Matt Boswell, Matt Papa
This is a theologically rich, biblically saturated Christmas hymn that traces redemptive history from creation to incarnation with exceptional doctrinal precision. The song excels in scriptural fidelity, theological clarity, and poetic craftsmanship. Its hymnic structure and historical vocabulary may require initial familiarity for some congregations, but it rewards patient teaching. A robust addition to any church's Christmas repertoire, particularly for congregations that value deep theology in accessible hymnody.
Five lenses
This song is a masterclass in biblical theology, weaving Galatians 4:4-5, Genesis 3:15, Isaiah 7:14, Luke 2:11, and incarnational theology into a seamless narrative. The title phrase 'in the fullness of time' is Paul's redemptive-historical language from Galatians 4:4, framing the entire song within the divine timeline of salvation. The lyric traces the promise-to-fulfillment arc across Scripture: the curse of Genesis, the virgin birth of Isaiah, the angel's announcement in Luke, and the cosmic implications of Colossians 1. Every major affirmation is biblically grounded, from the protoevangelium to the hypostatic union.
The song presents orthodox Christology with remarkable precision: Jesus is fully divine ('God with us'), fully human ('born of a virgin'), and the appointed Savior ('sent to save and to redeem'). The theological arc moves from creation through fall, promise, incarnation, and cosmic victory. The hypostatic union is clearly affirmed, substitutionary atonement is implied in the redemption language, and the defeat of Satan is celebrated. The song avoids sentimentality and therapeutic reductionism, keeping Christ's person and work central. It passes the radio test decisively: this is unmistakably about Jesus, His identity, and His saving mission, with no ambiguity about who is being worshiped or why He came.
This is elegant, theologically precise hymnody in the tradition of Wesley and Watts. The lyric employs elevated language ('fullness of time,' 'ancient serpent,' 'eternal plan') without becoming archaic or pretentious. Imagery is concrete and biblical: the serpent's wound, the virgin's womb, the cross implied in redemption language. The chorus repetition ratio of 0% indicates a verse-based structure with no repeated chorus, which is classic hymn form and allows for cumulative narrative development. Poetic devices include alliteration ('serpent's... strike'), theological parallelism (promise and fulfillment), and rhythmic consistency. The song avoids modern worship cliches entirely; there is no 'falling on our knees' or 'lifting higher' language. This is substantive poetry in service of doctrine.
The most likely objections to this song will come from those accustomed to contemporary worship's relational language who find third-person narrative unfamiliar, or from pragmatists who prefer immediately accessible melodies over hymnic structures. Both objections are answerable. The song stands firmly within historic Baptist hymnody and teaches doctrine through sung Scripture. It is defensible on every theological and liturgical ground.
Full analysis
In The Fullness Of Time is a theologically rigorous modern hymn that recounts the incarnation within the sweep of redemptive history. Written for the 2019 Hymns of the Christ project, the song demonstrates what happens when skilled hymn writers bring both biblical literacy and poetic craft to bear on central Christian doctrine. The structure is narrative and declarative: each verse traces the unfolding of God's eternal plan from creation's curse through prophetic promise to the birth of Christ. The absence of a repeated chorus is intentional; this is classic hymn form, where cumulative verses build a complete theological statement rather than circling back to an emotional refrain. The song teaches while it worships, embodying the Colossians 3:16 vision of congregational singing as mutual instruction in the faith.
The scriptural foundation is exceptional. The title itself is Pauline theological vocabulary from Galatians 4:4, and the lyric weaves together Genesis 3:15 (the protoevangelium), Isaiah 7:14 (virgin birth prophecy), Luke 2:11 (the angel's announcement), and incarnational theology from John 1 and Philippians 2. The phrase 'ancient serpent's fatal wound' is a christological reading of Genesis 3:15, interpreting the curse narrative through the lens of Christ's victory. The affirmation 'born of a virgin' is direct fulfillment language, and 'God with us' echoes Matthew 1:23. Every major line is traceable to specific biblical texts, making this song a catechetical tool as much as a worship vehicle. Baptist congregations that value biblical literacy and theological substance will find this song exceptionally rewarding.
The theological clarity is equally strong. The song presents orthodox Christology without ambiguity: Jesus is fully God ('God with us'), fully human ('born of a virgin'), sent on a mission ('to save and to redeem'), and victorious over evil ('serpent's fatal wound'). The theological arc is covenantal and redemptive-historical, moving from promise to fulfillment, from curse to Christ, from prophecy to incarnation. The substitutionary nature of Christ's work is implied in redemption language, and His cosmic victory over Satan is celebrated. The song avoids the therapeutic reductionism of much contemporary worship, refusing to reduce Jesus to personal comforter or life coach. This is high Christology in singable form, appropriate for congregations that take doctrine seriously.
