Autumn Hardman, Ben Tan, George Frideric Handel, Harrison Wood, Isaac Watts, Melodie Wagner, Michael Guy Chislett
This Hillsong reimagining of Isaac Watts' Christmas classic faithfully preserves the hymn's robust theology while adding a contemporary worship expression. The song maintains the original's Psalm 98-inspired celebration of Christ's cosmic reign, with strong Christological clarity and congregational accessibility. The added chorus provides a simple, jubilant congregational response without diluting the theological weight of Watts' verses. Minor structural considerations around the contemporary chorus integration and the ceiling note in the original key represent the only areas for pastoral attention. This is an excellent choice for Advent, Christmas, and any celebration of Christ's kingship.
Five lenses
The song's foundation rests firmly on Psalm 98, which Watts masterfully reinterprets through a Christological lens. The opening line derives from Psalm 98:4 ('Shout for joy to the LORD, all the earth'), with the Incarnation as the fulfillment of Israel's messianic hope. The call for earth, nature, and nations to receive and respond to the King echoes Psalm 98:7-9, where creation itself participates in worship. The theological move from psalmic anticipation to incarnational arrival is entirely appropriate given the New Testament's presentation of Jesus as the fulfillment of Israel's hope. The contemporary chorus functions as congregational response rather than doctrinal exposition, celebrating the joy theme without introducing problematic theology.
The Handel melody is one of the most singable and memorable in Christian hymnody, with a stepwise structure and moderate range that accommodates most voices. The contemporary chorus maintains accessibility with repetitive melodic patterns and a comfortable mid-range tessitura. The primary consideration is the F5 ceiling note in the original key of F, which while brief and on a strong consonant ('sing'), may challenge baritones and altos singing the melody. Transposing to G major (with G5 ceiling) serves mixed congregations well, as the melody sits comfortably for both men and women. The song's familiarity works in its favor, as most congregants know the tune and can focus on worship rather than note-learning.
Isaac Watts' 1719 text remains a masterpiece of English hymnody, demonstrating poetic excellence through vivid imagery, theological precision, and metrical craftsmanship. The personification of nature, the imperative verbs creating urgency, and the cosmic scope of the vision all contribute to enduring poetic power. The contemporary chorus simplifies the lyrical ambition to facilitate congregational participation, using repetition and direct address to create a jubilant response moment. This is not a weakness but a structural choice, allowing the verses to carry theological weight while the chorus provides accessible celebration. The 24% chorus repetition ratio indicates balance, with Watts' substantial verses anchoring the song.
Primarily corporate in voice. No congregational concern.
This song faces minimal legitimate objection from theologically informed perspectives. The most likely concerns are structural rather than doctrinal: some traditionalists may question the addition of a contemporary chorus to a classic hymn, while some contemporary worship leaders may find the hymn verses too formal or dense. Both perspectives miss the song's strength as a bridge between historical and contemporary worship. The grammar objection to 'is come' reflects unfamiliarity with hymnic English rather than error. The Christmas-specific framing may limit some leaders' willingness to use it year-round, though the theology supports broader use. No substantial theological or scriptural objections withstand examination.
Full analysis
Isaac Watts' 1719 hymn represents a watershed moment in English hymnody, as Watts pioneered the 'Christianizing' of the Psalms by reading Old Testament texts through the lens of Christ's finished work. Taking Psalm 98's call for universal joy and worship, Watts reimagined the psalm as a celebration of the Incarnation, transforming anticipation into fulfillment. The theological move is brilliant and entirely legitimate: the New Testament consistently presents Jesus as the culmination of Israel's messianic hope, the One to whom all creation responds. Watts' genius lay in preserving the psalm's cosmic scope while making explicit what the New Testament reveals, that the LORD who comes to judge and redeem is Jesus Christ, born in Bethlehem.
The song's structure moves from proclamation to participation to transformation. The opening announces the core reality: 'the Lord is come.' Earth must receive this King, every heart must prepare room for Him. This is not optional or peripheral; it is the only appropriate response to the Incarnation. The second movement expands the worship circle to include all creation, 'heaven and nature sing.' This reflects both the psalm's vision and Paul's teaching in Romans 8 that creation itself awaits redemption. The third movement addresses Christ's redemptive reign, His rule bringing righteousness and love. The final movement celebrates the present reality of His reign and the end of the curse. This is comprehensive gospel theology in four verses.
Hillsong's 2017 adaptation preserves all of Watts' content while adding a simple chorus that functions as congregational response. The chorus does not attempt to compete with Watts poetically; rather, it provides a participatory moment where the congregation can join in jubilant celebration without navigating complex theological imagery. This is smart congregational leadership. The arrangement honors the hymn's substance while acknowledging that contemporary worshipers benefit from varied song structures that include both content-dense verses and accessible response refrains. The 24% chorus repetition shows restraint, ensuring Watts' verses remain central.
