Blessed Be Your Name: The Story Behind the Song

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Blessed Be Your Name — a split scene of sunlit fields and a storm, with a worshipper's silhouette raised in praise — the story behind Matt Redman's worship anthem

Blessed Be Your Name: The Story Behind the Song

How Matt and Beth Redman wrote one of the most beloved worship anthems of the 21st century in the ash-filled days following September 11, 2001 — and why it continues to give millions of believers a voice in their darkest moments


Introduction: A Song Born from the Ashes

On September 11, 2001, two airplanes hit the Twin Towers in New York City, and the world changed. Within days, churches across America were overflowing. People who had not stepped inside a sanctuary in years returned, searching for something — comfort, answers, meaning, or simply a place to grieve. Pastors rose to the moment with some of the finest preaching many of their congregations had ever heard. But Matt Redman noticed something else: the songs weren’t there.

Visiting church after church in the weeks following the attacks, the British worship leader and his wife Beth found themselves in congregations that had powerful biblical preaching but an almost total absence of worship songs equipped to respond to pain, lament, and grief. There were plenty of songs for seasons of joy. There were almost none for the road marked with suffering. That absence — that silence where a song should have been — is what gave birth to “Blessed Be Your Name.”

More than two decades later, “Blessed Be Your Name” remains one of the most sung worship songs in the world. It won the GMA Dove Award for Worship Song of the Year. It spent 68 weeks on the Billboard Christian Songs chart. It has been recorded by dozens of artists including Tree63, Newsboys, Michael W. Smith, and countless church worship bands. And it continues to be the song that millions of Christians reach for when life falls apart — because it was written specifically for that moment.


Matt Redman: The Man Behind the Music

To understand “Blessed Be Your Name,” you have to understand the man who wrote it — and that story begins not with triumph, but with tragedy.

Matthew James Redman was born on February 14, 1974, in England. When he was just seven years old, his father took his own life. The loss was devastating. But in the months that followed, a group from America visited the family, bringing with them a vibrant, expressive form of worship music that Matt had never encountered before. In the midst of profound grief, worship became a lifeline. “I learnt early on,” Redman later recalled, “that when you come to the throne room of God it’s not only a place of reverence — it’s a place of refuge.”

At age ten, Matt attended a Luis Palau Mission to London gathering in 1984 and converted to Christianity. The music that had comforted him in childhood became his calling. Encouraged by youth leader Mike Pilavachi at St. Andrew’s Chorleywood, he began leading worship as a teenager. By twenty, he was recording his first album. In 1993, he co-founded Soul Survivor with Pilavachi — a global Christian movement and annual music festival aimed at young people — which would become one of the most influential youth worship gatherings in the world.

Matt is married to Beth Redman, a gifted songwriter and author in her own right. Together, they have five children and live in southern California. Beth is the co-writer of “Blessed Be Your Name,” co-author of the books God Knows My Name and Finding God in Hard Times, and a Dove Award winner in her own right. “Blessed Be Your Name” would not exist without her voice and her partnership.

To date, Matt Redman has released 16 albums, written 8 books, won 13 Dove Awards (including Songwriter of the Year in 2013), and earned two Grammy Awards for his 2011 song “10,000 Reasons (Bless the Lord).” Three of his albums have reached No. 1 on Billboard’s Christian album chart. His songs have been covered by Michael W. Smith, Chris Tomlin, Jeremy Camp, Rebecca St. James, Tasha Cobbs Leonard, and Natasha Bedingfield, among dozens of others. He has performed at Madison Square Garden, Wembley Stadium, and the Royal Albert Hall. He has led worship in South Africa, Japan, India, Australia, and the Czech Republic.

But of all the songs in his catalog, none has reached as many people in as many different circumstances as “Blessed Be Your Name.” It is the song most closely identified with his name — and the song most clearly born from his own story.


The Origin Story: September 2001

On September 15, 2001 — just four days after the 9/11 attacks — Matt and Beth Redman flew into Los Angeles to begin a planned sabbatical break in California. In his own words, from his book Blessed Be Your Name:

“Four days earlier we’d watched with the rest of the world, gripped by those terrible, nation-shaking events of 9/11. Over the next few days and weeks in the U.S., as we watched the news, talked with neighbors and visited many different churches, the full effect of the terrorist attacks began to unfold before us. Brokenness was everywhere, and many people sought some kind of comfort in the church.”

