Brandon Lake, Jenn Johnson, Kari Jobe
A theologically robust missional anthem with strong Isaiah 6 foundations. The song frames worship not as consumption but as commissioning, calling congregants to respond to God's holiness with availability. The slow tempo and high range require careful key selection, but the theological substance and scriptural clarity make this a valuable tool for cultivating missional imagination.
Five lenses
The song is deeply rooted in Isaiah 6:8, drawing the prophetic call-and-response pattern into contemporary worship vocabulary. The central question and answer structure mirrors the biblical text with precision. The vision of God's glory and the response of personal surrender align with the Isaiah narrative. The only minor tension is that the song's repeated availability could be heard as perpetual readiness without the specific task clarity present in biblical commissioning stories, though this is appropriate for corporate worship where specific callings vary by individual.
The theological arc moves from revelation of God's glory to personal response to missional commissioning. This mirrors the pattern of Isaiah 6, where vision precedes calling. The song maintains proper theological order: God initiates by revealing His glory, the worshiper responds with availability, and God commissions for service. The repeated refrain emphasizes readiness and surrender rather than personal qualifications, which is theologically sound. The song avoids therapeutic or self-focused mission language, keeping the focus on God's purposes and the believer's availability.
The melody is accessible with a memorable refrain, but the original key of Ab is too high for comfortable congregational singing, especially for male voices. Transposing down to G or F would significantly improve accessibility. The 67 BPM tempo is worshipful but requires careful attention to breath support and phrasing. The song's structure is intuitive with clear call-and-response moments that invite participation. The repeated refrain is memorable and easy to internalize after one hearing.
The lyric demonstrates restraint and focus, centering on the commissioning moment without excessive decoration. The repeated refrain functions as liturgical response rather than filler. The Isaiah 6 framework provides a strong structural backbone. The language is direct and accessible, prioritizing clarity over poetic complexity. While some phrases use familiar worship vocabulary, the overall missional thrust distinguishes this from more common devotional songs. The question-and-answer structure is effective and engaging.
This song is defensible on nearly all fronts. The strongest potential objection is that the song places demand on the worshiper (to be sent) rather than declaring God's completed work. This is addressed by recognizing that mission is a biblical response to grace, not a work that earns it. The song follows the Isaiah 6 pattern where vision of God's holiness precedes and enables missional response. A secondary objection may come from those concerned about high-ceiling melodies, which is addressed by thoughtful key selection. The song's theological clarity and scriptural fidelity make it a strong choice for cultivating missional discipleship.
Full analysis
Send Me is a missional commissioning song built on the framework of Isaiah 6:8, where the prophet responds to God's call with personal availability. The song takes the question-and-answer pattern of that passage and places it in the mouth of the contemporary worshiper. This is theologically sound: the New Testament extends the call to mission beyond the prophetic office to all believers as a priesthood (1 Peter 2:9). The song's theological arc moves from revelation of God's glory to personal response to missional commissioning, mirroring the Isaiah 6 narrative where vision precedes calling. This is the proper order: God initiates by revealing Himself, and the worshiper responds with availability.
The song's theological strength lies in its refusal to focus on the worshiper's qualifications or readiness. Instead, it emphasizes availability and surrender. This aligns with the biblical pattern of commissioning, where God's call is often met with protests of inadequacy (Moses, Jeremiah, Isaiah himself) yet God's enabling presence makes the mission possible. The repeated refrain functions as a liturgical act of consecration, not a claim of personal competence. Pastoral framing should emphasize this to prevent the song from being misheard as works-based spirituality. The song assumes grace has been received and invites the response of obedience, which is the proper biblical sequence.
From a practical standpoint, the song's original key is too high for most congregations. The melody reaches Bb5, which will strain or exclude many voices, particularly male voices. Transposing down to G or F significantly improves accessibility without losing the song's worshipful quality. The 67 BPM tempo is appropriately reverent for the weight of the commitment being made, but it requires strong vocal leadership to maintain energy and prevent dragging. The slow pace also demands sustained breath control on longer phrases, so vocalists should plan breath marks carefully.
