Ben Fielding, Chandler Moore, Naomi Raine, Steven Furtick
A theologically robust celebration of God's power and faithfulness rooted in Genesis 18, with strong congregational appeal. The song balances declarative truth with corporate response, using accessible melody and memorable phrasing. The theological arc moves from recognition of inadequacy through confession of God's ability to confident declaration, making it effective for both teaching and response moments. Minor vocal demands at the ceiling and some repetition keep it from perfection, but this is a strong addition to the contemporary Baptist repertoire.
Five lenses
The song is anchored in Genesis 18:14, 'Is anything too hard for the Lord?' appearing as direct quotation in the chorus. This central question drives the entire theological structure. The narrative draws from multiple biblical streams: the inadequacy language echoes Moses ('Who am I?', Exodus 3:11), the waiting-with-hope theme reflects Abraham and Sarah's journey, and the declaration of God's sufficiency connects to Pauline theology of God's power perfected in weakness (2 Corinthians 12:9). The shift from 'I'm not able' to 'You are able' mirrors the biblical pattern of human limitation met by divine capacity seen throughout redemptive history.
The theological arc is well-constructed: acknowledgment of human inability, confession of God's superior power, and corporate declaration of trust. The song maintains orthodox Reformed Baptist theology by centering God's character rather than human faith as the operative agent. The 'more than able' language speaks to God's omnipotence without crossing into name-it-claim-it territory because it remains descriptive of who God is, not prescriptive of what God must do. The bridge's rapid-fire attributes (faithful, able) ground the emotional appeal in doctrinal truth. The structure invites congregational participation in declaring these truths together, reinforcing communal theology.
The song's moderate tempo (73 BPM) and stepwise melody make it accessible once learned, but the vocal demands are real. In the original Eb, the chorus climbs to F5 on 'able,' which will strain untrained voices. Transposing down to D brings the ceiling to E5, more manageable for congregational singing while keeping the verse comfortably in the A3-C4 range for most voices. The melodic contour is memorable - the chorus uses an ascending pattern that naturally builds energy. Rhythmically straightforward with minimal syncopation in the main sections, though the bridge's rapid declarations may require rehearsal for older or less musically confident congregations.
The lyric crafts a coherent narrative journey using accessible language. The central conceit - contrasting human inability with divine ability - is simple but effective, avoiding overwrought metaphor. The waiting imagery connects emotionally without manipulation. The bridge shifts from narrative to creedal declaration, trading poetic nuance for theological clarity, which is a defensible choice in corporate worship. The repetition serves liturgical function rather than mere padding, each iteration of 'more than able' reinforcing congregational confidence. The voice is predominantly first-person singular in verses, shifting to direct address in chorus, with corporate implications throughout.
The song will face two primary objections: prosperity gospel concerns and emotional manipulation claims. Both can be addressed through careful pastoral framing and recognition of the song's actual theological content. The biblical rooting in Genesis 18 and the focus on God's character rather than guaranteed outcomes provide strong defense. The emotional appeal is honest rather than manipulative, acknowledging real human inadequacy before declaring God's sufficiency. Some may raise questions about the collaborative writing between Elevation and Maverick City given denominational differences, but the theology in this particular song aligns well with Baptist convictions about God's sovereignty and power.
Full analysis
More Than Able anchors itself in one of Scripture's most powerful rhetorical questions: 'Is anything too hard for the Lord?' from Genesis 18:14. This question appears in the narrative where the Lord promises a son to Abraham and Sarah despite their advanced age, and Sarah laughs at the impossibility. God's response is not argument but self-identification - He is the God for whom nothing is too difficult. The song takes this moment and expands it into a corporate declaration, moving from individual acknowledgment of inadequacy through confession of God's superior ability to communal worship. The theological structure is sound: we begin with honest human limitation, encounter God's unlimited power, and respond with trust and praise.
The song's greatest strength is its ability to hold together emotional honesty and theological precision. The verse's 'I'm not able' language resonates with genuine human experience - we face situations beyond our capacity, we wait for answers that don't come on our timeline, we reach the end of our resources. This is not therapeutic self-pity but biblical realism, echoing Moses' protest at the burning bush and Paul's acknowledgment of his thorn in the flesh. The chorus responds not with human bootstrapping but with declaration of God's character: 'You are able.' This shift from first-person inadequacy to second-person declaration of divine sufficiency mirrors the biblical pattern of lament meeting sovereignty, human weakness encountering divine strength.
The congregational singability requires some attention. In the original key of Eb, the chorus's peak on 'able' reaches F5, which will strain many untrained voices in a typical Baptist congregation. Transposing down to D brings the ceiling to E5, more accessible while keeping the verse comfortably singable. The melody itself is well-crafted for congregational use - stepwise motion in the verses, a memorable ascending pattern in the chorus, and rhythmic simplicity throughout most of the song. The bridge introduces faster lyric density with its rapid attribute declarations, but these use familiar melodic motifs that congregations can pick up after several repetitions. With confident platform leadership and the key adjustment, most congregations will be singing strongly by the second full run-through.
