Jonathan Smith, Mia Fieldes, Sidney Bakken, Tyler Roberts
A scripturally anchored, theologically robust anthem of eschatological hope that pairs Second Coming expectation with present celebration. The song balances anticipation and declaration with exceptional clarity, rooted in Revelation imagery and Jesus' own parting promise. The fast tempo and energetic drive create congregational momentum, though the upper melody requires vocal consideration. Particularly effective for Advent, Easter sequences, or sermon series on the return of Christ.
Five lenses
The song demonstrates exceptional biblical grounding in eschatological texts. The opening declaration draws directly from Revelation 1:7, 'every eye will see Him,' and the repeated affirmation that Jesus 'is coming back again' echoes Acts 1:11. The imagery of clouds, trumpet sounds, and angel voices reflects Matthew 24:30-31 and 1 Thessalonians 4:16. The title 'King of Kings' quotes Revelation 19:16 verbatim. One phrase expressing expectation that creation itself responds lacks direct scriptural warrant but remains within theological orthodoxy regarding cosmic redemption from Romans 8:19-22.
The song presents a thoroughly orthodox doctrine of the Second Coming, emphasizing both the personal return of Jesus and the universal scope of His appearing. The theological arc moves from anticipation to declaration to worship response. Christology is high and clear: Jesus is both the coming King and worthy object of present worship. The refrain structure reinforces that His return is certain, not speculative. The one theological nuance requiring pastoral attention is the balance between imminent expectation and patient endurance, which the song tilts toward energetic anticipation without addressing the delay theme present in 2 Peter 3:9.
At 172 BPM, this song generates significant energy and momentum, well-suited to younger or musically confident congregations. The melodic structure is repetitive and memorable, with clear phrase endings that aid group singing. However, the original key of E places the melody ceiling at E5, which is challenging for average male voices and many older female voices. Dropping to D (recommended) brings the range to A3-D5, significantly improving accessibility while maintaining the song's drive. The rhythm is straightforward with no syncopation that would hinder corporate participation. The declarative phrasing allows for confident group singing once the melody is learned.
The lyric demonstrates effective poetic economy, using vivid apocalyptic imagery without cluttering the listener's mental space. The repetition of key phrases serves theological reinforcement rather than filler. The structure balances declaration with description, using active verbs and concrete imagery. The phrase 'every eye will see Him' anchors the song in specific scriptural language. The bridge introduces anticipatory language that heightens expectation. One minor weakness is the use of common worship vocabulary in the bridge that, while appropriate, lacks the specificity of the verses. The royal title 'King of Kings' functions both as biblical quotation and as doxological climax.
The song's biblical anchoring and doctrinal clarity make it highly defensible. Primary objections will come from those who prefer more subdued eschatological expression or who question the emphasis on imminence. The celebratory tone may strike some as insufficiently sober given the judgment themes also associated with Christ's return. Grammatically and theologically, the song is sound. The fast tempo and high energy may concern traditionalists, but this is a stylistic preference rather than a theological issue.
Full analysis
The King Is Coming anchors itself in some of the clearest apocalyptic imagery in the New Testament, drawing primarily from Revelation 1:7 and Acts 1:11. The opening declaration, 'every eye will see Him,' is nearly verbatim from John's vision, while the affirmation that 'this same Jesus is coming back again' echoes the angels' words to the disciples at the Ascension. The song does not speculate or allegorize but proclaims what Scripture explicitly promises: the personal, visible, universal return of Jesus Christ. The imagery of clouds, trumpet sounds, and angelic voices reflects the synoptic apocalyptic discourse and Pauline teaching on the rapture. This is not creative theology but direct biblical proclamation set to contemporary musical structure.
Theologically, the song balances high Christology with eschatological hope. Jesus is identified as 'King of Kings,' the title inscribed on His robe in Revelation 19:16, and the song treats His return not as one possible future among many but as settled reality. The structure moves from proclamation to description to worship, mirroring the biblical pattern of prophecy leading to doxology. One minor theological nuance is the song's tilt toward imminent expectation without addressing the delay motif present in 2 Peter 3:9 or the patience required in James 5:7-8. This is not error but selectivity, and it requires pastoral framing to avoid implying that fervent expectation means near-term timing. The song functions best when situated within a broader teaching context that holds together both the certainty of Christ's return and the patience required while we wait.
Congregationally, the song's fast tempo and energetic drive create momentum that can unify a singing assembly, but the original key presents accessibility challenges. At 172 BPM in the key of E, the melody reaches E5, which strains average male voices and excludes many older singers. Dropping to D brings the ceiling to D5 while preserving the song's anthemic quality. The melody itself is memorable and repetitive, with clear phrase structures that aid group participation. This is not a song that requires trained vocalists; it requires confident leadership and appropriate key selection. The declarative phrasing allows even first-time singers to join by the second chorus, and the bridge's anticipatory language builds toward a climactic return to the main theme. Musically, this song rewards congregations willing to engage with energy and conviction.
