Ben Fielding, Matt Crocker
This is an exceptional modern creedal song that translates the Apostles' Creed into first-person congregational declaration with theological precision and pastoral warmth. It functions as both theological education and corporate confession, equipping congregations to sing what the church has believed across centuries. The octave leap in the chorus and dense verbal content present minor accessibility challenges, but these are offset by the song's clarity, scriptural grounding, and liturgical utility.
Five lenses
The song is a faithful rendering of the Apostles' Creed, which itself is a distillation of biblical teaching. Every doctrinal assertion has clear scriptural foundation: the Father as Creator (Genesis 1, Acts 17:24), the virgin birth (Matthew 1:23), Christ's suffering under Pilate (Luke 23, the Gospels), descent and resurrection (1 Peter 3:18-19, 1 Corinthians 15), ascension and session at the right hand (Acts 1:9-11, Hebrews 1:3), coming judgment (Acts 10:42, 2 Timothy 4:1), belief in the Holy Spirit (John 14:26), and the communion of saints (Hebrews 12:1, Ephesians 4:4-6). The bridge adds scriptural reinforcement with language echoing Romans 8:38-39 and the resurrection hope of 1 Corinthians 15.
This song achieves remarkable theological clarity by structuring itself as a modern rendering of the Apostles' Creed, one of the oldest and most universally accepted summaries of Christian orthodoxy. It moves systematically through the Trinity (Father, Son, Spirit), the incarnation, atonement, resurrection, ascension, and eschatological hope. The first-person 'I believe' construction transforms ancient creed into personal confession, making doctrine experiential without sacrificing precision. The song models theological formation, teaching congregations what the church believes and why.
The melody is stately and anthem-like, befitting its creedal content, with a moderate tempo (71 BPM) that allows for clear diction. The verses sit comfortably in a mid-range, but the chorus ascends to a high C on the word 'believe,' an octave leap that is musically dramatic but vocally demanding for many adults, particularly men singing melody. The phrasing is mostly syllabic with occasional melisma, keeping it accessible. The density of doctrinal content in the verses requires focused attention, which may slow initial congregational uptake, but repetition over time embeds both melody and meaning.
The poetic quality here is the beauty of theological economy. The song does not reach for novel imagery or elaborate metaphor; instead, it polishes the ancient language of the creed into singable, memorable form. The repetition of 'I believe' functions as both liturgical refrain and personal anchor. The bridge shifts into first-person eschatological hope with vivid language about rising in the body and wearing a crown, drawing from Revelation and Pauline imagery. The grammar is precise, the structure is balanced, and the voice is consistently confessional. This is liturgical poetry, valuing clarity and universality over individual artistic expression.
This song is exceptionally defensible as a catechetical and liturgical tool that roots congregational worship in historic Christian orthodoxy. It equips believers to confess what the church has always believed, providing theological formation in sung form. Potential objections center on unfamiliar creedal language (particularly 'descended into hell'), the octave leap's difficulty, and the song's didactic rather than emotive tone. All of these are answerable within the song's purpose as a modern creed.
Full analysis
This song is a modern congregational rendering of the Apostles' Creed, one of the earliest and most widely affirmed summaries of Christian faith. By structuring itself as a personal confession ('I believe'), the song translates ancient creedal language into accessible, singable form while preserving theological precision. It moves systematically through the Trinity, the life and work of Christ, and the hope of the church, offering both catechesis and corporate declaration. For Baptist congregations, which historically emphasize personal confession of faith and biblical authority, this song provides a bridge to the broader Christian tradition without compromising doctrinal clarity.
The scriptural fidelity of the song is grounded in the fidelity of the creed itself, which distills biblical teaching into confessional form. Every line has clear biblical warrant: the Father as Creator (Genesis 1, Isaiah 40), the virgin birth and Pilate's role (Matthew 1, Luke 23), the resurrection and ascension (1 Corinthians 15, Acts 1), and the eschatological return (Acts 10:42). The bridge adds personal appropriation of resurrection hope, echoing 1 Corinthians 15:42-44 and Revelation's imagery of eternal life. The phrase 'descended into hell' requires pastoral context, as it is creedal language rooted in 1 Peter 3:18-19 and Ephesians 4:9, affirming Christ's complete victory over death.
Theologically, the song is remarkable for its clarity and breadth. It affirms the Trinity, the full deity and humanity of Christ, His substitutionary death and bodily resurrection, His present reign, and His future return. It includes the often-neglected affirmation of the Holy Spirit and the communion of saints, grounding individual faith in the corporate body of Christ across time. The first-person structure avoids the vagueness of some contemporary worship, making doctrine personal without being individualistic. The bridge shifts from objective creed to subjective hope, declaring confidence in bodily resurrection and eternal life, which aligns with the New Testament's emphasis on realized and future hope.