Redman was moved by the quality of the preaching he encountered. Pastors throughout the country delivered what he described as “biblical and powerful sermons,” speaking directly into the pain of a shocked nation with clarity and compassion. But something was noticeably absent. As he traveled from church to church — sometimes as a visitor, sometimes as a worship leader — a “worrying question” began to form:

“Where were the songwriters at such a time as this? Where were the musical poets and prophets to help the people of God find a voice in worship at this tragic time? The truth was, in most places we visited, there was a distinct lack of songs appropriate for this time. As songwriters and lead worshipers, we had a few expressions of hope at our disposal; but when it came to expressions of pain and lament, we had very little vocabulary to give voice to our heart cries.”

In an article for Today’s Christian magazine, writer Lindsay Terry documented what happened next. Matt turned to the one biblical voice he knew had faced total devastation and still chosen to worship: Job. In the first chapter of the Book of Job, a man loses his children, his servants, his livestock, and his property — all in a single day. His response is extraordinary:

“Then Job arose and tore his robe and shaved his head and fell on the ground and worshiped. And he said, ‘Naked I came from my mother’s womb, and naked shall I return. The LORD gave, and the LORD has taken away; blessed be the name of the LORD.'” — Job 1:20–21

Redman was gripped by that response. Not merely acceptance. Not resignation. Worship. In the middle of catastrophic loss, Job did not curse God, did not withdraw from God, did not demand explanations from God. He tore his robe, shaved his head, fell to the ground — and worshipped. “Blessed Be Your Name” was written as a musical companion to that ancient act of faith.

The song was completed in the weeks following 9/11 and recorded for Matt’s 2002 album Where Angels Fear to Tread, released on the Worship Together label. Track two. Five minutes and six seconds. A song that would take two more years to fully find its audience — but when it did, it spread like fire.


Lyrical Analysis: A Song for Every Season

“Blessed Be Your Name” is structured around a simple but profound theological framework: praise is not contingent on circumstances. The song moves through four contrasting scenarios — two seasons of blessing and two seasons of suffering — and asserts in each one that God deserves worship regardless of which season the singer currently inhabits. Here is a verse-by-verse analysis.

Verse 1 — The Land That Is Plentiful

Blessed be Your name
In the land that is plentiful
Where Your streams of abundance flow
Blessed be Your name

The song opens in a good season — abundance, provision, streams of blessing. The imagery draws from Deuteronomy 8:7–8, where God promises Israel a land of streams and abundance. But notice that even here, in the easiest and most natural place to offer praise, the song is deliberate and intentional. “Blessed be Your name” is not a passive acknowledgment of good fortune. It is an active choice to direct gratitude toward God rather than hoarding it or attributing it to one’s own effort. Even in abundance, the posture of the heart matters.

Verse 2 — The Desert Place

Blessed be Your name
When I’m found in the desert place
Though I walk through the wilderness
Blessed be Your name

The second verse mirrors the first with deliberate contrast. The “desert place” and “wilderness” are not merely metaphors — they are the biblical images of spiritual desolation, testing, and the absence of easy answers. Israel wandered the wilderness for forty years. Jesus was led there by the Spirit before beginning His ministry. The great heroes of faith all knew the desert. This verse does not say “Blessed be Your name because the desert is secretly a blessing.” It says: even here, even now, even in this — I will bless Your name. The contrast between verses one and two is the entire gospel in miniature: God is worthy of praise in both seasons, and the choice to praise in the desert is the more courageous and the more transformative act.

Pre-Chorus — The Turn

Every blessing You pour out I’ll turn back to praise.
When the darkness closes in, Lord, still I will say…

These two lines are the hinge of the entire song. “I’ll turn back to praise” is a posture of constant redirection — every good thing received is consciously redirected back to God as an act of gratitude rather than being absorbed into self-satisfaction. And the second line makes the harder commitment: even when “the darkness closes in,” the choice to say “Blessed be Your name” remains. This is not emotional manipulation or forced positivity. It is a theological choice: God’s worthiness is not determined by current circumstances.

