Brett Younker, Hank Bentley, Jason Ingram, Kristian Stanfill, Matt Maher
A powerfully Christocentric anthem rooted in Psalm 24, theologically robust and congregationally energizing. The song sustains a high doxological register with minimal repetition and strong scriptural grounding. Range demands careful key selection, but when pitched appropriately this is an excellent vehicle for corporate declaration of Christ's kingship and worshipful invitation.
Five lenses
The song is anchored directly in Psalm 24:7-10, with the central refrain lifting the ancient temple gates liturgy into the New Testament reality of Christ's exaltation. The phrase 'lift up your heads' and the question-answer pattern 'Who is this King of glory?' are verbatim from the psalm. The song extends the psalmist's vision by naming Jesus explicitly and connecting the imagery to both incarnation ('You came down') and eschatological return ('You're coming back'). All expansions remain tightly bound to scriptural testimony about Christ's identity and sovereignty.
The song functions as a sustained declaration of Christ's kingship, using Psalm 24's liturgy to proclaim Jesus as the divine King entering into his glory. The theological arc moves from invitation ('open up') to declaration ('Jesus is the King of glory') to narrative recollection of his redemptive work ('You came down, You rose up, You're coming back') to corporate proclamation. The song names Jesus explicitly, connects him to Old Testament messianic imagery, and affirms his sovereignty over all creation. The Christological focus is unwavering and the doxological register is high throughout.
The melody is anthemic and energizing, with a wide dynamic range that serves the song's declarative tone. However, the original key of G takes the chorus to E5, which is beyond comfortable range for many adult voices, particularly men singing melody. Transposing down to F or even E-flat will bring the ceiling to D5 or C#5, significantly improving accessibility. The song's structure is straightforward with clear call-and-response moments, but the tempo (172 BPM) is brisk and requires confident vocal leadership to prevent rushing or breathlessness. Rhythmically, the song is accessible once learned, though the energy level demands engagement.
The lyric demonstrates strong poetic discipline, blending ancient liturgical language from Psalm 24 with contemporary Christological confession. The question-answer structure creates natural congregational participation, and the interplay between invitation ('open up') and declaration ('Jesus is the King of glory') sustains lyrical momentum. Imagery is consistently regal and exalted. The song avoids excessive repetition, maintaining lyrical variety while reinforcing key phrases. The voice remains corporate and declarative throughout, fitting the genre and the scriptural source.
This song is robustly defensible on all fronts. It is anchored in Psalm 24, explicitly names Jesus, maintains theological clarity, and functions as corporate worship. The most likely objections will be musical (range, tempo, energy level) rather than theological. A small subset may question the eschatological framing or the brevity of the gospel narrative compression, but these are easily addressed with contextual framing.
Full analysis
This song is a masterful contemporary rendering of Psalm 24:7-10, lifting the ancient temple liturgy into the New Testament proclamation of Christ's kingship. The central question, 'Who is this King of glory?' is answered not with abstraction but with the name of Jesus, connecting the Old Testament messianic hope to its fulfillment. The song maintains a high doxological register throughout, never lapsing into therapeutic or subjective language. It is corporate in voice, declarative in posture, and Christocentric in focus. For Baptist worship leaders, this is a theologically sound and scripturally grounded anthem that invites the congregation into the historic liturgy of the church while proclaiming the lordship of Christ.
The scriptural fidelity is exceptional. The song draws directly from Psalm 24, using both verbatim quotations ('lift up your heads,' 'the Lord strong and mighty') and thematic expansion that remains true to the biblical text. The question-answer structure of the psalm is preserved, creating natural congregational participation. The song extends the psalm by naming Jesus explicitly and adding the narrative arc of incarnation, resurrection, and return. This is not a departure from the psalm but a fulfillment of it, reading Psalm 24 through the lens of Christ's exaltation as described in Philippians 2 and Hebrews 1. The only minor caution is that the phrase 'You came down' compresses a great deal of theology into a brief statement, assuming the congregation will supply the fuller narrative. This is a reasonable assumption in a Baptist context but may require framing for guests or new believers.
