Song review

This Is Our God

Brandon Lake, Pat Barrett, Phil Wickham, Steven Furtick

CCLI #7134137Key of C80 BPM4/4
9.3/10
Use freely

This Is Our God is a theologically robust declaration of God's character and mighty acts, grounded in Exodus narrative and Isaiah's vision. The collaborative writing brings convergent voices from multiple worship streams, resulting in a song that balances corporate proclamation with personal testimony. Its strength lies in sustained third-person declaration of who God is, making it excellent for teaching congregations to speak about God before speaking to God. The melody carries well in the original key for trained singers but benefits from transposition for broader congregational access. Minor pronoun shifts and one speculative phrase represent the only theological watchpoints in an otherwise scripturally saturated text. Highly recommended for proclamation-focused worship moments and sermon series on God's character or the Exodus narrative.

Five lenses

01Scriptural fidelity
9.4
One phrase extrapolates beyond direct scriptural warrant, though within bounds of reasonable implication

The song anchors itself in the Exodus narrative, drawing language directly from Moses' encounter at the burning bush ('I Am'), the power demonstrated through the plagues and Red Sea crossing, and the sustaining provision of wilderness manna. The declaration 'He is robed in majesty' echoes Psalm 93:1, while 'darkness shakes' reflects the recurring biblical pattern of God's light overpowering evil. Isaiah's throne-room vision provides the frame for corporate worship. One line attributes subjective experience to God's heartbeat in a way that, while poetically evocative, lacks direct scriptural precedent. The overwhelming majority of the text, however, functions as faithful retelling of God's self-revelation in Scripture.

02Theological clarity
9.5
Sustained third-person testimony maintains clear theological focus throughout
03Congregational singability
8.7
Original key pushes upper range for average congregations, melody features sustained high notes

The melody sits comfortably in mid-range during verses but ascends to E5 in the chorus, a note many congregants will strain to reach or default to singing an octave lower. The sustained nature of the high notes (not just passing tones) makes this particularly challenging for mixed congregations. Transposing down one semitone to B major brings the ceiling to D#5, a more accessible target while maintaining the song's anthemic energy. The rhythmic structure is straightforward, with natural word stress aligning to the beat. Lyric density is moderate, giving congregations time to breathe and focus on the proclamations being made.

04Poetic and lyrical quality
9.1
Strong narrative cohesion and vivid Exodus imagery, minor pronoun shift in bridge

The lyric excels in creating a sustained narrative arc from eternity past to present reality, using concrete imagery from the Exodus account rather than generic worship language. Phrases like 'manna fell' and 'split the seas' ground abstraction in historical particulars. The collaborative writing shows remarkable thematic unity, avoiding the fragmentation that sometimes results from multiple-author compositions. The repetition of 'This is our God' functions as liturgical refrain, anchoring each stanza in corporate confession. The bridge shifts briefly from third-person declaration to second-person address, a minor transition that reflects biblical precedent but requires smooth vocal delivery to avoid jarring the congregation.

05Defense brief
9.2

The primary objections likely to surface concern the upper vocal range and the brief pronoun shift in the bridge. A secondary concern may arise from the one phrase that attributes motive to God in personified language. All objections have reasonable pastoral responses grounded in Scripture and worship practice.

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Full analysis

This Is Our God emerges from a unique collaborative effort bringing together voices from Bethel Music, Housefires, Elevation Worship, and Phil Wickham's independent artistry. The result is a song that feels both expansive and focused, drawing on the Exodus narrative as the primary lens for declaring God's identity and power. The opening lines establish eternal scope with the threefold divine title from Revelation, immediately situating the God of Israel within the biblical arc from Genesis to the eschaton. This is not a generic deity but the specific God who reveals Himself across Scripture's canon. The song then narrows to the concrete: seas splitting, manna falling, darkness shaking. These are not abstractions but historical acts that define who God is by what He has done.