Verse 3 — The Sun and the Suffering

Blessed be Your name
When the sun’s shining down on me,
When the world’s all as it should be,
Blessed be Your name.
Blessed be Your name
On the road marked with suffering,
Though there’s pain in the offering,
Blessed be Your name.

The third verse brings the contrast into its sharpest focus. “When the world’s all as it should be” — the easy days, the untroubled mornings, the seasons of health and wholeness. And then immediately: “on the road marked with suffering.” The phrase “though there’s pain in the offering” is particularly striking. It does not pretend that worship in suffering is painless. It acknowledges that this kind of praise costs something. It is a sacrifice of praise (Hebrews 13:15) — an offering that involves real cost, real grief, and real faith offered simultaneously.

The Bridge — The Core Theological Statement

You give and take away,
You give and take away.
My heart will choose to say:
Lord, blessed be Your name.

This bridge is where Job 1:21 becomes song. “The Lord gave, and the Lord has taken away; blessed be the name of the Lord.” Redman adds one crucial word that Job’s text implies but does not state: choose. “My heart will choose to say.” Worship in the dark is not an involuntary reflex. It is a decision. A conscious act of the will, aligned with the conviction that God is still good even when circumstances are not. Matt Redman himself has spoken about this word extensively: “Trust is a beautiful act of worship. It says to God, ‘I believe in You — in Your unfailing goodness and greatness — no matter what season of life I find myself in.'”


Timeline: The Life of a Song

Year Event
1974 Matt Redman born February 14 in England
1981 Matt’s father dies by suicide; worship becomes his place of refuge at age 7
1984 Matt converts to Christianity at a Luis Palau Mission to London gathering, age 10
1993 Co-founds Soul Survivor with Mike Pilavachi — a global youth worship movement
September 11, 2001 9/11 terrorist attacks; Matt and Beth fly to California September 15 for sabbatical
Late 2001 “Blessed Be Your Name” written by Matt and Beth Redman in response to 9/11 and inspired by Job 1:21
2002 Song recorded as track 2 on Where Angels Fear to Tread (Worship Together); album released January 1, 2002
2003 South African band Tree63 releases cover as a single; begins climbing Billboard charts
2004 Tree63 version named No. 1 Adult Contemporary Christian radio single of the year by Billboard; peaks at No. 2 on Billboard Christian Songs chart; stays on chart 68 weeks. Newsboys cover the song for their Devotion album
2005 Wins GMA Dove Award for Worship Song of the Year. Included on WOW Hits 2005. Matt releases Blessed Be Your Name: The Songs of Matt Redman Vol. 1 compilation
2008 Tree63 includes the song on their greatest hits album Blessed Be Your Name: The Hits
2011 Matt releases “10,000 Reasons (Bless the Lord),” winning two Grammy Awards
2013 Matt wins 6 Dove Awards including Songwriter of the Year; recognized by Billboard as leading Christian artist
2020 Matt signs with Integrity Music; continues active recording and touring ministry
2024 Blessed Be Your Name: The Worship Songs of Matt Redman Vol. 1 re-released on Integrity Music

Notable Recordings and Covers

Artist Year Notable Achievement
Matt & Beth Redman 2002 Original recording on Where Angels Fear to Tread (Worship Together)
Tree63 2003–2004 Cover peaked No. 2 Billboard Christian Songs; spent 68 weeks on chart; No. 1 AC Christian song of 2004
Newsboys 2004 Recorded for Devotion album; introduced to rock/pop CCM audience
Michael W. Smith 2005+ Live performances reached broad evangelical audiences
Various Artists 2005 Included on WOW Hits 2005 — one of the best-selling Christian compilation series
Matt Redman 2014 Re-released with official lyric video (Survivor Records/Sparrow Records)
Church worship bands worldwide Ongoing One of the most consistently performed songs in CCLI licensing reports globally

The Theology of Suffering and Praise

One of the reasons “Blessed Be Your Name” has endured — and one of the reasons it connects so deeply in moments of personal pain — is that it takes suffering seriously as a theological category rather than explaining it away.