Theologically, the song is clear and robust. It names Jesus, declares his attributes (strong, mighty, glorious, holy), and recounts the gospel story in compressed form. The arc moves from invitation to declaration to proclamation, maintaining momentum and focus. The eschatological note ('You're coming back') situates the song within the full biblical narrative, from creation to consummation. The only caution is that the brevity of the gospel narrative may leave some theological gaps for listeners unfamiliar with the story. A brief pastoral introduction or Scripture reading can easily address this.
Musically, the song is energetic and anthemic, which serves its declarative purpose well. However, the original key of G pushes many congregational voices to E5, which is a demanding high note. Transposing down to F or E-flat will significantly improve accessibility. The tempo is brisk at 172 BPM, requiring confident vocal leadership and a congregation ready to engage with energy. This is not a song for every Sunday, but it excels in moments calling for exultant praise: Easter, baptism celebrations, or services focused on Christ's lordship. Poetically, the song demonstrates discipline and variety, avoiding excessive repetition while reinforcing key themes. The use of King James phrasing connects the song to the historic liturgy, though some may find it archaic. Overall, this is a strong, defensible, and scripturally faithful song that equips the congregation to declare the kingship of Christ with clarity and joy.
Defense brief
Who raises this: Theologically cautious members who prefer explicit doctrine
The phrase echoes Philippians 2:6-8 ('he made himself nothing, taking the very nature of a servant, being made in human likeness... he humbled himself by becoming obedient to death') and John 1:14 ('the Word became flesh and made his dwelling among us'). While compressed, the narrative is scriptural and assumes the congregation's familiarity with the gospel story, a reasonable expectation in Baptist worship.
Introduce the song by briefly noting its roots in Psalm 24 and its celebration of Jesus as the King who humbled himself to save us, rose victorious, and is returning in glory. This provides the narrative framework that fills the lyrical compression.
Who raises this: Contemporary-minded worshipers who prefer modern language
The phrasing is a direct quotation from Psalm 24:7 in the King James Version, which has shaped English-language worship for centuries. The use of archaic language here is not arbitrary but intentional connection to the scriptural text and the worship tradition that has sung this psalm for generations.
Acknowledge that the phrasing intentionally echoes the classic English rendering of Psalm 24, connecting us to the historic liturgy of the church. This is a moment where ancient and contemporary merge.
Who raises this: Traditional or contemplative worshipers who prefer slower, meditative songs
Psalm 150 calls for worship with 'loud cymbals' and 'resounding cymbals,' and the biblical witness includes both quiet meditation and exuberant celebration. This song fits the latter category, declaring the King's glory with energy and joy.
This is a celebratory anthem, fitting for moments when the congregation is ready to declare Christ's victory with energy. It's not suited to every worship moment, but it serves well when the service calls for exultant praise.
Scripture map
Primary foundations
Supporting connections
Story behind the song
The song was written for the Passion 2018 conference, a gathering of tens of thousands of college students focused on worship and missions. The writing team sought to create a congregational anthem rooted in Psalm 24 that would declare Christ's kingship with energy and scriptural clarity.
Passion Conference promotional materials
The song was recorded live at Passion 2018 and released on the album 'Whole Heart,' featuring various Passion artists. It was designed to be both a corporate worship declaration and a theological teaching moment, connecting young worshipers to the ancient liturgy of the psalms.
Album liner notes, Whole Heart (Passion)
The use of Psalm 24's question-answer structure was intentional, allowing the congregation to participate in a call-and-response pattern that mirrors the original temple liturgy. The song has become a staple in many contemporary worship settings, particularly for services emphasizing Christ's lordship and victory.
Worship leader interviews
Themes
Sermon series fit
Audience fit
Maturity
Suitable for all levels, though the compressed gospel narrative assumes basic familiarity with the Christ story
Age group
All ages, though energy and tempo may particularly resonate with youth and young adults
Service type
Contemporary, celebration services, youth gatherings, Easter, baptism Sundays
Visitor-friendly
High, due to clear naming of Jesus and strong scriptural grounding, though brief pastoral introduction helps contextualize
Special contexts
Excellent for services focused on Christ's victory, resurrection, or kingship. Also suitable for ordination, commissioning, or mission-focused gatherings.
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