The song serves Baptist worship exceptionally well, affirming Christ's lordship, the cosmic scope of redemption, and the appropriate response of universal worship. The entirely corporate voice aligns with Baptist emphasis on gathered worship. The strong Christology and scriptural foundation meet Baptist theological standards. The accessibility of both the historic melody and contemporary chorus serves multigenerational congregations. Pastoral leaders can confidently teach this song's rich theology while trusting congregations to engage it musically. The minor considerations around key selection and seasonal framing are easily navigated with basic awareness. This is a model of how historic and contemporary worship can strengthen rather than compete with each other.
Defense brief
Who raises this: Traditionalists, hymn purists, liturgically-oriented leaders
Scripture affirms both 'old and new' treasures in worship (Matthew 13:52) and calls us to sing 'a new song' while honoring historic faithfulness (Psalm 96:1, 98:1). The Church has always adapted historic texts for new contexts.
The contemporary chorus doesn't replace Watts' verses but provides a congregational response moment, much like a sung 'Amen' or refrain in traditional hymnody. Hillsong's arrangement preserves all four original verses intact while creating a participatory celebration for contemporary worshipers. Think of it as a modern setting that honors rather than overwrites the original, similar to how the Church has set the same texts to different tunes for centuries.
Who raises this: English teachers, grammar-conscious congregants, younger worshipers unfamiliar with hymnic language
Not applicable; this is a linguistic rather than theological concern.
The phrase 'is come' represents early 18th-century English grammar, perfectly correct for Watts' era. This construction (using 'be' as auxiliary with verbs of motion) appears in the King James Bible ('the hour is come,' John 12:23) and throughout English literature. Preserving the original phrasing connects us to 300 years of believers who have sung these words. Modern translations update grammar; historic hymns preserve it as a window into the Church's linguistic heritage.
Who raises this: Liturgically-oriented leaders, Christmas purists, those concerned with seasonal propriety
The theological content addresses Christ's cosmic reign and redemption, themes appropriate year-round. While Psalm 98 inspired the text and Christmas provides optimal context, the song's proclamation of Christ's kingship suits any Lord's Day celebration (Colossians 1:15-20, Philippians 2:9-11).
While this song reaches its fullest resonance during Advent and Christmas, its theological content transcends seasonal boundaries. Christ's reign, earth's response to His kingship, and creation's participation in worship are eternal realities, not December-only truths. Many churches successfully use this as a general celebration of Christ's lordship. That said, honoring its Christmas identity can deepen congregational connection to the church calendar and the Incarnation narrative.
Scripture map
Primary foundations
Supporting connections
Story behind the song
Isaac Watts wrote this hymn in 1719 as part of his revolutionary project to 'Christianize' the Psalms, reading them through the lens of Christ's finished work. His collection 'The Psalms of David Imitated in the Language of the New Testament' reimagined Old Testament texts as celebrations of New Testament realities. Watts took Psalm 98's call for universal joy and transformed it into a Christmas hymn celebrating the Incarnation, making explicit what he saw as the psalm's messianic fulfillment.
Historical hymnology sources
The melody now universally associated with this hymn, known as Antioch, was adapted from fragments of Handel's Messiah by American composer Lowell Mason in 1839. While Handel never wrote a complete tune for Watts' text, Mason drew on Handel's melodic material to create one of the most recognizable and singable tunes in Christian hymnody. The combination of Watts' text and Mason's arrangement of Handel's music has made this one of the most beloved Christmas hymns in the English-speaking world.
Historical hymnology sources
Hillsong Worship recorded this adaptation for their 2017 album 'There Is More,' part of the broader movement among contemporary worship artists to reclaim historic hymns for new generations. The arrangement preserves all of Watts' original verses while adding a simple, jubilant chorus that invites contemporary congregations into the celebration. This approach reflects Hillsong's pattern of honoring hymnic substance while providing accessible entry points for modern worshipers, bridging 300 years of Church history.
Album information and Hillsong Worship catalog
Hymn lineage
Themes
Sermon series fit
Audience fit
Maturity
Accessible to all levels; the hymn's theological depth rewards mature believers while the melody and chorus welcome newer Christians and visitors
Age group
Highly multigenerational; classic hymn melody familiar to older adults, contemporary arrangement appeals to younger worshipers
Service type
Traditional, contemporary, blended - works across worship styles due to hymn foundation and flexible arrangement options
Visitor-friendly
Excellent for Christmas services when context is clear; very high for general services if the hymn is culturally familiar; moderate if the congregation is unchurched and unfamiliar with hymnic language
Special contexts
Outstanding for Advent/Christmas gatherings, Christmas Eve services, hymn-sing events, multigenerational worship, and services emphasizing Christ's lordship
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