Many worship songs, particularly in the contemporary CCM tradition, deal primarily with victory, breakthrough, and the joy of salvation. These are genuine and important themes. But they leave the congregation without a voice in seasons of loss, illness, grief, and unanswered prayer. “Blessed Be Your Name” provides that voice without offering false comfort. It does not say “God will fix this.” It does not say “This isn’t really that bad.” It does not even say “Everything happens for a reason.” It says something far more radical: in the middle of what cannot be explained and may never be resolved, God is still worthy of worship.

Matt Redman himself has articulated the theological heart of the song clearly: “I think the Book of Job is really about something much grander than suffering — it’s about the sovereignty of God, of which suffering is a subcategory. At the end of chapter one it says: ‘The Lord gave and the Lord has taken away. May the name of the Lord be praised.’ Trust is a beautiful act of worship. It says to God, ‘I believe in You — in Your unfailing goodness and greatness — no matter what season of life I find myself in.'”

The Gospel Coalition’s Ray Ortlund has written extensively about Job 1:21, noting that Job “did not say ‘Blessed be the Lord’ but ‘Blessed be the name of the Lord.'” At issue, Ortlund observes, is not only Job’s personal reverence for God but “the name of the Lord in the world — how God would be thought about and spoken about and felt about.” Job’s response was not merely private endurance. It was a public act of witness: in the worst moment of his life, he declared that God had done nothing wrong. That declaration is what “Blessed Be Your Name” carries into congregational worship — the same bold, costly, countercultural witness.


Why This Song Still Matters

More than two decades after it was written in the shadow of the greatest terrorist attack in American history, “Blessed Be Your Name” continues to be sung in churches around the world. It is pulled out during cancer diagnoses and at memorial services. It is sung at mission conferences and in hospital rooms. It appears at youth events and at funerals. It is among the first songs a new worship leader learns and among the last songs a grieving congregation sings at a closing service.

The reason is simple: suffering never goes out of season. Every generation encounters its version of the road marked with suffering. Every congregation includes people in the desert place alongside people in the land that is plentiful. “Blessed Be Your Name” is one of the few worship songs capacious enough to hold both realities simultaneously — to speak with equal truth to the person whose world is all as it should be and the person whose world has just collapsed.

And at the center of it all is that single, powerful word: choose. “My heart will choose to say: Lord, blessed be Your name.” Not “my heart feels like saying.” Not “my heart automatically says.” Not “my circumstances compel me to say.” Choose. Worship in the dark is a decision — and it is the most powerful theological act available to a human being in pain. It is the same decision Job made, tearing his robe and falling to the ground, declaring that the God who gave was also the God who took away, and that in both the giving and the taking, the name of the Lord was blessed.

That is what this song is. That is why it was written. And that is why — long after many worship songs of the same era have faded from memory — “Blessed Be Your Name” is still being sung.


Frequently Asked Questions

Who wrote “Blessed Be Your Name”?

“Blessed Be Your Name” was written by Matt Redman and his wife Beth Redman. It appears on Matt’s 2002 album Where Angels Fear to Tread, released on the Worship Together label.

What is “Blessed Be Your Name” about?

The song is about choosing to worship God in every season of life — both in times of blessing and in times of suffering. It is rooted in Job 1:21, where Job praises God even after losing everything. The central message is that God is worthy of praise regardless of circumstances.

What inspired “Blessed Be Your Name”?

The song was written in the weeks following the September 11, 2001 terrorist attacks. Matt and Beth Redman were in the United States on sabbatical and were struck by the absence of worship music that could respond to grief and suffering. Inspired by the Book of Job and the biblical call to praise God in all circumstances, they wrote the song as a direct response to that gap.

What Bible verse is “Blessed Be Your Name” based on?

The song is primarily based on Job 1:21: “The LORD gave, and the LORD has taken away; blessed be the name of the LORD.” The bridge of the song — “You give and take away / my heart will choose to say / Lord, blessed be Your name” — is nearly a direct paraphrase of this verse.

What awards did “Blessed Be Your Name” win?

The song won the GMA Dove Award for Worship Song of the Year in 2005. Tree63’s cover version was named the No. 1 Adult Contemporary Christian radio single of 2004 by Billboard magazine, and the song spent 68 weeks on the Billboard Christian Songs chart, peaking at No. 2.