Poetically, the lyric demonstrates restraint and specificity. Rather than generic end-times language, the song uses concrete biblical images: clouds, eyes, angels, trumpets. The repetition serves theological emphasis rather than filler, reinforcing the certainty of Christ's return through varied repetition rather than mindless looping. The bridge introduces anticipatory language that slightly shifts from the concrete imagery of the verses, a minor stylistic variation that some may find less compelling than the directness of the main sections. The voice is entirely corporate, appropriate for a song of collective hope, and the grammar is clean with no ambiguities. The one area requiring pastoral attention is ensuring congregations understand this as biblical proclamation, not worship-industry hype. The energy must be rooted in the reality being celebrated, and worship leaders bear responsibility to frame it accordingly.
Defense brief
Who raises this: Theologically cautious members, those concerned with doctrinal balance
While the song focuses on the hope and glory of Christ's appearing (Titus 2:13, 1 Thessalonians 4:16-17), it does not contradict the judgment theme. Revelation 1:7 itself, which the song quotes, includes the phrase 'even those who pierced him,' acknowledging the universal scope that includes both redemption and accountability. The song's emphasis aligns with Philippians 3:20-21 and the expectant joy appropriate for believers.
Pair this song with teaching or other songs that address the full biblical picture of Christ's return, including readiness, judgment, and the call to faithful living. Use it as part of a set that moves from celebration to commitment. It functions well as an opening or closing declaration after more reflective content.
Who raises this: Traditional worship advocates, those wary of emotionalism
Scripture includes both contemplative worship and exuberant celebration. Psalm 150 calls for loud, energetic praise with trumpets and dancing. The eschatological hope of Christ's return appropriately generates joy and anticipation (Luke 21:28, Romans 8:23-25). Musical energy, when theologically grounded, is not manipulation but appropriate response.
Introduce the song with brief teaching on what we are anticipating, connecting the energy to the biblical reality being celebrated. Ensure the congregation understands they are not manufacturing excitement but responding to revealed truth. Use it strategically, not weekly, to maintain its impact.
Who raises this: Pastors concerned about eschatological extremism in their context
The song simply affirms what Jesus Himself promised in John 14:3 and what the angels declared in Acts 1:11. The certainty of His return is non-negotiable biblical teaching. Matthew 24:36 reminds us no one knows the day or hour, but Matthew 24:42 still commands us to 'keep watch.' The song affirms imminence without specifying timing.
When using this song, briefly remind the congregation that we watch and wait without setting dates, and that our primary calling is faithful living, not calendar speculation. Emphasize that the song celebrates a promise, not a prediction. Pair it with teaching on 2 Peter 3:8-9 regarding God's patient timing.
Scripture map
Primary foundations
Supporting connections
Story behind the song
The King Is Coming was written for Bethel Music's 2022 album Chase, emerging from the Bethel worship collective's ongoing exploration of eschatological themes in contemporary worship. The song reflects a renewed interest among younger worship writers in the doctrine of Christ's return, often underemphasized in modern worship.
Album context, Bethel Music 2022
The writing team combined Bethel Music affiliates with Nashville worship writers, creating a song that blends the anthemic energy typical of Bethel's corporate gatherings with structural clarity suited to broader congregational use. The fast tempo and driving rhythm were intentional choices to match the urgency and joy of the Second Coming hope.
Songwriter interviews
Released during a period of global uncertainty following the COVID-19 pandemic, the song resonated with congregations seeking renewed hope and assurance in Christ's ultimate victory and return. It has been particularly effective in Advent services and sermon series on biblical eschatology.
Ministry reception reports
Themes
Sermon series fit
Audience fit
Maturity
Accessible to seekers familiar with basic Christian teaching, best suited to established believers who understand Second Coming doctrine
Age group
Particularly effective with youth and young adults due to tempo and energy, accessible to all ages in key of D
Service type
Corporate worship, youth gatherings, contemporary services, evangelistic services with teaching component
Visitor-friendly
Moderately high - clear Christian content, recognizable biblical imagery, but assumes familiarity with Second Coming teaching
Special contexts
Excellent for Advent services focused on Christ's return, prophecy conferences, evangelistic series on biblical hope, services addressing cultural anxiety
Similar songs
If you love this song
Behold (Then Sings My Soul) - Hillsong Worship (eschatological focus, anthemic energy)
Glorious Day (Living He Loved Me) - Passion/Kristian Stanfill (resurrection and return themes)
What a Beautiful Name - Hillsong Worship (Christological progression from incarnation to exaltation)
See a Victory - Elevation Worship (anticipatory energy, certainty of God's triumph)
If this concerns you
It Is Well - Kristene DiMarco/Bethel (contemplative assurance, slower tempo)
Great Are You Lord - All Sons & Daughters (meditative worship, gentle pace)
O Come O Come Emmanuel - traditional hymn (Advent longing with historical reverence)
Come Thou Long Expected Jesus - traditional hymn (Second Coming hope in traditional form)
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