David Leonard, Jack Mooring, Leeland Mooring, Leslie Jordan
This is a deeply scriptural prayer-song built on the framework of St. Patrick's Breastplate, adapted for congregational worship. Its theological content is rich, rooted in the Christological hymn of Colossians and the incarnational theology of John's Gospel. The melody is accessible, the lyric singable, and the devotional tone fits both corporate and individual worship contexts. Minor deductions reflect the song's meditative pace and the challenge some congregations face with sustained vertical address.
Five lenses
The lyric is saturated with Pauline Christology. The invocation of Christ as Creator, Sustainer, and ever-present Lord mirrors Colossians 1:16-17 with fidelity. References to Christ being 'in all things' and the hope of His glory within believers connect directly to Colossians 1:27. The spatial language of Christ being 'above, below, before, behind' echoes both the Psalmic tradition of God's omnipresence (Psalm 139:5) and the Celtic Christian prayer tradition rooted in scriptural themes. The incarnational theology is sound, affirming Christ's presence in the believer and around the believer as both transcendent and immanent.
This song passes the radio test decisively. A listener unfamiliar with the church context would hear a clear affirmation of Christ's deity, creative work, sustaining power, and personal presence. The theological arc moves from cosmic Christology (creation and sustaining) to personal indwelling (Christ in me) to perpetual dependence (I need You). The song avoids vague spirituality and maintains a Christ-centered focus throughout. The repetition of 'I need You' roots the lyric in dependent relationship, not self-actualization.
The song sits comfortably in D major with a range from A3 to E5, which is well within most congregational capabilities. The melody is stepwise and predictable, making it easy to learn. The tempo of 75 BPM supports contemplative singing, though it requires sustained breath control in longer phrases. The final chorus reaches E5, which may be at the upper edge for some male voices, but the melody allows for octave doubling. The song works well in both full-band and acoustic settings.
The song employs spatial imagery with skill, invoking 'above and below, before and behind' in a way that evokes both Psalm 139 and the historic St. Patrick's Breastplate. The repetition is purposeful rather than filler, reinforcing dependence and need. The voice is consistently individual, which fits the prayer-song genre. The grammar is clean, the syntax natural, and the rhyme scheme unforced. The imagery of Christ 'in my waking, in my sleeping' connects daily life to divine presence without cliche.
This song is defensible on all fronts. The theology is orthodox, the Scripture connections are clear, and the devotional tone is rooted in both biblical and historic Christian prayer traditions. Likely objections will come from those who prefer corporate voice over individual testimony or from those unfamiliar with Celtic Christian prayer forms. The song's slower pace may also draw critique from congregations that prefer energetic, declarative worship. Each concern is answerable with biblical and historical precedent.
Full analysis
This song is a contemporary rendering of ancient Christian prayer, drawing from both Scripture and the Celtic Christian tradition. The lyric is built on the Christological hymn of Colossians 1:15-20, affirming Christ as Creator, Sustainer, and indwelling presence. The spatial imagery of Christ being 'above and below, before and behind' echoes Psalm 139:5 and the historic St. Patrick's Breastplate, a fifth-century prayer that invokes Christ's presence in every dimension of life. This is not vague spirituality but deeply rooted theology.
The theological arc of the song moves from cosmic to personal, beginning with the affirmation that 'by Him all things were made' and 'in Him all things hold together,' then transitioning to the personal experience of 'Christ in me, Christ in my waking.' This mirrors the biblical pattern seen in Ephesians 1, where Paul moves from cosmic election to personal salvation. The repetition of 'I need You' is not shallow emotionalism but biblical dependence, echoing Jesus' words in John 15:5 that apart from Him we can do nothing.
The song's singability is strong, with a comfortable range and accessible melody. The tempo of 75 BPM supports contemplative singing, though it requires sustained breath control in longer phrases. The final chorus reaches E5, which may challenge some male voices, but the melody allows for natural octave doubling. The song works well in both full-band and acoustic settings, and its meditative pace makes it ideal for communion, prayer response, or reflective moments in worship.
