Zach Williams feat. Dolly Parton
A retrospective testimony song that traces Jesus' faithfulness through a lifetime of ordinary and painful moments. Scripturally grounded in God's omnipresence and sovereignty, theologically honest about both struggle and comfort. The country ballad structure makes it more suited to special music or reflective moments than high-energy corporate worship, but it excels as a congregational testimony in Baptist contexts that value personal narrative and God's pastoral presence through hardship.
Five lenses
The song's core claim, that Jesus was present in every moment of trial and transition, reflects the biblical witness of God's omnipresence (Psalm 139:7-10) and His promise never to leave or forsake His people (Hebrews 13:5). The specific life moments mentioned (childhood struggles, parental conflict, personal failure, loss) serve as contemporary equivalents to the Psalmists' practice of recounting God's faithfulness through specific crises. The phrase 'in the waiting, in the searching, in the healing and the hurting' echoes the lament psalms that acknowledge God's presence even when deliverance is delayed. The refrain functions as a repeated testimony, similar to refrains in Psalms 107 and 136 that catalog God's steadfast love through varied circumstances.
The song articulates a robust theology of divine immanence without promising temporal rescue from suffering, which is both biblically honest and pastorally necessary. The repeated affirmation 'there was Jesus' across varied circumstances (parental fights, personal rebellion, hospital rooms) teaches that Christ's faithfulness is not contingent on our circumstances improving but is itself the sustaining reality. This reflects the theology of Hebrews 13:5 and Romans 8:38-39 more accurately than prosperity models. The song implicitly distinguishes between God's presence and God's intervention, which is theologically mature. However, the lack of explicit Christology beyond presence means the song benefits from pairing with material that articulates atonement, lordship, or resurrection.
At 77 BPM, the song sits at the slower end of congregational ballads, which suits its reflective content but may feel lethargic if not led with intentional dynamic shaping. The verse melody sits comfortably in mid-range, but the chorus lifts to F5 in the original key, which is singable for women but strains untrained male voices. Transposing to E brings the ceiling to E5, which is more universally accessible. The melody is repetitive and easy to learn, with minimal rhythmic complexity. The country influence means it benefits from a more relaxed, conversational delivery rather than anthem-style intensity, which some Baptist congregations may find unfamiliar but others will embrace as authentic testimony.
The song's strength is its specificity. Rather than vague references to trials, the verses name particular moments: a child hiding under a house, parents fighting, a hospital waiting room. This concreteness grounds the theology in lived experience and gives worshipers permission to bring their own specific memories into the song. The refrain 'there was Jesus' functions as a liturgical anchor, repeated enough to be memorable but not so often that it loses meaning. The imagery is domestic and accessible rather than lofty or abstract, which fits the country-gospel genre and Baptist storytelling traditions. The one lyrical weakness is that some transitions between verses feel more utilitarian than poetic, serving the narrative but not elevating the language.
The most likely objection is that the song lacks explicit gospel content beyond presence and comfort. Defenders can point to the biblical value of testimony (Psalm 66:16, Revelation 12:11) and the fact that not every worship song must articulate full atonement theology. A second objection may come from those who prefer high-register praise over introspective narrative; respond by affirming the biblical warrant for both lament and testimony in worship. A third concern may be the country-music style, which some congregations perceive as secular or informal; this requires cultural sensitivity but also recognition that genre is not a theological category.
Full analysis
There Was Jesus is a country-gospel ballad that functions as retrospective testimony rather than direct worship address. Written by Zach Williams with Casey Beathard and Jonathan Smith, the song traces Christ's presence through a lifetime of specific hardships: childhood fear, parental conflict, personal failure, and the loss of a loved one. The refrain, repeated after each verse, anchors the narrative in a single claim: 'There was Jesus.' This simplicity is the song's theological strength. It does not promise deliverance from suffering, only presence within it. The theology is firmly rooted in Hebrews 13:5 and Matthew 28:20, where Christ's nearness is the central comfort. For Baptist congregations that value personal testimony and narrative preaching, this song offers a musical form for shared testimony, allowing the gathered body to recount God's faithfulness in unison.
The song's structure is chronological rather than arc-driven. Each verse introduces a new life stage, building a cumulative case that Jesus has been present in every moment. This differs from songs that move from confession to assurance or lament to praise, and worship leaders should recognize the distinction. The song does not resolve tension or offer closure; it simply testifies. This makes it well-suited for reflective moments in worship, such as before communion or following a pastoral prayer for those in crisis. It is less suited for high-energy opening sets or celebratory closers. The slow tempo (77 BPM) supports the introspective mood but requires intentional dynamic shaping to prevent the song from feeling static. Leaders should consider varying instrumentation between verses or inviting the congregation into silence after the final chorus to honor the reflective space the song creates.