The musical and poetic dimensions are hymnic rather than contemporary, which is both the song's strength and its potential challenge. The melody is traditional, requiring 2-3 repetitions for most congregations to internalize, but it is eminently singable once learned. The 85 BPM tempo allows for dignity and contemplation appropriate to the weighty content. Lyrically, the song employs elevated vocabulary ('fullness of time,' 'ancient serpent,' 'eternal plan') without becoming archaic. The voice is third-person declarative throughout, which places this song in the tradition of 'Hark! The Herald Angels Sing' and 'Of the Father's Love Begotten.' This is not a weakness; it's a liturgical choice. Declarative hymnody serves a different function than I-You praise songs. It teaches the congregation the story, inviting them to proclaim truth together rather than express individual devotion. For Baptist churches that value both biblical preaching and sung theology, this song is a natural fit.
Defense brief
Who raises this: Contemporary worship advocates, congregants accustomed to I-You language
Scripture includes both direct address (Psalms of lament and praise) and third-person proclamation (Psalm 145:10-13, the Magnificat in Luke 1:46-55, Philippians 2:6-11). The Great Commission calls us to 'teach them to observe all that I have commanded' (Matthew 28:20); congregational singing is a primary teaching tool. Colossians 3:16 instructs us to 'teach and admonish one another in psalms, hymns, and spiritual songs.' Declarative hymnody is biblical worship.
Explain that worship includes both vertical praise (speaking to God) and horizontal proclamation (declaring truth to one another). This hymn is corporate catechesis - we're singing the gospel to each other, teaching the incarnation story in song. Historic Baptist worship has always included both forms. 'A Mighty Fortress' and 'The Church's One Foundation' follow the same pattern.
Who raises this: Worship leaders in churches with limited musical literacy or strong contemporary-only culture
No direct scriptural mandate for melodic style, but Psalm 96:1 calls us to 'sing to the Lord a new song,' and the church has always expressed worship in diverse musical forms across cultures and eras. Accessibility is important, but so is stretching congregational capacity through patient teaching.
Introduce this song during Advent with clear teaching: 'We're learning a new Christmas hymn that tells the whole story of why Jesus came. It may take a few weeks to feel comfortable, but it's worth learning because it's packed with biblical truth.' Use it weekly through December. By Christmas Eve, the congregation will own it. Hymnic melodies reward repetition and become beloved through familiarity.
Who raises this: Worship leaders concerned about visitor accessibility, pragmatists
The phrase comes directly from Galatians 4:4, where Paul uses 'pleroma tou chronou' to describe God's sovereign timing of the incarnation. Scripture itself uses this language, and the New Testament epistles are filled with theological vocabulary that the early church taught its members to understand (justification, sanctification, reconciliation, redemption). Worship is formative; we rise to the language of Scripture rather than reduce it to lowest common denominator.
Before singing, offer a 15-second explanation: 'Fullness of time means God's perfect moment. For centuries, God had been preparing the world for Jesus. When everything was ready - the Roman roads built, the Greek language spread, the Jewish expectation at its peak - God sent His Son. That's the fullness of time.' This kind of teaching moment enriches worship rather than interrupts it.
Scripture map
Primary foundations
Supporting connections
Story behind the song
In The Fullness Of Time was written for the Hymns of the Christ album project in 2019, a collaborative effort by Getty Music and Messenger Hymns to produce theologically substantive Christmas hymnody for the modern church.
Album liner notes, Hymns of the Christ, 2019
The writers intentionally crafted the song to trace redemptive history from Genesis to incarnation, aiming to give congregations a Christmas hymn that situates Jesus' birth within the full biblical narrative of promise and fulfillment.
Getty Music Publishing materials
The song has been adopted widely in churches seeking to balance theological depth with musical accessibility during Advent and Christmas seasons, particularly in Reformed and Baptist contexts that value doctrinal precision in worship.
CCLI usage data and worship leader networks
Themes
Sermon series fit
Audience fit
Maturity
Best suited for theologically trained congregations or those being discipled in biblical theology; accessible to newer believers with brief teaching
Age group
All ages, though younger children may need explanation of vocabulary; excellent for youth and adults
Service type
Traditional, blended, or liturgical services; works well in Advent candlelight services and Christmas Eve worship
Visitor-friendly
Moderately visitor-friendly with brief introduction; the declarative voice and narrative structure make the content clear even if the melody is unfamiliar
Special contexts
Ideal for congregations transitioning from contemporary-only worship toward richer theological hymnody; excellent teaching tool for churches emphasizing biblical literacy
Similar songs
If you love this song
Come Behold the Wondrous Mystery (Getty, Papa, Boswell) - similar theological depth and hymnic structure on incarnation and atonement
His Mercy Is More (Papa, Boswell) - same writers, same commitment to biblical theology in modern hymnody
Hark! The Herald Angels Sing (Wesley) - classic declarative Christmas hymn with rich Christology
Of the Father's Love Begotten (Prudentius) - ancient hymn with similar redemptive-historical scope and incarnational focus
O Come, O Come Emmanuel (Latin, 9th century) - Advent hymn tracing Old Testament prophecy to Christ's coming
If this concerns you
Joy to the World (Watts) - shorter, more familiar melody, still theologically robust Christmas declaration
Angels We Have Heard on High (French carol) - narrative Christmas song with simpler vocabulary and immediate singability
Away in a Manger (various) - gentler, more accessible Christmas hymn for congregations needing simpler entry points
O Come All Ye Faithful (Latin, 18th century) - invitational rather than declarative, easier melody, still doctrinally sound
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