The chorus functions as corporate ownership, inviting the congregation to claim this God as their own. The phrase 'This is our God' echoes Joshua 24:15 ('As for me and my house, we will serve the LORD') and the identificational theology of the New Testament, where Gentile believers are grafted into the story of Israel's God. The repetition of the phrase throughout the song serves a catechetical function, teaching the congregation to speak about God before speaking to Him. This is particularly valuable in an era when much contemporary worship moves immediately to intimacy without establishing the character of the One being addressed. The song provides the theological foundation for intimacy by first declaring who God is.

The bridge introduces a brief but notable shift from third-person declaration to second-person address. This transition reflects the pattern found in multiple Psalms, where the worshiper's gaze intensifies from proclamation to the community to direct speech toward God. While some may find the shift abrupt, it mirrors the natural movement of corporate worship: we remind one another who God is, then we turn to address Him directly. Worship leaders should prepare congregations for this turn, either through spoken transition or by vocally emphasizing the shift. The content of the bridge itself is theologically sound, affirming God's majesty and His role as both strong deliverer and sustaining presence.

The song's primary weakness lies not in its theology but in its original key, which pushes the upper range of congregational accessibility. The E5 ceiling will cause significant octave displacement in most Baptist congregations, where mixed ages and untrained voices are the norm. Transposing down to B major or even A major for older congregations allows the song's excellent content to be sung rather than merely heard. One phrase about God's heartbeat represents the only substantive theological watchpoint, as it personifies divine motivation in language more inferential than directly scriptural. This is a minor concern in an otherwise robustly biblical text, and the phrase falls within the bounds of biblical anthropomorphism. Overall, the song represents a strong addition to the repertoire for proclamation-focused worship, Exodus-themed sermon series, or teaching moments on the character of God.

Defense brief

"The song shifts from talking about God to talking to God in the bridge, which could confuse the congregation about who is being addressed."
Grammar/Academic

Who raises this: Liturgically-minded members, those trained in consistent grammatical structures

Scripture response

This pattern reflects Psalmic precedent found in Psalm 22 ('My God, my God' shifts to 'You are holy'), Psalm 103 ('Bless the LORD, O my soul' shifts to 'who forgives all your iniquity'), and Psalm 42 ('As a deer pants' shifts to 'Why are you cast down, O my soul'). Hebrew worship poetry regularly moves between third and second person when the worshiper's gaze intensifies from declaration to direct address.

Suggested framing

This is not grammatical confusion but liturgical intensification. The congregation begins by declaring who God is to one another, then turns to address Him directly. Prepare the congregation by noting the shift: 'We've been declaring who God is. Now we turn to speak directly to Him.'

Honest concession
The shift is brief and may feel abrupt if the worship leader does not vocally signal the transition. In a congregation unfamiliar with Psalmic conventions, a spoken introduction to the bridge helps smooth the turn.
"The phrase about God's heartbeat personifies divine motivation in a way that sounds more sentimental than scriptural."
Theological

Who raises this: Theologically conservative members concerned with anthropomorphism

Scripture response

Scripture regularly uses anthropomorphic language to describe God's inner life: God's heart was grieved (Genesis 6:6), His bowels yearn (Jeremiah 31:20 KJV), He is moved with compassion (Matthew 9:36). While 'heartbeat' is not a biblical term, the concept that God has inner motivation and desire for His people is thoroughly attested.

Suggested framing

This is poetic language in the tradition of biblical anthropomorphism. Scripture describes God's heart, His desires, His compassion. The phrase invites us to consider that God's actions toward us flow from His character and love, not arbitrary power.

Honest concession
The phrase is more inferential than directly quoted from Scripture. It represents the songwriters' theological reflection on God's motive, not a verbatim scriptural claim. Some congregations may prefer to focus on what Scripture explicitly states about God's actions rather than His inner life.
"The original key is too high for most congregations to sing comfortably."
Musical

Who raises this: Congregants with limited vocal range, older adults, those who default to octave displacement

Scripture response

Scripture calls for joyful noise and congregational participation (Psalm 95:1-2, Psalm 100:1), which requires accessible melody. While the song's content is excellent, its delivery must serve the congregation's ability to participate.

