Cody Carnes, Kristian Stanfill, Sean Curran
This is a robust eschatological anthem grounded in Revelation's vision of Christ, with deliberate liturgical weight and minimal theological risk. The song balances majestic adoration with corporate longing for the Second Coming, using Trinitarian formula and Messianic title with precision. The melody sits high but is manageable with key adjustment. The 31% chorus repetition and 96% corporate voice create a sustainable, unified congregational experience. Minor ambiguity in pronoun reference and the high tessitura are the only measurable concerns.
Five lenses
This song is saturated in Revelation's apocalyptic Christology and eschatological hope. The title phrase 'He who is to come' directly echoes Revelation 1:4 and 1:8's threefold descriptor of God. The phrase 'Christ the Son of man' pairs the Messianic title from Daniel 7:13 with its fulfillment in Jesus, exactly as Revelation 1:7 and 1:13 do. The bridge's 'Lord we wait' and ending's 'Come Lord Jesus come' are clear allusions to Revelation 22:20. The verse's declaration 'the old will pass away' reflects 2 Corinthians 5:17 and Revelation 21:4-5. The Hallelujah tag connects to Revelation 19:1-6's throne room worship. Every major lyrical move has traceable biblical roots.
The song maintains clear Christological focus throughout, identifying Jesus as the eternal, returning King. The theological arc moves from anticipation (verse) to adoration (pre-chorus and chorus) to intercession (bridge) to invitation (ending). The Trinitarian-style language 'He who was, He who is, He who is to come' is applied to Christ, which is biblically sound (Revelation 1:8 applies to the Almighty, Revelation 1:17-18 applies similar language to Jesus). The phrase 'Christ the Son of man' provides Christological clarity. The song resists over-realized eschatology by maintaining the 'not yet' tension: we wait, we pray, we invite His coming.
The song's 73 BPM tempo and hymn-like structure make it accessible, but the original key of B pushes the ceiling to E5, which is too high for many congregations. Transposing to A brings the range to A3-D5, which is much more sustainable. The pre-chorus uses a rhythmic, repetitive chant ('He who was, He who is') that may require initial rehearsal but becomes intuitive with repetition. The chorus melody is straightforward and anthemic. The bridge is simple and conversational. The 31% chorus repetition ratio keeps the song from feeling overly redundant while still allowing congregational mastery.
The lyric is deliberately liturgical, using repetition as a form of corporate meditation rather than filler. The title phrase 'He who is to come' is evocative and carries eschatological weight. The pairing of 'Christ' and 'Son of man' is theologically precise and poetically satisfying. The Hallelujah tag functions as a congregational acclamation, breaking the meter intentionally for worship response. The bridge's simplicity ('Lord we wait, oh we pray') is pastoral, not simplistic. The ending's repeated 'Come Lord Jesus come' is a direct Scripture quotation that doubles as corporate intercession. The 31% chorus repetition ratio is well-balanced. Cliche density is low; the language is biblical rather than formulaic.
Primarily corporate in voice. No congregational concern.
This song is defensible on nearly every front. Its Revelation-saturated language is robustly biblical. Its Christology is clear and orthodox. Its eschatological focus is balanced, maintaining both the 'already' (He who is) and 'not yet' (He who is to come) of Christ's kingdom. The most likely objections will come from those uncomfortable with overt Second Coming language or those who find the melody too high. Grammar-focused congregants may note the person-shift from third to second, but this is a recognized Psalmic convention. The song's liturgical tone may feel too formal for some contemporary services, but this is a stylistic preference, not a theological flaw.
Full analysis
This song is a deliberate exercise in biblical eschatology, drawing heavily from Revelation's apocalyptic vision of Christ's return. The title phrase 'He who is to come' is lifted directly from Revelation 1:4 and 1:8, where the threefold formula 'who is and who was and who is to come' describes the eternal God. The song applies this language to Jesus, which is theologically sound given Revelation's high Christology and Jesus' own declaration in Revelation 22:20: 'Surely I am coming soon.' The chorus pairs this with 'Christ the Son of man,' the Messianic title from Daniel 7:13-14 that Jesus used to identify Himself and that Revelation 1:7 applies to His return. The lyric is not innovating; it is echoing Scripture's own words.
The theological arc of the song is carefully constructed. The verse opens with anticipation ('There is a day coming') and prophetic declaration ('the old will pass away'), setting the eschatological stage. The pre-chorus functions as a liturgical acclamation, identifying Christ with Trinitarian-style language. The chorus names Him explicitly: 'Christ the Son of man.' The bridge shifts from declaration to intercession, expressing the church's posture of longing and prayer. The ending repeats the church's closing prayer from Revelation 22:20: 'Come Lord Jesus come.' This is not casual repetition; it is the congregation embodying the prayer of the early church. The song models how to hold eschatological hope: not as speculation but as worship, not as anxiety but as invitation.
The song's liturgical tone and structure may feel formal to some contemporary congregations, but this is intentional. The 73 BPM tempo and hymn-like phrasing create space for meditation and corporate unity. The 31% chorus repetition ratio is restrained compared to many contemporary worship songs, which can exceed 50%. The 96% corporate voice means the congregation is not singing about personal experience but declaring shared hope. The Hallelujah tag functions as a congregational acclamation, breaking the meter to allow spontaneous worship response. The bridge's simplicity ('Lord we wait, oh we pray, we're waiting on You') is pastoral, giving the congregation language for longing without over-complicating the moment.
