centered, celebrating His defeat of death, sin, and the powers of darkness. There is no therapeutic drift or vague spiritual uplift, only concrete assertions about what Christ has accomplished. The song functions as a credal statement set to music, proclaiming resurrection theology with the energy of early church proclamation. The only theological caution is contextual: victory language, while biblically essential, must be pastorally timed to avoid trivializing genuine suffering.
The melody sits in a demanding range, with the chorus ascending to D5 and requiring sustained power at that height. The octave intervals and syncopated rhythmic phrasing are characteristic of contemporary gospel-influenced worship, which favors vocal agility over simplicity. Congregations with strong younger demographics or gospel choir experience will thrive; traditional or aging congregations may struggle. The verses are more accessible, providing some rest before the chorus demands return. The key of G is appropriate for the range, and transposing down would sacrifice the song's intended energy.
The lyrical craft is strong, employing vivid resurrection imagery (stone rolled, veil torn, chains broken) with theological precision. The use of battle and victory metaphors is rooted in Pauline theology, not cultural triumphalism. The song avoids cliche by grounding every image in specific biblical events. The rhythm and phrasing are energetic and propulsive, matching the resurrection theme. The only minor poetic limitation is that some phrases (like 'He's alive') are standard contemporary worship vocabulary, effective but not groundbreaking.
The song is robustly defensible on theological and scriptural grounds. Objections are likely to center on musical style (gospel-influenced energy may feel unfamiliar in traditional settings), accessibility (the melody is demanding), and contextual appropriateness (victory language in seasons of grief). Each objection is addressable with pastoral wisdom and liturgical timing.
Full analysis
Champion is a resurrection anthem that proclaims Christ's victory over death with the energy and theological precision of the early church's kerygma. The song draws its central imagery from 1 Corinthians 15, where Paul taunts death with the declaration that the grave has lost its sting. Every line is grounded in specific biblical texts: the stone rolled away (Matthew 28), the veil torn (Matthew 27:51), the disarming of powers (Colossians 2:15), and the name above all names (Philippians 2:9-11). This is not vague spiritual uplift but concrete proclamation of what Christ has accomplished in history. The theological arc moves from resurrection event to present reality, inviting the congregation to declare together that the victory won at Calvary and the empty tomb is still operative today.
The song's christological clarity is unwavering. Every assertion is about Christ: what He has done, who He is, what His victory means. There is no therapeutic drift, no turn inward to the worshiper's feelings or experiences apart from their grounding in Christ's triumph. The lyric maintains the biblical tension of proclamation and participation, the congregation declaring what Christ has done while celebrating their inclusion in that victory. The only theological caution is contextual: victory language, while biblically essential, must be pastorally timed. This is not a song for Good Friday, nor for seasons when the congregation is walking through acute grief. It is a song for moments when the church needs to remember that the outcome is certain, the victory is won, and death no longer has the final word.
Musically, the song presents both opportunity and challenge. The melody is demanding, with octave leaps and sustained high notes that will stretch many congregants beyond their comfortable range. The gospel-influenced rhythmic energy and syncopation favor younger, more vocally agile singers. However, this same energy can create communal momentum that carries participation even when technical precision falters. The song works best when the congregation understands it as corporate proclamation rather than individual performance. In settings where the style is unfamiliar, pastoral introduction and team leadership can bridge the gap, inviting the congregation into a worship tradition that has long proclaimed resurrection hope with unrelenting joy.
For Baptist worship leaders, Champion offers a chance to connect the congregation with the full biblical vocabulary of resurrection, including the triumphant, martial imagery that Paul himself employs. The song is best used on Resurrection Sunday, in sermon series on 1 Corinthians 15 or Colossians 2, or in moments when the congregation needs to lift its eyes from present struggle to ultimate victory. It pairs well with lament songs earlier in the service, creating a liturgical movement from honest suffering to certain hope. The song's gospel style also provides an opportunity to honor and learn from the Black church's faithful witness to resurrection hope through centuries of suffering. With pastoral framing and liturgical discernment, Champion can equip the congregation to proclaim with Paul: 'O death, where is your victory? O grave, where is your sting?'