Matt Redman (born February 14, 1974) is a British Christian worship leader, singer-songwriter, and author. He has released 16 albums, won 13 GMA Dove Awards, and earned two Grammy Awards for “10,000 Reasons (Bless the Lord).” “Blessed Be Your Name” was co-written with his wife Beth Redman and appears on the 2002 album Where Angels Fear to Tread (Worship Together / Integrity Music). © 2002 Thankyou Music (administered by worshiptogether.com songs).

 

The Story Behind the Song: Awesome God

The Story Behind the Song: Awesome God

The Story Behind the Song: Awesome God

How a drowsy drive on an American highway gave the world the greatest worship anthem of the modern era

The Man Who Yelled Into the Wind

It was sometime in 1987, and a tired young man named Richard Wayne Mullins was driving alone across the American heartland toward a youth conference. Sleep threatened to pull him under as the flat landscape rolled by. What happened next is the stuff of Christian music legend.

According to his brother David, Rich rolled down the car window and started yelling. Not out of frustration — but in imitation. He was channeling the old fire-and-brimstone country preachers he had grown up listening to, the ones who could shake a congregation loose from its pews with vivid, Old Testament imagery. Into the rushing wind, he thundered about a God whose footsteps shook the earth and whose fists held lightning. He preached to empty fields and open sky. And somewhere in that sleepy, gloriously unhinged sermon-in-motion, a chorus took shape:

“Our God is an awesome God — He reigns from heaven above, with wisdom, power, and love — our God is an awesome God.”

By the time he arrived at that Christ in Youth conference in Joplin, Missouri, the song existed in rough form. He taught it to the audience that night. The kids went wild. Rich thought nothing of it.

He was wrong.

Rich Mullins: The Ragamuffin Behind the Song

To understand why “Awesome God” resonated with millions, you have to know the man who wrote it — because everything about the song flows directly from the contradictions, struggles, and convictions of his life.

A Boy From Indiana

Richard Wayne Mullins was born on October 21, 1955, in Richmond, Indiana. His mother, Neva, was a birthright Quaker — gentle, spiritual, nurturing. His father, John, was a tree farmer — tough, emotionally reserved, and not easy to please. Rich grew up straddling those two worlds: the quiet interior life of Quaker faith and the hard exterior world of rural Indiana labor.

He was musical from almost before he could walk. His great-grandmother would hold him on her lap at the piano, and he would press his fingers on the keys, learning hymns in four-part harmony before he could speak clearly. At four years old, riding a tractor across the farm, he reportedly composed his first song. Music was not a choice for Rich Mullins — it was the air he breathed.

But he was also awkward, sensitive, not good at sports, and deeply uncertain of his own worth. He would later describe the years from his junior year of high school through age 30 as a period of near-constant torment: “I didn’t like myself, and I didn’t like anybody who was around me.” His faith, paradoxically, felt hollow during much of this time — not because he stopped believing in God, but because he couldn’t believe God could love him.

The Road to Music

After graduating high school in 1974, Rich pursued music education, eventually landing at Cincinnati Bible College and later Friends University in Wichita, Kansas. His early songwriting caught the attention of Amy Grant’s team, and Grant recorded his song “Sing Your Praises to the Lord” — giving him his first real foothold in the Contemporary Christian Music (CCM) industry.

His debut album, Behold the Man, arrived in 1981, followed by Rich Mullins (1986) and Pictures in the Sky (1987). These early records showed a songwriter with unusual depth and theological seriousness — but they were commercially modest. Rich entered the studio in spring 1988 with the conviction that it might be his final album. “I figured, ‘Boy, this is gonna be my last album, so I’m not gonna be clever here. I’m just gonna say what I have to say.'”

The album he made was Winds of Heaven, Stuff of Earth — and it contained a little song born on a highway somewhere between Tennessee and Missouri.

The Origin of “Awesome God”: Setting the Record Straight

There is some fascinating ambiguity about exactly where the song was written. Most accounts agree Rich was driving alone, fighting off sleep, and began yelling out the window in imitation of old-time country preachers. Some sources specifically place it as a drive toward a concert in Colorado; others say it was en route to a Christ in Youth conference in Joplin, Missouri, with the song first performed at Southwest Baptist University in Bolivar, MO in August 1988. Still other accounts point to a high school camp in Michigan.