Theologically, the song's emphasis on presence rather than deliverance is both its strength and its pastoral challenge. For believers walking through prolonged suffering, the promise of Christ's nearness is profoundly comforting and biblically accurate. Job's friends offered explanations; God offered His presence. The Psalms rarely promise immediate rescue but consistently affirm that God is near to the brokenhearted (Psalm 34:18). However, in congregations influenced by prosperity theology or those with immature believers, the song may require framing to prevent misinterpretation. Some may hear 'there was Jesus' and assume it means 'there was deliverance.' Worship leaders should clarify that Christ's presence is the sustaining reality, not the absence of hardship. Pairing this song with material that articulates the gospel more fully (atonement, resurrection, lordship) ensures a balanced theological diet.
The song's first-person singular voice throughout is a legitimate liturgical consideration. In traditions that prioritize corporate 'we' language, this may feel more like a solo than a congregational song. However, Baptist worship has a long history of valuing personal testimony as a communal act. When one believer recounts God's faithfulness, the gathered body is edified. Colossians 3:16 instructs believers to teach and admonish one another with psalms, hymns, and spiritual songs, and testimony is one form of that teaching. Framing this as a congregational testimony where the entire body shares one voice of collective experience helps congregations understand their role. The song also provides space for those who have experienced loss, trauma, or prolonged waiting to find language for their experience in worship. This is no small pastoral gift. Used well, with clear framing and thoughtful placement in the service, There Was Jesus offers Baptist congregations a biblically grounded, emotionally honest testimony song that honors both the reality of suffering and the faithfulness of God.
Defense brief
Who raises this: Theologically Reformed or gospel-centered leaders concerned about emotionalism over doctrine
The song reflects the theology of Hebrews 13:5 ('Never will I leave you; never will I forsake you') and Matthew 28:20 ('I am with you always'). While it does not articulate substitutionary atonement, the biblical witness includes both Christ's atoning work and His ongoing presence. Psalm 23, one of the most beloved passages in Scripture, emphasizes God's presence in the valley, not His rescue from it. This song serves a complementary role to more kerygmatic material.
Introduce the song as a testimony of God's faithfulness through hardship, and pair it in the same service with a song that articulates the gospel more fully, such as 'In Christ Alone' or 'How Deep the Father's Love.'
Who raises this: Leaders of high-energy services or congregations that equate exuberance with authentic worship
Scripture includes both jubilant praise (Psalm 100) and reflective testimony (Psalm 77). Ecclesiastes 3:4 acknowledges there is 'a time to weep and a time to laugh, a time to mourn and a time to dance.' Worship that only celebrates without acknowledging struggle is incomplete.
Place this song in a service arc where it serves as a reflective moment, perhaps before communion or after a pastoral prayer for those facing hardship. Do not use it as an opener or closer unless the entire service is designed for lament or testimony.
Who raises this: Liturgically minded leaders who prioritize corporate voice in gathered worship
Paul instructs believers to teach and admonish one another with psalms, hymns, and spiritual songs (Colossians 3:16). Testimony is a form of mutual encouragement. When one believer recounts God's faithfulness, the gathered body is edified. Revelation 12:11 affirms that believers overcome 'by the word of their testimony.'
Frame this as a congregational testimony song where the entire body shares one voice of collective experience. In Baptist contexts, where testimony is a historic worship element, this is not novel but a return to roots. You might say: 'This is our shared story. As we sing, we are testifying together to the God who has been with us through every season.'
Scripture map
Primary foundations
Supporting connections
Story behind the song
Zach Williams co-wrote There Was Jesus with Nashville songwriters Casey Beathard and Jonathan Smith during a period when Williams was reflecting on the consistent presence of God through the difficult seasons of his own life, including his years of wandering before coming to faith.
Artist interviews, 2019
The song was released as a duet with Dolly Parton, whose vocals on the second verse added emotional depth and cross-generational appeal. Parton's involvement brought the song to a wider audience, including country radio, and highlighted its testimony-driven narrative.
Rescue Story album release notes
There Was Jesus became a crossover hit, reaching both Christian and country charts, and resonated particularly with believers processing grief or prolonged hardship during the COVID-19 pandemic. Its message of Christ's presence in waiting and suffering met a cultural moment of widespread uncertainty.
CCM Magazine, 2020
Themes
Sermon series fit
Audience fit
Maturity
Suitable for all levels, though benefits from pastoral framing for newer believers to distinguish presence from deliverance
Age group
All ages, particularly resonant with older adults and those who have walked through prolonged trials
Service type
Reflective worship, testimony services, communion, memorial services
Visitor-friendly
Moderately visitor-friendly. The specificity of hardships is accessible, but the slow tempo and introspective mood may feel unfamiliar to unchurched visitors expecting high-energy worship.
Special contexts
Funeral or memorial services, cancer support ministries, grief groups, Advent services emphasizing God-with-us
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