Defense brief
Who raises this: Theologically trained members concerned about triumphalism or those currently walking through grief
Paul himself employs this same victory language in 1 Corinthians 15:54-57, taunting death even while acknowledging present suffering in Romans 8. The song is not claiming absence of struggle but proclaiming the certain outcome. Resurrection songs do not deny lament; they declare the hope that sustains us through it.
Use this song strategically on Resurrection Sunday, in sermon series on 1 Corinthians 15, or in moments when the congregation needs to remember the decisive victory already won. In seasons of corporate grief, pair it with lament songs or frame it with pastoral acknowledgment of present struggle.
Who raises this: Older congregants, traditional worship advocates, or those with limited vocal range
Not directly scriptural, but the history of the church includes both simple hymns and complex anthems. Psalm 150 calls for exuberant, full-bodied praise with 'loud clashing cymbals,' suggesting some worship is meant to be energetic and demanding.
Position this as a choir or team-led anthem with congregational participation on accessible sections, or use it with younger, more vocally agile congregations. Acknowledge the challenge and invite participation at whatever level is comfortable, emphasizing the proclamation over perfect pitch.
Who raises this: Members of traditional or culturally homogeneous congregations unfamiliar with Black gospel or contemporary urban worship styles
Psalm 96:1 commands us to 'sing to the Lord a new song,' and Acts 2 depicts the Spirit uniting diverse tongues and cultures in worship. The gospel tradition has deep theological roots in the Black church's proclamation of liberation and resurrection.
Introduce the song with context about Maverick City Music's mission to create diverse, multigenerational, multiethnic worship. Frame it as an opportunity to learn from and honor the worship tradition of the Black church, which has faithfully proclaimed resurrection hope through centuries of suffering.
Scripture map
Primary foundations
Supporting connections
Story behind the song
Champion emerged from the collaborative Maverick City Music sessions, which intentionally brought together songwriters and worship leaders from diverse backgrounds to create music that reflects the multigenerational, multiethnic church. The song was written during a period of intense creative output in 2020.
Maverick City Music promotional materials
The song reflects Maverick City's mission to blend contemporary worship with gospel and urban musical influences, creating a sound that honors the Black church tradition while remaining accessible to broader evangelical audiences. The energy and vocal style are intentionally rooted in gospel worship aesthetics.
Artist interviews, 2020
Champion quickly became one of Maverick City Music's most popular resurrection anthems, used widely in contemporary worship settings and particularly resonant during the COVID-19 pandemic when churches were seeking songs of hope and victory amid uncertainty and loss.
CCLI usage data and worship leader forums
Themes
Sermon series fit
Audience fit
Maturity
Accessible to all levels; the theology is deep but expressed through clear biblical proclamation rather than complex metaphor
Age group
Best suited for younger and middle-aged congregations with vocal agility; older congregants may participate selectively
Service type
Contemporary worship, gospel-influenced settings, high-energy celebration services
Visitor-friendly
Moderately visitor-friendly; the theology is clear and the energy is inviting, but the melody and style may be unfamiliar to unchurched visitors
Special contexts
Particularly powerful in multiethnic worship settings, churches seeking to diversify their musical vocabulary, and congregations recovering from loss who are ready to proclaim hope
Similar songs
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Graves into Gardens (Elevation Worship)
Yes I Will (Vertical Worship)
The Blessing (Kari Jobe)
Christ is Risen (Matt Maher)
Living Hope (Phil Wickham)
If this concerns you
Christ the Lord is Risen Today (hymn, more traditional and accessible)
Because He Lives (Bill Gaither, simpler melody)
In Christ Alone (Keith Getty, Stuart Townend, theological depth with easier melody)
Man of Sorrows (Hillsong, slower, more reflective resurrection song)
Jesus Paid It All (hymn, focused on atonement with easier singability)