The primary challenge for most congregations will be the melody's range. The original key of B pushes the ceiling to E5, which is too high for broad participation. Transposing to A brings the range to A3-D5, which is still ambitious but manageable for most mixed congregations. The pre-chorus rhythm is syncopated and chant-like, which may require initial rehearsal but becomes intuitive with repetition. The song rewards patient teaching and will deepen a congregation's eschatological imagination if introduced well. This is not a song for casual use; it is a song for seasons of Advent, mission emphasis, or any time the congregation needs to lift its eyes to Christ's return. It is theologically robust, pastorally sound, and congregationally sustainable with proper preparation.
Defense brief
Who raises this: Academically trained congregants, English teachers, liturgical traditionalists
This person-shifting is a recognized convention in Hebrew poetry and the Psalms. Psalm 103 opens with 'Bless the LORD, O my soul' (second person) and shifts to 'who forgives all your iniquity' (third person) and back again. Psalm 22 does the same. The shift from declaration ('He who was') to direct address ('we're waiting on You') mirrors the biblical pattern of moving from testimony to prayer.
The song follows the Psalmic tradition of shifting from declaration about God to direct address to God. The pre-chorus proclaims who Christ is; the bridge prays to Him. This is not inconsistency but progression.
Who raises this: Theologically cautious worship leaders, Trinitarian precision advocates
Revelation 1:7-8 applies the 'who is and who was and who is to come' language to 'the Almighty,' but Revelation 1:13-18 immediately identifies the Son of Man (Jesus) as the one who was dead and is alive forevermore, holding the keys of Death and Hades. Revelation 22:20 has Jesus Himself saying, 'Surely I am coming soon,' and the church responds, 'Come, Lord Jesus.' The song's chorus explicitly identifies 'He who is to come' as 'Christ the Son of man,' which is Jesus' self-identified title. The theological context is clear.
The song borrows Revelation's language for God and applies it to Christ, which is exactly what Revelation does. The phrase 'Christ the Son of man' in the same breath removes any ambiguity. This is high Christology, affirming Jesus' deity and His role as the returning King.
Who raises this: Worship leaders with aging or untrained congregations
Not applicable.
This is a valid practical concern. The original key of B pushes the melody to E5, which is too high for many congregations. Transpose to A (bringing the ceiling to D5) or even G if needed. The song's strength is in its theology and corporate voice, not in any particular key.
Scripture map
Primary foundations
Supporting connections
Story behind the song
The song was written for Passion Music's 2023 album 'God Is Good!' and reflects the Passion Conference's focus on eschatological hope and the centrality of Christ. The songwriters drew heavily from Revelation's apocalyptic language to craft a congregational anthem for the Second Coming.
Passion Music album context, 2023
Cody Carnes, Kristian Stanfill, and Sean Curran co-wrote the song, bringing together their collective experience in leading large-scale worship gatherings. The song's liturgical tone and Revelation-saturated lyrics reflect a deliberate move toward deeper theological content in contemporary worship.
Songwriting credits and artist profiles
The song has been embraced in churches seeking to recover eschatological themes in worship, particularly during Advent and mission-focused seasons. Its direct use of Revelation's language and Messianic titles has made it a teaching tool for congregations exploring apocalyptic hope.
Themes
Sermon series fit
Audience fit
Maturity
Best suited for congregations with some biblical literacy, as the song assumes familiarity with Revelation's apocalyptic language and Messianic titles. Can be used with newer believers if paired with teaching.
Age group
All ages, though the liturgical tone and theological density may resonate more with adults and theologically engaged youth.
Service type
Works well in traditional and blended services. The hymn-like structure and liturgical tone fit formal worship. May feel too formal for highly casual contemporary services unless framed well.
Visitor-friendly
Moderately visitor-friendly. The repeated 'He who is to come' and 'Come Lord Jesus come' are clear, but the pre-chorus and Messianic title may require brief explanation for unchurched visitors.
Special contexts
Excellent for Advent services, mission emphasis Sundays, ordination or commissioning services, and any gathering focused on Christ's kingship and return. The song's intercession posture makes it appropriate for prayer-focused services.
Similar songs
If you love this song
Revelation Song (Jennie Lee Riddle) - similar apocalyptic worship and Revelation focus
The Lion and the Lamb (Brenton Brown, Brian Johnson, Leeland Mooring) - Messianic imagery and corporate declaration
O Come O Come Emmanuel (traditional hymn) - Advent longing and 'Come' language
Maranatha (Cody Carnes) - eschatological theme and invitation for Christ's return
Come Thou Long Expected Jesus (Charles Wesley) - Advent hymn with Messianic titles and longing
If this concerns you
Great Are You Lord (All Sons & Daughters) - simpler melody, lower range, more accessible theological language
Goodness of God (Jenn Johnson, Brian Johnson) - personal testimony focus rather than eschatological declaration
Way Maker (Sinach) - present-tense focus on God's current activity rather than future return
Build My Life (Pat Barrett) - foundational worship with simpler Christology and more accessible melody
What A Beautiful Name (Ben Fielding, Brooke Ligertwood) - Christological focus but more narrative arc, easier melody
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