Jim Hill
A cherished eschatological hymn with deep scriptural roots and vivid resurrection hope, marred only by a dated high-range waltz melody that challenges modern congregations. The lyric is theologically sound, pastorally comforting, and firmly rooted in 1 Corinthians 15 and Revelation 21-22. The song's longevity across seven decades testifies to its theological substance and emotional resonance, particularly in seasons of grief and anticipation. The waltz form and high tessitura require careful key selection and may limit full congregational participation, but where singable, this song offers rich biblical language and clear gospel hope.
Five lenses
The lyric is saturated with Scripture, drawing heavily from 1 Corinthians 15:51-54 (resurrection), Revelation 21:4 (no more pain or sorrow), Revelation 22:4 (seeing His face), and the broader New Testament eschatological vision. The phrase 'when He takes me by the hand' reflects Jesus' pastoral imagery and resurrection encounters. The declaration of no more sorrow or heartache echoes Revelation 21:4 with precision. The anticipation of reunion with the Savior and the redeemed community aligns with 1 Thessalonians 4:13-18. The only minor compression is the blending of resurrection moment with eternal state reality, though this reflects the celebratory telescoping common in worship rather than theological error.
The song presents a clear, orthodox vision of the believer's resurrection hope rooted in Christ's victory over death. The theological arc moves from present groaning to future glorification, capturing the already-not-yet tension of Christian eschatology. The emphasis on seeing Jesus, reunion with loved ones, and the end of suffering aligns with Baptist teaching on the intermediate state, the return of Christ, and the resurrection of the dead. The lyric avoids speculative details about heaven and focuses instead on the relational and experiential realities grounded in Scripture. The only theological thinness is the tendency toward personal experience language that might downplay the communal, cosmic scope of the new creation.
This is a musically challenging song for contemporary congregations. The 3/4 waltz meter is less common in modern worship and requires careful conducting. The original key of Ab places the melody ceiling at Ab5, well above the comfortable range for most congregants. Transposing down to G (recommended) brings the ceiling to G5, which is still high but more manageable. The melody is memorable and has clear phrasing, but the Southern Gospel performance tradition often includes embellishments that are difficult for untrained singers to replicate. Male voices will struggle with the upper register unless singing in falsetto or dropping an octave. The song works best with a strong soprano section or as a solo/ensemble piece with congregational joining on the chorus.
The lyric demonstrates solid mid-20th-century Southern Gospel craft with clear, singable phrases and consistent rhyme structure. The imagery is concrete and biblically rooted: 'takes me by the hand,' 'leads me through,' 'shall behold His face,' 'no more burdens to bear.' The repetition of 'what a day that will be' functions as both title hook and emotional anchor, building anticipation. The language is accessible without being shallow, avoiding the tendency toward sentimentality that marks weaker gospel songs. The grammar is clean and the syntax natural. The voice is primarily individual ('when I shall see') but gestures toward the corporate through implied reunion imagery. The poetic quality is less sophisticated than classic hymnody but more substantive than much contemporary worship.
This song will face minimal theological objection in Baptist contexts, as it aligns closely with evangelical eschatology and relies heavily on clear biblical texts. The primary objections will be musical (dated style, high range) rather than doctrinal. Pastors can confidently defend the lyric as biblically grounded and theologically sound, while acknowledging that the musical arrangement may need adaptation for contemporary congregations. The song's enduring popularity across seven decades demonstrates its pastoral utility in seasons of grief and its theological substance in teaching the resurrection hope.
Full analysis
What A Day That Will Be stands as one of the most enduring expressions of Christian eschatological hope in the Southern Gospel tradition. Written in 1955, the song captures the longing of the believer for the resurrection moment when Christ returns and the promises of Revelation 21-22 are fulfilled. The lyric is deeply rooted in Scripture, drawing from 1 Corinthians 15's resurrection theology, Revelation 21:4's promise of no more tears, and Revelation 22:4's vision of seeing His face. The theological content is sound and pastoral, offering comfort in seasons of grief while maintaining doctrinal clarity about the Christian hope. The song avoids speculative details about heaven and instead focuses on relational realities: reunion with Christ, seeing His face, and the end of suffering. This is biblical eschatology at its most accessible and emotionally resonant.
The primary challenge with this song is not theological but musical. The waltz meter and high tessitura reflect the Southern Gospel performance tradition of the mid-20th century, where trained soloists and quartets often sang in keys that showcased vocal prowess. The original key of Ab places the melody ceiling at Ab5, which is prohibitively high for most congregations. Transposing down to G or even F is essential for congregational use. Even in a lower key, the song works best in contexts where musical confidence is high or as a feature for choir or ensemble with congregational participation on familiar refrains. Worship leaders should not underestimate the musical barriers this song presents, but neither should they dismiss its theological richness because of its dated style.
