Abbie Gamboa, David Funk, Gabriel Gamboa, Oscar Gamboa
A scripturally saturated, Christ-exalting meditation that brings Hebrews 12:1-3 into congregational focus with theological precision and worshipful restraint. The song sustains a single biblical theme without dilution, inviting believers to fix their eyes on Jesus through contemplative repetition. Singability and lyric density require intentional teaching, but the theological payoff is substantial. This is a discipling song for a mature or maturing congregation.
Five lenses
The song is a direct exposition of Hebrews 12:1-3, with layers drawn from Philippians 2:5-11, Isaiah 53, and Colossians 1. Nearly every phrase echoes or directly quotes Scripture. The lyric faithfully presents Christ as the pioneer and perfecter of faith, the one who endured the cross and scorned its shame, now seated at the right hand of God. The call to consider Him anchors the entire song in the apostolic imperative of Hebrews 12:3. This is expositional worship at its best.
The song maintains a laser focus on the person and work of Christ, specifically His substitutionary suffering, His victorious resurrection, and His present session at the Father's right hand. The theological arc moves from incarnation through passion to exaltation, mirroring the Christ-hymn of Philippians 2. The lyric resists therapeutic reduction or self-centered application, instead inviting the congregation to gaze at Christ as both exemplar and savior. The call to consider is both intellectual and affectional, a summons to contemplative worship that aligns with historic Baptist emphasis on the centrality of Christ.
The melody sits in a moderate range but requires sustained breath and careful phrasing. The original key of D pushes the upper ceiling to D5, which will strain mixed congregations. Dropping to C major (range G3-C5) improves accessibility significantly. The tempo of 86 BPM supports contemplative pacing but also demands vocal stamina over longer phrases. This is not a song that congregations will sing confidently on first encounter. It requires teaching and repetition to internalize both melody and lyric density. Once learned, it becomes a powerful tool for meditative worship.
The lyric is scripturally saturated and theologically rich, with nearly zero cliche density. Imagery is drawn directly from biblical text: the cross, the throne, the joy set before Him, the shame scorned. The voice alternates between corporate declaration and individual meditation, creating a layered worship experience. Repetition is purposeful, reinforcing the imperative to consider Christ without lapsing into filler. The grammar is clean, and the poetic structure supports the theological content rather than overshadowing it. This is disciplined, worshipful poetry.
The song will face two primary objections: the contemplative pacing may feel slow or inaccessible to congregations expecting more energetic praise, and the third-person Christological language may be questioned by those who expect all worship to be direct address. Both objections are answerable with scriptural precedent and pastoral framing. The song models the apostolic imperative to fix our eyes on Jesus, and its meditative character aligns with historic practices of corporate contemplation. The theological content is beyond reasonable critique.
Full analysis
Consider Him is a rare example of expositional worship, taking a single biblical text (Hebrews 12:1-3) and unpacking it with lyrical faithfulness and theological precision. The song does not merely reference Scripture; it inhabits it, inviting the congregation to dwell in the apostolic command to fix their eyes on Jesus. Every line serves the central imperative: consider the One who endured hostility, scorned shame, and now sits enthroned. This is not a song about our experience of worship but about the object of worship Himself. The Christology is rich, the soteriology is clear, and the corporate call to contemplation is both pastoral and prophetic.
The theological arc follows the classic descent-ascent pattern of Philippians 2, moving from incarnation through suffering to exaltation. The lyric draws heavily from Isaiah 53's suffering servant, Hebrews 12's pioneer of faith, and Colossians 1's cosmic Christ. The song resists therapeutic reduction, never collapsing into vague emotionalism or self-focused application. Instead, it sustains a gaze outward, toward the One who for the joy set before Him endured the cross. This is worship as reorientation, calling the congregation to shift their attention from their own weariness to the greater endurance of Christ. The pastoral wisdom here is profound: the antidote to spiritual fatigue is not self-care but Christ-consideration.
