Chris Tomlin, Jess Cates, Jordan Mohilowski
A high-energy celebration song built on Psalm 133's vision of unity, theologically grounded and emotionally engaging. The communal focus and driving rhythm make it ideal for creating congregational momentum. Minor range considerations and one ambiguous pronoun reference are its only weaknesses, neither disqualifying.
Five lenses
This song draws deeply from Psalm 133:1, celebrating unity among believers as precious and delightful. The repeated frame of 'how good and pleasant' is direct quotation. The theological connection between unity and divine presence reflects both the Psalm 133 oil-and-dew imagery and New Testament ecclesiology where God dwells among his gathered people. The refrain anchors corporate worship in the goodness of communal praise, echoing the Psalter's frequent calls to gathered worship. One line referencing 'you' could be heard as addressing either God or fellow believers, though worship context typically clarifies this toward God's presence.
The song articulates a robust theology of corporate worship where God's presence inhabits the unified praise of his people. This reflects the biblical pattern where God dwells among his gathered community (Matthew 18:20, Ephesians 2:22). The theological arc moves from observing the goodness of unity to experiencing the presence that unity hosts. The focus on communal gathering as inherently worshipful corrects individualistic distortions of faith. The song never suggests unity for unity's sake, but unity as the context for encountering God. The energetic, celebratory tone matches the Psalm's own exuberance about this reality.
The melody is accessible with a memorable hook, and the driving rhythm creates natural congregational momentum. However, the original key of F pushes the ceiling to F5, which will strain mixed congregations, particularly men singing the melody an octave down who must reach F4 repeatedly. Dropping to E key brings the ceiling to E5, still energetic but more sustainable. The 130 BPM tempo and continuous energy demand good breath support and stamina. The repetitive structure aids memorability, and the song invites physical engagement (clapping, movement) that can carry less confident singers. Best suited for congregations comfortable with uptempo contemporary worship.
The poetic approach is direct and celebratory, prioritizing clarity and singability over elaborate imagery. The repetition of the Psalm 133 frame creates a memorable anchor. The voice is entirely corporate throughout, with consistent 'we' and 'us' language that reinforces the unity theme. The song avoids cliche while also avoiding complex metaphor, landing in a middle space of accessible celebration. The rapid tempo and energetic delivery mean the lyrics function more as declarations than contemplative poetry, which is appropriate to the song's purpose. No grammatical issues present.
Most objections will be musical rather than theological. The song's celebration of unity is biblically grounded and theologically sound. The one pronoun ambiguity is minor and resolved by context. The high energy may not suit every congregation's culture, but this is a preference issue, not a theological one.
Full analysis
How Good It Is draws its core theological content from Psalm 133:1, which celebrates the goodness and pleasantness of unity among God's people. The song takes this Old Testament image of brothers dwelling together and translates it into a contemporary worship celebration of gathered, unified praise. The theology is sound and scripturally grounded: the song does not celebrate unity as an end in itself, but as the relational context in which God's people encounter his presence. This reflects Jesus' promise in Matthew 18:20 and the New Testament vision of the church as a dwelling place for God's Spirit (Ephesians 2:22). The repeated frame of 'how good and pleasant' is direct quotation, anchoring the song firmly in biblical language.
The song's theological arc moves from observation to experience: it begins by declaring the goodness of unity, then invites the congregation into the lived reality of that unity through corporate praise, and concludes with sustained celebration of the presence that inhabits that praise. This structure is pastorally effective, moving worshipers from cognitive affirmation to participatory engagement. The energetic tempo and driving rhythm reinforce the theme, creating a sense of momentum and communal energy that embodies the unity being celebrated. The entirely corporate voice (consistent 'we' and 'us' language) reinforces the theme throughout, never slipping into individualistic language.
Musically, the song's accessibility is its strength, though the range presents challenges. The original key of F pushes the ceiling to F5, which will strain many congregations, particularly men singing melody an octave down. Dropping to E key brings the ceiling to E5, still energetic but more sustainable for mixed voices. The 130 BPM tempo and continuous energy demand stamina and breath support; this is not a song for congregations new to uptempo contemporary worship. However, the repetitive structure aids memorability, and the song's infectious energy can carry less confident singers along. The melody is simple and memorable, with the chorus hook easy to learn after one hearing.
The primary pastoral consideration is context. This song thrives in services where high energy is appropriate and where the congregation is already engaged. It is less suited to contemplative services or moments requiring introspection. The one minor theological watchpoint is ensuring that the service context makes clear the ultimate object of worship is God, not the experience of unity itself, though the song's own lyrics point toward God's presence as the reason unity matters. The song is a celebration, and like all celebrations, it assumes participants understand what is being celebrated. Used with that pastoral awareness, it is a strong tool for creating congregational momentum and embodying the unity it sings about.
Defense brief
Who raises this: Theologically cautious members concerned about worship becoming self-focused
Psalm 133 itself celebrates the goodness of unity among God's people as a reflection of divine blessing. The New Testament repeatedly connects corporate unity with God's presence (Matthew 18:20, John 17:20-23, Ephesians 4:3-6). The song does not celebrate unity for its own sake but as the context in which God's people encounter his presence.
This song captures the biblical vision where unity among believers is both a command and a gift, and where God promises to dwell among his gathered people. It's not either/or, it's both/and: we gather in unity to worship God, and in that unity, we experience his presence.
Who raises this: Liturgically attentive members or worship committee
The Psalms frequently shift between third-person description and second-person address (Psalm 22, 42, 103), a recognized convention of Hebrew poetry. The line in question, in worship context, is understood as addressing God's presence among the gathered people.
This follows a Psalmic pattern of describing God's presence and then turning to address it directly. The song's overall context makes clear that the ultimate audience is God, even when the language celebrates what happens when we gather in his name.
Scripture map
Primary foundations
Supporting connections
Story behind the song
How Good It Is was written for Chris Tomlin's 2015 album Love Ran Red, which focused on the cross and the Christian community formed by Christ's sacrifice. The song emerged from a desire to capture the joy and energy of corporate worship gatherings.
Album context, Love Ran Red release materials
The song was co-written with Jess Cates and Jordan Mohilowski, both experienced worship songwriters. The direct use of Psalm 133 was intentional, bringing ancient Hebrew worship language into contemporary church settings.
Songwriting credits and worship songwriter interviews
The song became a staple in many contemporary worship settings for its ability to create congregational energy and celebrate the experience of gathered worship. Its uptempo style and celebratory tone made it particularly effective for opening worship sets.
Worship leader community reception and usage patterns
Themes
Sermon series fit
Audience fit
Maturity
Accessible to all levels; the simplicity serves both new believers and mature saints
Age group
Particularly effective with younger and middle-aged adults; older congregations may find the tempo and energy level challenging
Service type
Contemporary services, youth gatherings, large corporate worship settings where energy and movement are welcomed
Visitor-friendly
Very high - the repetitive structure and celebratory tone are inviting and easy to join without prior familiarity
Special contexts
Ideal for church gatherings emphasizing community, multi-site church celebrations, worship conferences, or services following significant corporate experiences
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All My Hope - Crowder
House of the Lord - Phil Wickham
Build Your Kingdom Here - Rend Collective
If this concerns you
Behold Our God - Sovereign Grace Music (more explicitly God-focused)
Come Thou Fount - traditional hymn (corporate worship with more contemplative pace)
May the Peoples Praise You - Keith & Kristyn Getty (unity theme with slower, more reflective approach)
Better Is One Day - Matt Redman (temple/presence theme with more individual devotion)