Have you ever paused to consider the songs sung during your church’s worship service? If you’re involved in church leadership or simply a thoughtful attendee, the selection of music should be of significant interest.
Let’s take a moment to reflect on recent worship services. What songs resonated through the sanctuary? Perhaps you heard melodies like “His Mercy Is More,” “Jesus Messiah,” “Grace Greater than Our Sin,” or “How Deep the Father’s Love for Us,” similar to those in many congregations. Now, consider the context of their use. Maybe “His Mercy Is More” served as an uplifting opening, “Jesus Messiah” preceded communion, “Grace Greater Than Our Sin” accompanied a moment of confession, and “How Deep the Father’s Love for Us” extended an invitation to deeper faith. Finally, and crucially, think about the intended purpose and message embedded within the lyrics of each song.
Occasionally, worship leaders might inadvertently use a song in a way that diverges from its textual intent. This can manifest in various forms, but a particularly common scenario is filling worship services with songs that, surprisingly, aren’t truly “worship songs” in the strictest sense.
Wait, what exactly defines a “worship song” then?
Let’s delve into a working definition. For our discussion, let’s define a “worship song” as a song directed either to or about the Triune God, crafted to encourage collective participation within a corporate worship setting. (It’s important to note that this discussion centers on corporate worship; personal worship opens up a different spectrum of possibilities.) With this definition in mind, let’s revisit those four songs mentioned earlier and ask some probing questions:
- Who is the intended recipient of the song?
- What is the central subject of the song?
- Who is the implied singer of the song?
“His Mercy Is More” is crafted as a song for Christians to sing to one another, celebrating and affirming God’s boundless mercy. “Jesus Messiah” functions as a song for anyone to declare objective truths about Jesus and the salvation found in Him. “Grace Greater Than Our Sin” is versatile, suitable for Christians to sing both to fellow believers, reinforcing God’s grace, and to non-Christians, extending an invitation to experience that grace. “How Deep the Father’s Love for Us” serves as a reminder for Christians to sing to each other, reflecting on the profound depth of God’s love.
Did you notice a pattern in this analysis? All these songs resonate most authentically when sung by Christians, a hallmark of a worship-related song. They all clearly revolve around biblical attributes of God, another indicator. However, none of these songs are explicitly directed to God in their lyrical structure. In fact, many songs favored in contemporary churches, while being about God, are not actually to God. Certainly, congregations also sing songs directly addressed to God, such as “Living Hope,” “Speak, O Lord,” and “How Great Thou Art,” but these may sometimes be less frequent in modern setlists. And this is not inherently problematic – both categories can fall under the broad umbrella of “worship songs.”
“How Great Thou Art” introduces a nuance, oscillating between addressing God directly and reflecting about God (verse 3 shifts to being about God, while the rest is to God). Whether one appreciates this technique is subjective, but it’s a common approach. Consider Kari Jobe’s rendition of “Be Still, My Soul,” originally by Katharina von Schlegel, which speaks to our souls about God’s sovereignty. Jobe’s version adds a chorus directed to God – the pronoun “you” shifts from “my soul” to “God” and back, sometimes subtly (indicated only by capitalization, often overlooked). Matt Redman’s popular “10,000 Reasons” presents another variation: while primarily sung to God, it incorporates “my soul” as “you” within the chorus.
If a congregation actively engages with the lyrics, translating them into personal worship, then this nuanced approach can be effective. However, explaining these shifts to individuals in the church, particularly the object-switching in some songs, raises a concern: what is the congregation truly focusing on when singing these songs in a context intended for worship directed to God?
This brings us to the central point: when a worship leader announces, “Let’s worship God together,” or words to that effect, implying a moment of collective worship directed towards God, shouldn’t the subsequent music genuinely facilitate that? The argument here is that it should, and therefore, worship leaders bear the responsibility to ensure that it does.
The Misdirection of “Raise a Hallelujah”: An Unintentional Shift
It’s highly probable that “Raise a Hallelujah” immediately comes to mind. This song achieved significant popularity, reaching #2 on Billboard charts and consistently ranking in top church music lists (Lifewayworship, Praisecharts, and CCLI). It also garnered a Dove Award nomination in 2019. Many churches have incorporated it into their services. Understanding the song’s background is crucial. It originates from Bethel Music, a ministry associated with Bethel Church in northern California, rooted in Pentecostal traditions. The song emerged from a prayer vigil for the critically ill children of a Bethel Music executive. Following their recovery, Bethel Music included it on their 2019 album, Victory.
“Raise a Hallelujah” is intentionally simple, focusing on the supernatural power of prayer and worship as tools to overcome fear and illness:
I raise a hallelujah in the presence of my enemies.
I raise a hallelujah, louder than the unbelief.
I raise a hallelujah; my weapon is a melody.
I raise a hallelujah; Heaven comes to fight for me.
I’m gonna sing in the middle of the storm,
Louder and louder, you’re gonna hear my praises roar.
Up from the ashes, hope will arise,
Death is defeated, the King is alive.
I raise a hallelujah with everything inside of me.
I raise a hallelujah; I will watch the darkness flee.
I raise a hallelujah in the middle of the mystery.
I raise a hallelujah; fear, you lost your hold on me.
Sing a little louder
In the presence of my enemies!
Sing a little louder,
Louder than the unbelief!
Sing a little louder!Alt text: A diverse congregation passionately singing worship songs with hands raised in a brightly lit church sanctuary, expressing deep faith and communal connection.