Musically, the song requires investment. The melody is accessible but not simplistic, and the extended phrasing demands breath control and attentiveness. The contemplative tempo of 86 BPM supports the meditative character but will feel slow to congregations accustomed to rapid lyric turnover. The original key of D pushes the upper range to D5, which will challenge many congregants. Dropping to C major (range G3-C5) improves singability without sacrificing the song's reflective tone. This is not a song for first-time visitors or congregations expecting instant accessibility. It is a discipling song, one that rewards teaching and repetition. Leaders should introduce it with context from Hebrews 12 and allow the congregation to grow into it over multiple weeks.
The defense brief addresses two predictable objections: the shift between second-person and third-person address, and the slower tempo. Both are answerable with scriptural precedent. The Psalms regularly move between addressing God and testifying about Him, and the meditative posture aligns with the biblical command to be still and know. The song will not fit every worship moment, but when the congregation is prepared for contemplative engagement, it becomes a powerful tool for fixing their gaze on Christ. This is a song for mature believers and maturing congregations, one that models the kind of sustained scriptural meditation that Baptist worship at its best has always valued. Use it with intentionality, teach it with care, and it will deepen the congregation's vision of the One who endured the cross and now reigns in glory.
Defense brief
Who raises this: Liturgically trained worship leaders or congregants who expect consistent second-person address in worship songs
Psalm 103 models this exact pattern: 'Bless the Lord, O my soul' (second person) shifts seamlessly to 'who forgives all your iniquity' (third person description). Psalm 22 does the same. The Psalter regularly moves between doxological address and testimonial declaration. Hebrews 12:2-3 itself is third-person description, not direct address, yet it functions as worship by directing the gaze of the worshiper toward Christ.
This song invites us to do what Hebrews 12 commands: to consider Jesus, to fix our eyes on Him. Sometimes we sing to Him directly, and sometimes we sing about Him to one another, stirring each other up to focus on His finished work. Both are biblical forms of worship.
Who raises this: Congregants accustomed to high-energy praise or those who associate slower tempos with funeral dirges rather than worship
Psalm 46:10 commands, 'Be still, and know that I am God.' Contemplation is a biblical posture, not a cultural preference. The song reflects the meditative tone of Hebrews 12:2-3, which calls believers to sustained consideration, not fleeting emotional response. The joy of the Lord is not always expressed in tempo but in theological depth and the wonder of beholding Christ.
This song invites us to slow down and gaze at Jesus. In a culture of distraction, fixing our eyes on Him requires intentional focus. The tempo supports that focus. This is celebration through contemplation, joy expressed in sustained attention to the One who endured the cross for us.
Scripture map
Primary foundations
Supporting connections
Story behind the song
The song emerged from the Gamboa family's extended meditation on Hebrews 12, written as a response to seasons of personal and communal suffering. The writers sought to create a congregational tool for fixing attention on Christ's endurance rather than on present difficulties.
Artist interviews and album context
Released in 2022 as part of the Consider Him album, the song reflects a broader movement within contemporary worship toward slower, more contemplative expressions that prioritize theological depth over accessibility.
Album liner notes
The song has been embraced by worship leaders seeking to introduce Hebrews-based Christology into congregational singing, particularly in contexts where sustained scriptural meditation is valued over rapid lyric turnover.
Worship leader forums and CCLI usage data
Themes
Sermon series fit
Audience fit
Maturity
Mature believers or maturing congregations comfortable with sustained scriptural meditation
Age group
All ages, though the contemplative pacing may resonate more with adults and older youth
Service type
Traditional, liturgical, or contemplative services; less suited for high-energy or seeker-focused gatherings
Visitor-friendly
Moderate; requires context and teaching to engage first-time participants
Special contexts
Communion services, Good Friday observances, or teaching-focused worship gatherings
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If this concerns you
O Praise the Name (Hillsong)
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