Colby Wedgeworth, Jordan Feliz, Paul Duncan
An evangelistic, eschatologically focused anthem that recovers urgent Parousia expectation within contemporary worship. The song is biblically grounded, theologically orthodox on Second Coming doctrine, and singable for congregations ready to declare Christ's return. Its radio-pop production and declarative tone make it more proclamation than meditation, which is precisely its strength. Minor deductions for limited devotional depth and a narrower lyrical focus compared to multi-dimensional worship texts, but this is a purposeful choice that serves the song's mission. Baptist congregations will find this useful for missions emphasis weekends, advent preparation, or any context where eschatological hope needs fresh voice.
Five lenses
The song grounds its central affirmation in the angel's promise at the Ascension (Acts 1:11) and Jesus' own repeated declarations in the Gospels (Matthew 24:30, John 14:3). References to trumpet sounds align with 1 Thessalonians 4:16 and 1 Corinthians 15:52. The urgency to share the gospel before His return echoes 2 Peter 3:9's patience-for-repentance framework. The lyric treats the Second Coming as imminent, personal, and certain, consistent with apostolic eschatology. No speculative timeline theology intrudes, no elaborate tribulation mechanics distract. The song simply declares what Scripture plainly promises: Jesus ascended, angels testified, and He will return the same way. This is bedrock orthodoxy.
This song functions as an evangelistic alarm clock. Its theological arc moves from declaration (Jesus is returning) to implication (people need to hear the gospel) to urgency (time is short). The clarity is remarkable: no amillennial ambiguity, no postmillennial gradualism, no dispensational chart-making. Just the simple apostolic conviction that Jesus will return bodily, visibly, and soon. The song answers one question extremely well: Why does the Second Coming matter right now? Because people need to know. This is 2 Peter 3:9 theology, the Lord's patience interpreted as evangelistic window. The potential weakness is not what the song says, but what it leaves unsaid. The Second Coming is also comfort for the persecuted (Revelation 6:10), hope for creation's redemption (Romans 8:21), and promise of bodily resurrection (1 Corinthians 15:23). Here, it is almost exclusively motivation for mission. That is not heretical, but it is partial.
At 144 BPM, this song moves with urgency that matches its message. The range (A3-D5) fits typical congregational capacity, with most of the melodic weight sitting in the comfortable middle zone (C4-A4). The D5 peak moments are brief and occur on emphatic declarations, making them singable even for less experienced vocalists. The rhythmic drive is infectious but requires congregational confidence. This is not a reflective ballad where hesitant singers can hide in sustained notes. It demands participation, which can be energizing for ready congregations but intimidating for smaller or older groups. The melodic contour is intuitive, with stepwise motion and predictable phrase resolution. No awkward leaps, no syncopation that defies natural speech rhythm. A congregation that sings 'Build My Life' or 'Goodness of God' comfortably will handle this. A congregation that prefers 'Great Is Thy Faithfulness' may find it exhausting.
This is megaphone poetry, not contemplative verse. The language is direct, bold, and unadorned. Phrases like 'every eye will see when He splits the sky' carry vivid imagery without literary pretension. The repetition of 'Jesus is coming back' functions as mantra and mission statement. There are no hidden layers to unpack, no ambiguous metaphors to ponder. The song says exactly what it means, which is both strength and limitation. The strength: accessibility. Anyone can understand and repeat these truths. The limitation: the lyric does not invite sustained meditation. You sing it to declare it, not to dwell in it. Compared to the rich theological poetry of 'In Christ Alone' or the evocative imagery of 'Christ Is Mine Forevermore,' this lyric feels functional rather than artful. But functionality has its place, especially in evangelistic or missional worship contexts.
Objections to this song will likely center on its narrow eschatological focus, its pop-driven energy, or perceived lack of devotional depth. These are matters of taste and context, not theology. The song does one thing exceptionally well: it declares the certainty of Christ's return and calls the church to evangelistic urgency. Critics who want comprehensive eschatology or contemplative worship will find it lacking, but that is not the song's purpose. Defend it by clarifying its role: this is a missional rally cry, not a theological treatise or devotional meditation. Use it in contexts where its strengths shine, and pair it with songs that provide what it does not.
Full analysis
The song recovers an urgent eschatological expectation that has faded in much contemporary worship. Where many songs mention Christ's return as distant hope or abstract promise, this one places it at the center and draws immediate implications for mission. The biblical foundation is solid: the angel's promise in Acts 1:11 provides the chorus anchor, while references to trumpet sounds, visible appearing, and global witness draw from 1 Thessalonians 4:16, Matthew 24:30, and Matthew 24:14. The theology is orthodox Second Coming doctrine without speculative timeline mechanics or Left Behind-style dramatics. Just the simple apostolic conviction: He ascended, He will return, and we have work to do before that day.
The song's greatest strength is its clarity of purpose. This is not ambient worship background music; it is a missional alarm clock. The lyric moves from declaration to implication to action: Jesus is coming back, people need to hear the gospel, and time is short. This reflects 2 Peter 3:9's interpretation of eschatological delay as divine patience creating evangelistic opportunity. The potential weakness is not theological error but theological narrowness. The Second Coming is also comfort for suffering believers (Revelation 6:10), hope for creation's redemption (Romans 8:21), and promise of resurrection (1 Corinthians 15:52). Here it is almost exclusively motivation for witness. That is not wrong, but it is partial. Baptist congregations will want to balance this song with others that explore the fuller scope of Parousia hope.