The song has undoubtedly offered encouragement and inspiration to Christians facing adversity.
It also prominently features “hallelujah” in its title.
Does “hallelujah” automatically equate to “worship song”? This seems to be a prevailing assumption, supported by observations and even formal recognition. The Gospel Music Association, responsible for the Dove Awards, nominated “Raise a Hallelujah” for “Worship Recorded Song of the Year.” Their definition of a “worship song” includes: “Songs specifically used to lead churches in worship, which invite participation, and which tend to have a vertical focus toward God rather than toward the listener; and which have had a significant impact in congregational worship during the eligibility period.” Across various contexts where this song is used, it’s generally presented and received as a worship song.
But is it truly? Let’s analyze the lyrics critically.
- Who is the song directed to? This is ambiguous. The opening verse reads as a declaration, almost indifferent to the recipient. It’s not explicitly to God. It also doesn’t quite fit as being directed to fellow Christians – it carries a tone of personal assertion. It might be construed as self-encouragement. The chorus introduces “you,” which is clearly not “my soul” and too assertive to be God or fellow believers in this context. In the second verse, “you” is identified as “fear,” possibly representing internal struggle or external enemies (agents of Satan). Based on the artists, the associated church, lyrical content, and typical presentation, the song appears to be directed “to” enemies, a defiant stance against Satan’s influence in life’s challenges.
- What is the song about? It centers on the singer and their triumph over adversity through prayer and worship. While a devotional mindset might connect this to Jesus’ victory over death and divine support against Satan, these are largely implied. Superficially, the song is about personal resilience.
- Who is the implied singer? Can a non-Christian authentically sing this song? While the wording is broad enough for a non-Christian to potentially sing along, the declarations within are ultimately rooted in Christian beliefs and experiences.
So, to summarize, “Raise a Hallelujah” is a bold declaration directed at spiritual adversaries, echoing the spirit of 1 Corinthians 15:54-57: “When the perishable has been clothed with the imperishable, and the mortal with immortality, then the saying that is written will come true: ‘Death has been swallowed up in victory. Where, O death, is your victory? Where, O death, is your sting?’ The sting of death is sin, and the power of sin is the law. But thanks be to God! He gives us the victory through our Lord Jesus Christ.” Just as Paul reminded the Corinthians of this spiritual battle, this song can serve to remind spiritual enemies of their ultimate defeat.
However, this doesn’t automatically classify it as a worship song to God.
Herein lies the potential misdirection: the “hallelujah” in the title refers not to the song itself being an act of worship directed to God, but to the hallelujah—the praise—that the singer declares they raise amidst adversity. This song isn’t the hallelujah; it’s about the hallelujah. Perhaps the writers intended to prompt individual worship, inviting listeners to inject their own worshipful expression (a creative songwriting approach). Regardless of intent, the song itself isn’t directly a hallelujah to God, and thus, isn’t strictly a worship song in the direct address sense.
So, what category does it fit into? Many similar songs exist within hymnals and contemporary Christian music. Hank Williams’ classic “I’ll Fly Away” is an example – a declaration about death and afterlife, mentioning “hallelujah” but without direct address to God or clear audience. Other examples include “Because He Lives,” “Tis So Sweet to Trust in Jesus,” “Amazing Grace,” and “Come, Ye Sinners.” These songs aren’t directed to God; they are primarily aimed at non-Christians, encouraging them to seek Jesus. They aren’t fundamentally about God’s attributes in the same way as traditional worship songs; they focus on the believer’s experience and transformation through faith.
The Proper Place for “Raise a Hallelujah” and Testimony Songs
These songs fall into the category of testimony songs. They are songs centered on the believer’s journey and how faith in Christ manifests in their lives. Used appropriately, they equip believers with language and emotion to find encouragement and articulate their faith to others. They are expressions of personal testimony.
Testimony songs are particularly effective in private worship, offering personal resonance and connection. Countless testimony songs exist, many applicable to specific personal circumstances. Integrating these songs into personal devotion can deepen one’s relationship with God, fostering hope and gratitude. Their power is undeniable. This power is so tangible that even analyzing “Raise a Hallelujah” critically for this article initially sparked passionate defense from those who have found it deeply meaningful. (These discussions, however, lead to greater understanding).
Can testimony songs be incorporated into corporate worship? Absolutely. However, distinguishing between a worship song directed to God and a testimony song is crucial. Avoid creating the impression that singing about personal experience is equivalent to offering worship to God. Consider these informal guidelines for using testimony songs in corporate settings:
- Prioritize worship songs directed to God: Testimony songs should not dominate worship services.
- Contextualize with testimony or scripture: Precede or follow a testimony song with a personal testimony from a member or a relevant Bible verse.
- Consider solo performances: Using testimony songs as solos can highlight their personal declaration nature.
- Dedicated services: Incorporate testimony songs within prayer services or “services of encouragement” where their focus aligns with the service’s intent.
Concerns about Christian music are rarely about the songs themselves. They are often expressions of a songwriter’s personal journey and relationship with God. The crucial point is how church leaders utilize these songs. In the case of “Raise a Hallelujah,” its widespread use as a primary worship song reveals a potential lack of intentionality in worship planning. Careful and deliberate song selection is paramount for meaningful corporate worship.
Alt text: A passionate worship leader guides a congregation in song during a church service, fostering an atmosphere of spiritual engagement and musical participation.