Suggested framing

We're transposing this down one step to B major so more voices can join the declaration. The song's power is in the corporate confession, not hitting high notes.

Honest concession
The original key favors trained vocalists and younger singers. Many congregations will need the lower key to participate fully rather than listening to the worship team perform.

Scripture map

Primary foundations

Revelation 1:4, 8The threefold divine title 'who was, who is, and is to come' frames the song's opening declaration of God's eternal identity
Exodus 14:21-22The splitting of the Red Sea is explicitly referenced as demonstration of God's delivering power
Exodus 16:4, 14-15The manna provision in the wilderness grounds God's sustaining faithfulness in historical act
Psalm 93:1The imagery of God robed in majesty draws directly from this psalm's depiction of divine sovereignty

Supporting connections

Isaiah 6:1-3The song's focus on God's majesty and the corporate worship response reflects Isaiah's throne-room vision
Exodus 3:14The 'I Am' declaration connects to God's self-revelation to Moses at the burning bush
John 6:31-35Jesus' commentary on the manna connects the Exodus provision to His own identity as bread of life
1 John 1:5The theme of God as light and darkness's inability to overcome it echoes this New Testament affirmation

Story behind the song

The song emerged from a collaborative writing session in 2020 bringing together Brandon Lake (Bethel Music/Maverick City), Pat Barrett (Housefires), Phil Wickham, and Steven Furtick (Elevation Worship). The collaboration was part of a broader movement toward cross-denominational and cross-ministry partnerships in worship writing, seeking convergence around core biblical themes.

Worship Together songwriter profiles, 2020

Each of the four writers released the song on their respective projects in 2020-2021, with Brandon Lake including it on House of Miracles, Pat Barrett on The Way, and Phil Wickham on Hymn of Heaven. This multi-release strategy helped the song gain rapid adoption across diverse worship contexts.

Album liner notes and CCLI tracking data

The Exodus narrative was chosen deliberately as a unifying biblical story that transcends denominational lines and provides concrete imagery for God's character. The writers sought to create a song that teaches theology through retelling Scripture's story rather than abstract propositions.

Songwriter interviews, Worship Leader Magazine

Themes

God's CharacterGod's PowerExodus NarrativeDeliveranceProvisionGod's FaithfulnessCorporate WorshipGod's Majesty

Sermon series fit

Exodus seriesAttributes of GodOld Testament FoundationsGod's FaithfulnessDeliverance and RedemptionWho Is God?

Audience fit

Maturity

All levels - the concrete Exodus imagery makes it accessible to newer believers while the theological depth engages mature disciples

Age group

Best for younger to middle-aged congregations due to upper range, adaptable with key change for older adults

Service type

Corporate worship, teaching services, testimony-focused gatherings

Visitor-friendly

Moderately high - the narrative structure and clear declarations make it accessible, though visitors unfamiliar with the Exodus story may miss some richness

Special contexts

Excellent for baptism services (deliverance imagery), mission emphasis (God's faithfulness), or doctrinal teaching moments

Similar songs

If you love this song

Graves Into Gardens - Elevation Worship (similar collaborative origin, theologically rich declarations)

Jireh - Elevation Worship & Maverick City (Exodus themes, provider imagery, proclamation focus)

The Blessing - Kari Jobe & Elevation Worship (corporate blessing, biblical narrative grounding)

Way Maker - Sinach (declaration of God's present work, third-person testimony)

How Great Is Our God - Chris Tomlin (corporate declaration of God's attributes, singable melody)

If this concerns you

Ancient of Days - CityAlight (if the range concern is primary, this offers similar God-focus with more accessible melody)

Before the Throne of God Above - Shane & Shane (if theological precision is the priority, this hymn-based song provides doctrinal clarity)

O Praise the Name (Anastasis) - Hillsong Worship (if you prefer consistent person throughout, this maintains second-person address)

O Come to the Altar - Elevation Worship (if Exodus imagery resonates but you want explicit gospel application)

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