Brian Johnson, Mack Brock, Phil Wickham
A theologically robust Easter anthem that proclaims resurrection victory with biblical precision and congregational warmth. The song balances declarative truth with personal testimony, anchoring every claim in Scripture while maintaining singability. Minor range concerns are easily resolved by transposition.
Five lenses
The lyric is saturated with Easter morning narrative and Pauline resurrection theology. Direct echoes of the women at the tomb, angelic announcement, and 1 Corinthians 15 resurrection logic create a biblically grounded celebration. Every major claim traces to canonical witness.
The song proclaims resurrection as cosmic victory over sin, death, and hell, with clear substitutionary implications. The theological arc moves from tomb emptiness to present reign to eternal glorification. Christ's identity as Lion and Lamb reflects Revelation 5 imagery. The repeated confession 'our God is not dead, He's alive' functions as creedal anchor.
The melody is anthem-like with moderate intervallic leaps, accessible to congregations comfortable with contemporary ballad style. The 70 BPM tempo allows careful articulation of resurrection narrative. Verse phrases are measured and singable; the chorus builds to climactic declaration suitable for full-voice proclamation.
The lyric balances narrative specificity with poetic compression. Earthquake imagery, rolled stone, and empty tomb create visual anchors. The Lion/Lamb paradox reflects Revelation's Christology. The repeated 'He's alive' functions as both creed and crescendo. Vocabulary is accessible without being reductionistic.
This song will face minimal theological objection in Baptist contexts. The primary concern will be musical range and the repetition level common to modern worship, not doctrinal content. The resurrection proclamation is orthodox, biblical, and pastorally defensible across conservative and moderate Baptist settings.
Full analysis
This song functions as a resurrection anthem that rehearses the Easter narrative with biblical precision and congregational force. The opening references to earthquake and rolled stone place the congregation at the tomb with the women, grounding the proclamation in historical event rather than abstract theological claim. The movement from narrative to declaration mirrors the gospel structure itself: testimony leads to confession.
The central affirmation, 'our God is not dead, He's alive,' echoes the angelic announcement in Luke 24 and serves as creedal anchor for the entire song. This is not metaphorical language but historical claim. The repetition of this phrase trains the congregation in resurrection confidence, suitable for Easter and any service where the reality of the living Christ needs proclamation. The corporate voice unifies the assembly in shared witness.
The theological weight rests in the Pauline question, 'death where is your sting,' applied here to Christ's own voice. This connection between 1 Corinthians 15 and the resurrection morning creates rich intertextual resonance. The Lion and Lamb imagery draws from Revelation 5, affirming Christ's paradoxical identity as conquering King and sacrificial Savior. The song does not separate these; it holds them in biblical tension.
Musically, the 70 BPM tempo and anthem-like melody create space for proclamation without rushing the narrative. The original key of B major will require transposition for most congregations; A major is recommended to bring the ceiling note to D5. The song pairs well with traditional Easter hymns, providing contemporary counterpoint to 'Christ the Lord Is Risen Today' or 'Up from the Grave He Arose' while maintaining theological continuity. Use this song when resurrection victory needs bold, corporate declaration.
Defense brief
Who raises this: Traditional hymnody advocates, those wary of contemporary worship repetition
The repetition of 'He's alive, He's alive' mirrors the repetitive structure of Hebrew poetry and the fourfold gospel witness to the resurrection. Psalm 136 repeats 'His steadfast love endures forever' 26 times. Repetition in worship can serve catechesis and proclamation, not merely emotional escalation.
Use this song as an Easter proclamation anthem, allowing the repetition to function as congregational confession rather than performance crescendo. The repeated declaration trains the congregation in resurrection confidence.
Who raises this: Theologically trained congregants, those attentive to eschatological detail
Philippians 2:9-11 affirms that God has highly exalted Jesus and given Him the name above every name, a present reality. Hebrews 1:3 declares that after making purification for sins, He sat down at the right hand of the Majesty on high. The glorification is both accomplished fact and ongoing cosmic reality.
The phrase reflects Christ's present session and eternal reign. If teaching precision is needed, connect this line to Hebrews 1:3 and Philippians 2:9-11 in your introduction or bulletin note.
Scripture map
Primary foundations
Supporting connections
Story behind the song
The song was written collaboratively by Brian Johnson of Bethel Music, Mack Brock, and Phil Wickham as an Easter declaration anthem, bringing together writers from different worship communities to craft a unified resurrection proclamation.
Bethel Music publishing documentation
Released in 2017 on Bethel Music's 'Have It All' album, the song emerged during a period when contemporary worship was recovering more robust Easter-specific material beyond general praise themes.
Album liner notes
The song quickly became a staple for Easter services in evangelical and charismatic worship contexts, valued for its narrative clarity and congregational singability compared to more performance-oriented resurrection songs.
CCLI usage data and worship leader forums
Themes
Sermon series fit
Audience fit
Maturity
Accessible to all levels - narrative clarity and creedal simplicity make it suitable for seekers while theological depth engages mature believers
Age group
All generations - anthem style and moderate tempo work across age demographics, particularly effective with multigenerational Easter gatherings
Service type
Best suited for Easter Sunday and resurrection-focused services; also effective in evangelistic settings where resurrection proclamation is central
Visitor-friendly
High - the narrative elements and repeated declarations make it easy for unfamiliar attendees to engage quickly
Special contexts
Easter sunrise services, baptismal services (resurrection symbolism), funeral/memorial services (resurrection hope)
Similar songs
If you love this song
Living Hope (Phil Wickham) - similar resurrection focus with narrative clarity
Graves into Gardens (Elevation Worship) - resurrection imagery with corporate declaration
Glorious Day (Casting Crowns) - Easter proclamation with biographical testimony
Christ the Lord Is Risen Today (traditional) - classic hymn with similar theological content
If this concerns you
Up from the Grave He Arose (Robert Lowry) - traditional Easter hymn with stanzaic structure
The Day of Resurrection (John of Damascus) - ancient hymn with more formal liturgical language
I Know That My Redeemer Lives (Samuel Medley) - resurrection confidence without narrative detail
Christ Arose (Robert Lowry) - gospel hymn with simpler melodic structure