Likely objections will come from those unfamiliar with prayer-song forms or those who prefer corporate declaration over personal petition. The song's individual voice is appropriate for the genre and is rooted in biblical precedent (Psalms 27, 63, 84). The slower pace may also draw critique from congregations that prefer energetic worship, but this reflects a misunderstanding of the song's purpose. Not all worship is celebratory; some is meditative and reflective, as Scripture affirms in Psalm 46:10. Use this song strategically in the set to provide contrast, depth, and space for personal encounter with Christ.
Defense brief
Who raises this: Liturgical traditionalists or those who prefer corporate declaration
The Psalms frequently shift between corporate and individual voice, and many biblical prayers are voiced in the first-person singular even in corporate worship (Psalm 27, Psalm 63, Psalm 84). Jesus Himself modeled this in His high priestly prayer (John 17).
This song functions as a corporate prayer in which each believer voices personal dependence on Christ. The repetition of 'I need You' is not individualism but biblical humility, echoing Jesus' words in John 15:5: 'Apart from me you can do nothing.'
Who raises this: Theologically cautious members concerned about precision
The language of divine omnipresence is thoroughly biblical. Psalm 139:5 declares, 'You hem me in, behind and before.' Colossians 1:17 states, 'In him all things hold together.' The song is not saying Christ is in all things as substance but that He sustains all things and is present with His people.
This is the language of divine omnipresence and sustaining power, not pantheism. The song echoes both Scripture and the historic Celtic Christian prayer tradition, which used spatial language to affirm God's nearness and sovereignty.
Who raises this: Worship leaders or congregants who prefer energetic, rhythmically driven worship
Scripture calls for diverse expressions of worship, including contemplative prayer (Psalm 46:10, 'Be still and know that I am God'). Not all worship is celebratory; some is meditative and reflective.
This song serves a different purpose than high-energy praise songs. It creates space for contemplative prayer and personal reflection, which is a biblical form of worship. Use it strategically in the set to provide contrast and depth.
Scripture map
Primary foundations
Supporting connections
Story behind the song
The song was written by the husband-and-wife team of David Leonard and Leslie Jordan (now Leslie Jordan Miller) along with Leeland Mooring and Jack Mooring. It emerged from a season of personal and corporate reflection on the sufficiency of Christ in all things, drawing inspiration from both Colossians 1 and the ancient Celtic prayer tradition.
Worship Together interviews and album notes
Released in 2012 as part of a standalone EP, the song became widely used in evangelical and Baptist churches for its theological depth and meditative quality. It was particularly embraced in communion services and prayer response moments.
CCLI usage data and worship leader forums
The spatial imagery of 'above and below, before and behind' intentionally echoes St. Patrick's Breastplate, a fifth-century Celtic Christian prayer, bridging ancient devotion with contemporary worship expression. This connection to historic prayer forms gave the song a timeless quality that resonated across denominational lines.
Artist interviews and songwriter commentary
Themes
Sermon series fit
Audience fit
Maturity
Suitable for all levels; the theology is accessible yet deep enough for mature believers.
Age group
All ages; the meditative pace may resonate more with adults and older students.
Service type
Traditional, Contemporary, Blended; works well in contemplative or liturgical contexts.
Visitor-friendly
Moderately visitor-friendly; the slower pace and prayer-song form may feel unfamiliar to unchurched visitors but is not inaccessible.
Special contexts
Ideal for communion, prayer response, altar call, or reflective moments in worship. Also suitable for smaller gatherings or acoustic worship settings.
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If you love this song
Anchor - Hillsong Worship
His Heart Beats - Andrew Peterson
In Christ Alone - Keith Getty and Stuart Townend
Lord, I Need You - Matt Maher
If this concerns you
O Worship the King - Robert Grant (traditional hymn with corporate voice)
All Creatures of Our God and King - St. Francis of Assisi (corporate praise)
Revelation Song - Jennie Lee Riddle (high-energy corporate worship)