What is consistent across all accounts: the song was composed in motion, essentially improvised during a drive, and then immediately shared with a live audience who responded with immediate enthusiasm. Rich himself was ambivalent about the precise origin — he told different stories at different times and appeared genuinely unconcerned with the details.

What is not ambiguous is what happened next. When “Awesome God” debuted on the AC Charts on August 15, 1988, it climbed steadily and hit #1 on October 3, 1988, spending a total of 18 weeks on the chart. Reunion Records later threw Rich a celebration party in Nashville for the achievement.

Lyrical Analysis: What “Awesome God” Actually Says

One of the great injustices done to “Awesome God” over the decades is that most people only know the chorus. This is a tragedy, because the complete song — three verses plus the famous refrain — is a remarkably dense theological statement compressed into vivid, concrete images.

The Title and the Word “Awesome”

The title is drawn directly from Scripture. The phrase “awesome God” appears in Nehemiah 1:5, Nehemiah 9:32, Psalm 47, and Daniel 9:4. The Hebrew concept behind these passages is yirah — a complex word that carries connotations of fear, reverence, awe, and wonder all at once.

By 1988, the word “awesome” had already begun its slide into casual slang — a synonym for “cool” or “great.” Rich Mullins was reaching deliberately backward, reclaiming the word’s original weight. To call God “awesome” in Mullins’s sense is not a compliment — it is a statement of ontological reality. It means: this Being exceeds your categories. You cannot domesticate Him. He is beyond you.

Verse 1 — The God of Power

When He rolls up His sleeves He ain’t just putting on the ritz
(Our God is an awesome God)
There’s thunder in His footsteps and lightning in His fists
(Our God is an awesome God)
And the Lord wasn’t joking when He kicked ’em out of Eden
It wasn’t for no reason that He shed His blood
His return is very close and so you better be believing that
Our God is an awesome God

This verse draws from an enormous swath of Old Testament imagery. The picture of God “rolling up His sleeves” is a vernacular translation of the ancient Hebrew concept of the “arm of the Lord” — God’s powerful intervention in history (Isaiah 52:10). “Thunder in His footsteps and lightning in His fists” references passages including Exodus 19:16, Psalm 18:13, Psalm 29:3-7, Job 37:3-5, and Revelation 4:5. The verse then pivots rapidly through three theological pillars: the Fall (Eden), the Atonement (the cross), and the Second Coming. In four lines, Mullins covers the entire sweep of redemptive history.

Verse 2 — The God of Creation and Judgment

And when the sky was starless in the void of the night
(Our God is an awesome God)
He spoke into the darkness and created the light
(Our God is an awesome God)
Judgment and wrath He poured out on Sodom
Mercy and grace He gave us at the cross
I hope that we have not too quickly forgotten that
Our God is an awesome God

This verse begins with Genesis 1:1-3 — the darkness before creation, God speaking light into existence. It then pairs the destruction of Sodom (Genesis 18-19) with the mercy of the cross — the most theologically loaded juxtaposition in the entire song. The implication is unmistakable: the same God who obliterated Sodom for its wickedness is the God who absorbed that same judgment Himself at Calvary. Wrath and mercy are not opposites in this theology — they are held together at the cross. The structure mirrors Psalm 136, where a single refrain (“His love endures forever”) repeats while the verses build the cumulative case for it.

The Chorus — A Declaration, Not a Description

Our God is an awesome God
He reigns from heaven above
With wisdom, power, and love
Our God is an awesome God

“He reigns from heaven above” echoes Psalm 97:1 and Exodus 15:18. “Wisdom, power, and love” is a triad drawn from 2 Timothy 1:7 combined with Proverbs 8 and the Psalms. The repetition of “Our God is an awesome God” throughout the song functions liturgically — like a doxology or antiphon. By the end, the listener has not just heard a statement; they have participated in a confession.

The Verse-Chorus Divorce

One of the most-noted observations about the song’s modern use is what one theologian called “the great divorce between verse and chorus.” As “Awesome God” became a congregational staple, many worship leaders stripped it to its chorus alone — discarding the verses that provide the reason for the declaration. Sung alone, the chorus becomes cheerleading. Sung with the verses, it becomes a creed. The full song argues its case; the chorus alone simply asserts it.