The voice of the song is primarily individual, written in first-person singular throughout. This is appropriate for a personal testimony of resurrection hope and reflects the pastoral intimacy of Jesus' own promise in John 14:3. However, worship leaders should be aware that the individualistic frame may need balancing with corporate resurrection teaching. The song assumes the larger community of the redeemed without explicitly naming it. Pairing this song with Scripture readings from 1 Thessalonians 4:13-18 or Revelation 21-22 can help congregants hear the personal testimony within the broader corporate hope. The song functions best when the congregation understands it as one believer's anticipation of the shared resurrection experience.
For Baptist worship leaders in the BGCT tradition, this song is a valuable resource for memorial services, All Saints observances, or sermon series on eschatology and the resurrection. Its theological clarity and scriptural grounding make it easily defensible, while its emotional warmth provides pastoral comfort. The song's longevity demonstrates its ability to speak across generational lines, even as its musical style may feel foreign to younger congregants. Use it with careful attention to key selection and musical context, and frame it within teaching that balances personal and cosmic dimensions of the resurrection hope. Where singable, this song offers a rich, biblically faithful vision of what awaits the people of God.
Defense brief
Who raises this: Theologically trained members familiar with N.T. Wright or Revelation 21-22 emphasis on new heavens and new earth
While the song's first-person voice emphasizes personal encounter, this is consistent with Jesus' own promise in John 14:3 ('I will come again and receive you to myself') and Paul's pastoral comfort in 1 Thessalonians 4:17 ('and so we shall always be with the Lord'). The imagery of reunion and seeing His face assumes the corporate gathering of the redeemed. The song reflects the Bible's own balance between personal and corporate eschatological language.
Frame this song as personal testimony within the larger corporate hope. Pair it with teaching on Revelation 21-22 or use it in a service that includes readings emphasizing the communal nature of the resurrection. The personal voice invites individual faith commitment while assuming the broader community of the redeemed.
Who raises this: Members influenced by social gospel or missional theology emphases
The New Testament itself maintains a healthy tension between present mission and future hope. Paul's letters repeatedly use the resurrection hope as motivation for present faithfulness (1 Corinthians 15:58, Philippians 3:20-21). The longing for the day when there is no more sorrow does not negate present compassion; rather, it fuels endurance in suffering and service. The song reflects the groaning of Romans 8:22-23, where creation itself awaits redemption.
Use this song in balance with missional and justice-oriented songs. It is appropriate for seasons of grief, memorial services, or teaching on eschatology, but should not dominate a congregation's repertoire to the exclusion of present-tense discipleship songs. The hope of resurrection is what sustains faithful mission, not what replaces it.
Who raises this: Younger congregants and those unfamiliar with Southern Gospel tradition
This is a stylistic rather than theological concern. The longevity of the song across seven decades suggests its theological content transcends its musical idiom. However, musical accessibility is a legitimate pastoral consideration.
Transpose the song down to G or F to make it more singable. Consider using it as a choir or ensemble feature with congregational joining on the chorus. Alternatively, introduce it as a classic hymn with historical and theological significance, inviting the congregation to engage with a different musical tradition as an act of cross-generational worship.
Scripture map
Primary foundations
Supporting connections
Story behind the song
Jim Hill wrote this song in 1955 after reflecting on the resurrection hope during a time of personal grief and pastoral ministry. The song emerged from the Southern Gospel quartet tradition and quickly became a standard in evangelical and Baptist worship.
Southern Gospel music historians and published accounts of Hill's ministry
The song was published by Ben Speer Music and gained widespread circulation through recordings by Southern Gospel groups and evangelical churches across the South. Its simple, memorable melody and clear biblical content made it accessible to congregations of varying musical abilities.
Hymnology resources and gospel music archives
Over seven decades, the song has been recorded by hundreds of artists across multiple genres and has become a staple at Christian funerals and memorial services, valued for its pastoral comfort and theological clarity about the resurrection hope.
CCLI usage data and worship music surveys
Themes
Sermon series fit
Audience fit
Maturity
Accessible to all levels; the concrete imagery and clear biblical content make it suitable for newer believers while offering theological depth for mature Christians
Age group
Strongest resonance with older generations familiar with Southern Gospel tradition, but the theological content is timeless; younger congregants may need introduction to the style
Service type
Traditional worship, blended services, memorial services, funerals, homegoing celebrations, choir features, special music, All Saints observances
Visitor-friendly
Moderately visitor-friendly; the theological content is clear and the hope is attractive, but the musical style and high range may be unfamiliar to unchurched visitors
Special contexts
Particularly powerful in seasons of grief, at memorial services, or during teaching on eschatology and the resurrection; works well as a choir or ensemble feature with congregational participation
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