Congregationally, the song presents both opportunity and challenge. The octave leap to high C in the chorus is vocally demanding and may require transposition for some congregations. The verbal density of the verses requires cognitive engagement, making this a song that rewards repetition and teaching rather than immediate accessibility. However, its stately tempo and predominantly syllabic melody support clear diction and congregational confidence over time. The poetic quality is liturgical rather than innovative, prioritizing theological economy and universality over personal artistic expression. This is a strength: the song equips congregations to sing what the church has always believed, forming faith through repetition and confession. It is best used in contexts where doctrinal formation is the goal, such as baptism services, communion, or sermon series on core Christian beliefs.
Defense brief
Who raises this: Congregants unfamiliar with the Apostles' Creed or concerned about biblical warrant for the phrase
The creedal phrase is understood in light of 1 Peter 3:18-19 ('made alive in the spirit, in which he went and proclaimed to the spirits in prison') and Ephesians 4:9 ('he also descended into the lower regions, the earth'). The phrase affirms Christ's real death and His victory over the grave, not His condemnation. Most scholars interpret this as Christ's descent to the realm of the dead (Hades/Sheol) to proclaim victory, not to the place of eternal punishment.
Introduce the song by noting it follows the Apostles' Creed, one of the oldest Christian confessions. Explain that 'descended into hell' means Christ truly died and entered the realm of the dead, then conquered it by rising. This affirms the completeness of His work, not any suffering beyond the cross.
Who raises this: Worship leaders concerned about vocal accessibility
Not applicable; this is a practical concern.
The octave leap is musically intentional, creating a sense of declaration and triumph. Consider transposing down to Bb or A if your congregation struggles, or encourage harmony parts that avoid the high note. Alternatively, use it as a choir or ensemble feature with congregational participation on the verses and bridge.
Who raises this: Congregants who prefer affective worship language or relational intimacy with God
The Psalms include both intimate personal address (Psalm 23, 'The Lord is my shepherd') and corporate confessional language (Psalm 100, 'Know that the Lord, he is God'). The creeds serve the latter function, grounding the church in shared belief. Romans 10:9 emphasizes confessing belief as central to faith.
Balance this song with more affective or relational worship songs in the same set. Use it as a congregational statement of faith, perhaps following a sermon on core doctrine or during baptism or communion services. Its purpose is formation, not emotional engagement, and both are biblical modes of worship.
Scripture map
Primary foundations
Supporting connections
Story behind the song
The song was written by Ben Fielding and Matt Crocker of Hillsong Worship and released on the 2014 album 'No Other Name.' It was conceived as a modern congregational setting of the Apostles' Creed, making historic Christian doctrine singable and accessible for contemporary worshipers.
Hillsong Music Publishing
The writers wanted to create a song that would help congregations across denominational lines confess the core beliefs of the Christian faith, rooting personal faith in the universal church's historic confession. The first-person structure ('I believe') personalizes the creed without losing its corporate nature.
Worship leader interviews
The song quickly became a staple in churches seeking to incorporate creedal confession into sung worship, particularly in evangelical and charismatic contexts where formal creeds were less common. It has been used widely in baptism and communion services.
CCLI reporting data
Hymn lineage
Themes
Sermon series fit
Audience fit
Maturity
Suitable for all levels; serves as catechesis for newer believers and affirmation for mature believers
Age group
Adult-focused due to verbal density and vocal range, though youth can engage with teaching
Service type
Traditional, Contemporary, Blended; particularly strong in liturgical or sacramental contexts
Visitor-friendly
Moderate; the creedal content is clear but may be unfamiliar to unchurched visitors. Best with brief introduction.
Special contexts
Baptism services, communion, membership classes, confirmation, doctrinal teaching series, ecumenical gatherings
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If you love this song
The Apostles' Creed (Keith Getty, Stuart Townend)
We Believe (Newsboys/Rich Mullins)
In Christ Alone (Getty/Townend)
The Solid Rock (Edward Mote, traditional hymn)
O Church Arise (Getty/Townend)
If this concerns you
How Great Is Our God (Chris Tomlin) - simpler Trinitarian focus
Cornerstone (Hillsong) - gospel core without creedal density
Build My Life (Pat Barrett) - relational intimacy with doctrinal grounding
Christ Is Risen (Matt Maher) - resurrection focus without full creedal scope