Pastorally, this song requires framing to prevent misapplication. The declaration that God is 'able' must be understood as statement of God's character and power, not as guarantee that God will fulfill our specific requests or solve our problems on our preferred timeline. The Genesis 18 context helps here - God was indeed able to give Abraham and Sarah a son, and He did, but in His timing and according to His purposes, not human demand. When introducing the song, clarify that we're declaring who God is (omnipotent, faithful, sovereign) rather than dictating what God must do (heal this person, resolve this situation, answer this prayer in this way). With that pastoral guardrail in place, the song becomes a powerful tool for building congregational confidence in God's character during seasons of waiting, limitation, and dependency. It teaches sound theology: our inability meets God's ability, and we respond with worship.
Defense brief
Who raises this: Theologically conservative members concerned about Word of Faith influences in contemporary worship
Genesis 18:14 itself is God's rhetorical question about His own power in response to Sarah's doubt, not a blank-check promise. The song declares God's ability as an attribute of His character, not as a guarantee that He will fulfill our specific requests. The biblical pattern shows God is able but sovereign - able to deliver Daniel's friends from the furnace, but not obligated to do so (Daniel 3:17-18). The song's focus on 'You are able' rather than 'You will do what I ask' maintains this distinction.
Before singing, clarify: 'This song reminds us that nothing is too hard for the Lord - not that God must do everything we want, but that He has the power and wisdom to accomplish His good purposes. We're declaring who God is, not dictating what God must do.'
Who raises this: Traditional/liturgical members who prefer hymnic structure and doctrinal density
The Psalms themselves use repetition for liturgical and emotional effect (Psalm 136's repeated 'His love endures forever,' Psalm 150's escalating calls to praise). Repetition in worship serves memory, corporate participation, and meditative focus. The emotional engagement is directed toward a biblical truth (God's power) with explicit scriptural warrant (Genesis 18:14), not free-floating sentiment.
Explain the liturgical function: 'We're going to declare this truth multiple times together because repetition in worship isn't about working up feelings - it's about letting a biblical truth sink deep. The ancient Israelites sang refrains; we're doing the same with this Genesis 18 declaration.'
Who raises this: Denominationally aware members who track worship song origins and pastoral theology
Baptist conviction allows us to eat the meat and spit out the bones - to evaluate each song on its own theological merit regardless of source. Paul used pagan poetry when it served truth (Acts 17:28). This particular song's theology is sound: God's omnipotence, human limitation, scriptural grounding. We need not endorse every aspect of a writer's ministry to use a theologically faithful song.
'We choose songs based on biblical fidelity and congregational edification, not based on whether we agree with every theological position of every writer. This song's focus on God's power from Genesis 18 serves our worship well, and we're grateful for that contribution to the wider church's song collection.'
Scripture map
Primary foundations
Supporting connections
Story behind the song
More Than Able emerged from a collaborative writing session between Elevation Worship and Maverick City Music in 2022, part of an intentional effort to blend different worship traditions and voices. The song was written by Ben Fielding (known for 'What a Beautiful Name'), Chandler Moore and Naomi Raine from Maverick City, and Steven Furtick, lead pastor of Elevation Church.
Album credits and collaborative session documentation
The song was released on Maverick City Music Vol. 3 Part 2 and quickly became a congregational favorite, resonating particularly during the post-pandemic season when many churches were processing delayed answers to prayer and ongoing uncertainty. The Genesis 18 focus on God's power in impossible situations spoke directly to congregational experience.
Release context and worship leader feedback
The collaboration between Elevation and Maverick City represented a bridging of predominantly white evangelical and Black gospel worship streams, bringing together different musical aesthetics and worship expressions around shared theological convictions about God's power and faithfulness. The song's accessibility has made it useful across diverse congregational contexts.
Contemporary worship music analysis
Themes
Sermon series fit
Audience fit
Maturity
Accessible to newer believers with its clear God-focused declarations, while offering theological depth for mature saints through the Genesis 18 grounding and the contrast between human and divine ability
Age group
Strong intergenerational appeal - simple enough for youth, contemporary enough for young adults, theologically substantive enough for older adults who value biblical content
Service type
Works well in both contemporary and blended services; the moderate tempo and clear melody allow for congregational participation without requiring concert-level musicianship
Visitor-friendly
Highly visitor-friendly - the central message is immediately clear, the melody is memorable after one hearing, and the biblical reference provides accessible grounding even for the unchurched
Special contexts
Particularly effective during congregational seasons of waiting (building projects, pastoral transitions, community challenges), times when people are facing personal impossibilities, or when teaching on God's faithfulness and power
Similar songs
If you love this song
Way Maker - Sinach (similar focus on God's power in impossible situations, African worship influence)
Goodness of God - Bethel Music (God's faithfulness through waiting seasons, accessible melody)
The Blessing - Elevation/Maverick City (same collaborative team, similar accessible congregational style)
Jireh - Elevation/Maverick City (God's provision and sufficiency, complementary theological theme)
Yes and Amen - Housefires (God's faithfulness to His promises, congregational declaration style)
If this concerns you
Great Is Thy Faithfulness - Thomas Chisholm (classic hymn on God's faithfulness without contemporary worship aesthetic)
How Firm a Foundation - traditional (God's promises and power in traditional hymnody)
Be Thou My Vision - traditional (focus on God's sufficiency in historic Celtic melody)
In Christ Alone - Getty/Townend (theological precision with modern melody, less repetitive structure)
It Is Well With My Soul - Horatio Spafford (trust in God's sovereignty through difficulty, hymnic form)
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