Timeline: The Life of a Song

Year Event
1987 Rich Mullins writes “Awesome God” during a late-night drive, improvising it as a preacher-styled rant to stay awake
Spring 1988 Rich enters the studio to record Winds of Heaven, Stuff of Earth for Reunion Records
August 2, 1988 Winds of Heaven, Stuff of Earth is released; “Awesome God” is the lead single
August 15, 1988 “Awesome God” debuts on the Christian AC Charts
October 3, 1988 “Awesome God” hits #1 on the AC Charts; spends 18 total weeks on chart
September 1988 Rich launches a 16-week national “Awesome God Tour”
December 1988 Reunion Records throws a celebration party for Rich in Nashville
1989 Maranatha! Praise Band records the chorus — beginning the song’s congregational worship life
1993 Rich forms The Ragamuffin Band, named after Brennan Manning’s book
1994 Michael W. Smith records a live version; featured on WOW Worship compilations
September 19, 1997 Rich Mullins dies in a traffic accident near Lostant, Illinois, at age 41
1998 Awesome God: A Tribute to Rich Mullins is released
1998 The Jesus Record, Rich’s posthumous album, is released
1998 Rich is named GMA Dove Award Artist of the Year — posthumously
2004 CCM Magazine names “Awesome God” the #1 greatest song in Christian music history
2021 Netflix film A Week Away features “Awesome God” in a campfire medley
2023 Point of Grace releases a new recording with a live a cappella outro
April 11, 2025 Phil Wickham releases “What An Awesome God” in six versions
2025 Phil Wickham’s version spends 23 weeks at #1 on Christian radio charts

The Humble Artist Who Gave It All Away

The commercial success of “Awesome God” created an uncomfortable tension for its author. Rich Mullins was profoundly suspicious of wealth, celebrity, and the CCM industry’s growing entanglement with consumer culture.

After the song’s success, he made a decision that shocked the music world: he set up a board of directors to manage his finances and had his royalty checks sent directly to his lawyer rather than himself. The board distributed the funds according to a plan Rich helped design. He accepted only the average median salary for an American laborer — the rest went to charities, including Compassion International (he eventually sponsored three children through the organization).

His reasoning was theological: “Jesus said whatever you do to the least of these my brothers you’ve done it to me. If I want to identify fully with Jesus Christ, the best way I can do that is to identify with the poor.”

In 1995, after graduating from Friends University with a degree in music education, he moved to Tse Bonito on the Navajo Nation reservation in New Mexico, where he lived in a small sheet-metal trailer and taught music to Navajo children. “God never told me to go to New Mexico,” he said with characteristic deflation. “It’s no different than someone saying, ‘I’m going to flip burgers in Pittsburgh.'”

The Ragamuffin Gospel and the Theology Behind the Song

Any serious engagement with “Awesome God” must grapple with the theological framework that shaped it — and no influence was more formative than Brennan Manning, the former Catholic priest and author of The Ragamuffin Gospel (1990).

Manning wrote his book “for the bedraggled, beat-up, and burnt-out” — for people who could not get their spiritual lives together and suspected God had given up on them. His central argument was that God’s grace is more scandalous, more unconditional, and more available than the moralistic religious culture of American Christianity was willing to admit.

Mullins, who wrestled throughout his life with depression, alcoholism, and a profound sense of unworthiness, heard Manning’s message and was transformed. He said Manning’s teaching “broke the power of mere ‘moralistic religiosity'” in his life. In 1993, he named his backing musicians The Ragamuffin Band as an explicit tribute to Manning’s work and theology.

The paradox of “Awesome God” is that it was written by a man who simultaneously believed God was terrifyingly holy and that this same terrifying God loved broken people with reckless abandon. The song holds both truths — the holiness and the mercy — in the same lyrical space. That tension is not an accident; it is the entire point.