The song's use of individual pronouns is appropriate for its function as a commissioning response. This follows the Isaiah 6 pattern where the prophet responds personally, and it reflects the New Testament understanding that each believer is individually called to participate in God's mission. The corporate dimension is expressed not by changing the pronouns to plural but by the congregation singing the individual commitment in unison, much like a congregational affirmation of faith or baptismal vow. This song works best in the latter half of a service, after the gospel has been clearly proclaimed, or in services focused on mission, discipleship, or commissioning. It is not a strong opening song because it assumes readiness and revelation. Use it as a response to the Word or as a closing commitment.
Defense brief
Who raises this: Grace-focused Baptists concerned about any hint of works-righteousness
Romans 12:1 explicitly calls transformed believers to offer themselves as living sacrifices in response to God's mercy. The offering of self is the proper response to grace received, not the means of earning it. Isaiah 6 shows that missional sending follows the vision of God's holiness and the experience of cleansing (Isaiah 6:5-8). The song assumes the gospel has been proclaimed and invites response, which is the proper order of Christian worship.
Use this song after a clear proclamation of the gospel or in a service focused on mission and discipleship. Frame it as: 'Because of what Christ has done for us, we respond with our whole lives. This is not about earning God's favor, but about living out the grace we've received.' Consider pairing with a song about Christ's finished work earlier in the set.
Who raises this: Worship leaders or congregants concerned about accessibility and participation
While not a theological issue, accessibility is a pastoral concern rooted in the conviction that congregational singing is participatory, not performative (Colossians 3:16, Ephesians 5:19).
Transpose down to G or F. Test both keys in rehearsal with a representative group from your congregation. Prioritize broad participation over the original recording's key. If your worship leader can't adjust the arrangement to a lower key, consider using this as a special music piece or finding a similar song in a more accessible range.
Who raises this: Those with liturgical sensibilities or concern for corporate worship practices
The Psalms frequently shift between individual and corporate voice (Psalm 103 is a prime example). Isaiah 6:8 records an individual response that becomes a model for the community. The New Testament likewise includes both corporate hymns (Philippians 2:6-11) and individual testimonies (Galatians 2:20) as part of worship and discipleship.
This song represents the congregation's unified but personal response to God's call. Each believer makes the commitment individually, but the act of singing together expresses shared commitment to mission. This is similar to an altar call or congregational invitation, where individuals respond but do so as part of the body. Balance this song with more explicitly corporate songs elsewhere in your service.
Scripture map
Primary foundations
Supporting connections
Story behind the song
Send Me was written by Brandon Lake, Jenn Johnson, and Kari Jobe during a season when Bethel Music was focusing on songs that cultivate missional imagination and respond to the cultural moment. The song emerged from a desire to move beyond consumer-oriented worship toward commissioning language.
Bethel Music press materials
The song was included on Brandon Lake's House of Miracles album (2020), which was recorded during a time of personal and corporate seeking for God's presence and direction. The album's themes center on expectation and divine initiative.
Album liner notes
Send Me gained traction in churches looking for missional worship content that was theologically substantive and not merely motivational. Its clear Isaiah 6 framework made it particularly appealing to teaching pastors and discipleship-focused worship leaders.
CCLI usage data and worship leader forums
Themes
Sermon series fit
Audience fit
Maturity
Best for maturing believers ready to respond to missional calling. May be too demanding for new believers without context.
Age group
All ages, though the slow tempo and reflective tone may resonate more with adults and mature youth.
Service type
Works well in traditional, contemporary, and blended settings. Particularly effective in commissioning services or missions-focused gatherings.
Visitor-friendly
Moderate. The language is clear, but the song assumes readiness to make a significant commitment. May feel demanding to visitors unfamiliar with commissioning language.
Special contexts
Excellent for missions conferences, commissioning services for missionaries or church planters, ordination services, and discipleship weekends.
Similar songs
If you love this song
Here I Am To Worship (Light of the World) - Tim Hughes
I Surrender All (Resolve) - Matt Redman
Take My Life - Chris Tomlin
Living Hope - Phil Wickham (for the glory theme)
The Stand - Hillsong
If this concerns you
In Christ Alone - Getty/Townend (focuses on Christ's work rather than our response)
How Great Thou Art (declares God's greatness without explicit commissioning language)
Holy, Holy, Holy - Reginald Heber (focuses on adoration of God's character)
O Church Arise - Getty/Townend (corporate missional language)
Revelation Song - Jennie Lee Riddle (throne room worship without commissioning element)
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