Congregationally, the song is accessible but demanding. The range fits typical voices, the melody is intuitive, and the hook is immediate. But the 144 BPM tempo and sustained energy require confident participation. This is not a song for hesitant singers or small, aging congregations struggling with unfamiliar repertoire. It is built for groups ready to declare truth boldly and publicly. The pop-anthem production will feel natural to younger or contemporary-leaning congregations and foreign to those rooted in traditional hymnody. This is less a flaw than a stylistic reality. Know your context and choose accordingly.
The defense brief focuses on clarifying the song's purpose rather than defending comprehensiveness. Critics will note the narrow eschatological focus, the high energy, and the simple lyric. All true. But those are features, not bugs, if you understand what the song is trying to do. It is a rallying cry for mission, not a theological treatise. Use it in contexts where bold proclamation serves the moment: missions emphasis weekends, outreach preparation, evangelistic series, or as a send-off anthem. Pair it with songs that provide devotional depth, cosmic vision, or contemplative space elsewhere in your worship set. The song does not claim to be everything; it claims to be one thing done well. For Baptist congregations committed to Great Commission urgency and imminent expectation of Christ's return, this song gives fresh voice to convictions sometimes muted in contemporary worship.
Defense brief
Who raises this: Theologically reflective congregants, pastors concerned with balanced eschatology
The song's emphasis reflects 2 Peter 3:9, where the Lord's delay is explicitly tied to His patience for repentance, and Matthew 24:14, where gospel proclamation to all nations precedes the end. This is a legitimate biblical application of Parousia hope. It is not the only application (compare Revelation 22:20's 'Come, Lord Jesus' as comfort for the persecuted), but it is scriptural. The song does not deny other dimensions; it simply focuses on one.
This song answers the question 'Why does the Second Coming matter for our witness?' not 'What will the Second Coming accomplish?' Pair it with songs like 'O Church Arise' or 'Christ Is Mine Forevermore' that explore comfort, resurrection hope, and cosmic restoration. Used together, you get fuller eschatological vision.
Who raises this: Traditionalists, liturgically minded congregants, those who associate worship with quiet reverence
The Bible contains both contemplative longing for Christ's return (Revelation 22:17, 'The Spirit and the bride say, Come') and urgent proclamation (Acts 1:8, 'you will be my witnesses'). The apostles did not whisper the gospel; they declared it boldly (Acts 4:29). This song's energy reflects missional urgency, not irreverence. Worship is multifaceted: it includes awe, but also joy, boldness, and proclamation.
Not every worship song functions the same way. Some invite us to kneel in wonder; others call us to stand and proclaim. This song is a rallying cry, and its energy serves that purpose. Use it in contexts where bold declaration fits: missions emphasis, outreach preparation, or as a send-off anthem. Balance it with quieter, more meditative songs elsewhere in your set.
Who raises this: Poets, literature professors, worship leaders who value lyrical complexity
Scripture contains both Pauline theological exposition (Romans 8) and simple declarations of faith (1 Corinthians 15:3-4, 'Christ died for our sins... was buried... was raised'). Not every text must be layered metaphor. Sometimes clarity and repetition serve proclamation better than complexity. The simplicity of 'Jesus is coming back' is its evangelistic power.
This song functions like a banner, not a meditation. Banners are bold, clear, and repeatable. You do not expect a protest sign to contain a sonnet. This song's simplicity is strategic: it makes the truth easy to remember and declare. Pair it with richer texts like 'All I Have Is Christ' or 'Before the Throne of God Above' for poetic depth elsewhere.
Scripture map
Primary foundations
Supporting connections
Story behind the song
The song emerged from Colby Wedgeworth's conviction that contemporary worship had largely lost the urgent expectation of Christ's imminent return that marked the early church. Written during a period of global uncertainty and cultural upheaval in 2020-2021, the song was intended to refocus the church on biblical eschatological hope and its evangelistic implications.
Artist statements, social media context
Jordan Feliz brought pop sensibility and radio accessibility to the collaboration, resulting in a sound designed to reach beyond church walls into mainstream Christian radio. The energy and production reflect intentional evangelistic purpose: making the Second Coming message singable for believers and hearable for seekers.
Album production notes
The song gained traction in missions-focused and evangelistic church contexts, particularly among younger congregations and ministries emphasizing Great Commission urgency. It became a rallying anthem for outreach initiatives and missions emphasis weekends across multiple denominations.
Church usage patterns, worship leader forums
Themes
Sermon series fit
Audience fit
Maturity
Accessible to seekers and new believers while challenging mature believers to evangelistic urgency. The simplicity of the message makes it useful for evangelistic services.
Age group
Best suited for younger and contemporary-leaning congregations (Gen Z, Millennials, Gen X). The energy and production style may feel foreign to older traditionalists.
Service type
Contemporary services, youth gatherings, missions conferences, outreach events, evangelistic campaigns. Less suited for contemplative or liturgical contexts.
Visitor-friendly
Highly visitor-friendly. The message is clear, the hook is immediate, and the evangelistic tone makes it natural for outreach-focused services.
Special contexts
Missions emphasis weekends, evangelism training events, send-off services for mission trips, Advent preparation for Christ's coming, New Year services focused on urgency and purpose.
Similar songs
If you love this song
Even So Come - Kristian Stanfill (eschatological longing with missional urgency)
Graves Into Gardens - Elevation Worship (resurrection power, hopeful energy)
O Church Arise - Keith Getty (missional rallying cry, Great Commission focus)
Glorious Day - Passion (proclamation of Christ's victory and return)
If this concerns you
Christ Is Mine Forevermore - CityAlight (eschatological hope with devotional depth)
All I Have Is Christ - Sovereign Grace (contemplative focus on Christ's sufficiency)
Before the Throne of God Above - Charitie Lees Bancroft (theologically rich, meditative)
Come Behold the Wondrous Mystery - Matt Boswell (incarnation to ascension narrative with poetic craft)
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