The Death That Shocked a Generation

On the evening of September 19, 1997, Rich Mullins and his friend and bandmate Mitch McVicker were driving from Chicago to a benefit concert in Wichita, Kansas. Near Lostant, Illinois, on Interstate 39, Mullins’s Jeep went out of control and rolled, ejecting both men. A tractor-trailer, unable to stop in time, swerved to avoid the Jeep and struck Mullins. He died instantly. He was 41 years old.

McVicker survived, though he suffered serious head and internal injuries and spent weeks in a Peoria hospital before beginning rehabilitation. Rich had been just weeks away from entering the studio to record a collection of ten new songs about Jesus — songs his friends and colleagues described as the best writing of his career. Those recordings were assembled posthumously into The Jesus Record, released in 1998 — one of the most poignant artifacts in Christian music history. At the 1998 GMA Dove Awards, he was named Artist of the Year. At the 1999 awards, he won Songwriter of the Year.

Rich Mullins never made a cent from his signature song. By his own design, it had all gone elsewhere. And yet the song outlived him by decades and shows no signs of stopping.

Legacy and Modern Covers: The Song That Will Not Die

In 2004, CCM Magazine named “Awesome God” the #1 greatest song in Christian music history — a distinction that still stands more than two decades later. The song migrated out of CCM radio and into the pews of churches around the world, becoming a staple of youth camps, vacation Bible schools, revival meetings, and Sunday morning worship services across virtually every Protestant denomination.

When Point of Grace recorded a new version in 2023 — more than 25 years after his death — they added a live outro: the entire audience at their Ocean City, New Jersey concert singing the chorus a cappella, without being given the lyrics. “The entire room instinctively knew the words,” said group member Leigh Cappillino. “That’s just another example of how ‘Awesome God’ continues to stand the test of time.”

Notable Covers

Artist Version / Context Year
Maranatha! Praise Band First congregational worship recording (chorus only) 1989
Michael W. Smith Live version; performed live 36+ documented times in concert 1994–present
Helen Baylor Full gospel cover 1990s
Rebecca St. James Featured on WOW Worship compilations 2000s
Third Day Various live performances and recordings 2000s
Hillsong United Featured in worship sets worldwide 2000s
Cast of A Week Away (Netflix) Campfire medley with “God Only Knows” 2021
Point of Grace Studio version with live a cappella outro 2023
Phil Wickham “What An Awesome God” — six-version extended single with new verses 2025

Phil Wickham and the New Generation

Of all the modern interpretations of “Awesome God,” Phil Wickham’s 2025 release “What An Awesome God” represents the most significant artistic intervention since the original. Released on April 11, 2025 — a year that would have marked Rich Mullins’s 70th birthday — the song preserves the iconic chorus while adding entirely new verses penned by Wickham and co-writer Jonathan Smith.

Wickham’s new verses draw on Psalm 33:6 and Genesis 2:7, maintaining the same scriptural density as Mullins’s original verses while updating the production for modern congregational worship. The song was released in six distinct versions — studio, organic, live, voice memo, choir, and instrumental — to serve different worship contexts. “What An Awesome God” went on to spend 23 weeks at #1 on Christian radio charts in 2025.

Wickham described the experience: “It’s hard to even describe what it means to me to share a small part of the legacy of this song. It has quickly become one of my favorite songs to sing with the church.”

Why This Song Endures

Scholars, pastors, and musicians have offered many explanations for “Awesome God”‘s extraordinary staying power. Nathan Myrick, writing for United Methodist Discipleship Ministries, argues that it became “one of the signature songs of the burgeoning contemporary worship music movement” because it combined a singable, theologically confident chorus with a driving, emotionally accessible melody. Michael Blanton, the head of Reunion Records, attributes the song’s longevity to Mullins’s refusal to write for the church market — he was always writing for the ordinary, spiritually hungry person on the street.

But perhaps the deepest explanation lies in what the song refuses to do. It refuses to make God safe. It refuses to make worship comfortable. It insists on a God who judges as well as saves, who poured out wrath on Sodom and then absorbed that same wrath at the cross. In an era of therapeutic Christianity — a God who serves as life coach and cosmic affirmation engine — Rich Mullins drove down the highway and yelled about a different kind of God: awesome in the ancient sense, terrifying and beautiful and wholly other.

That version of God turns out to be the one people actually want to worship.


Rich Mullins (October 21, 1955 – September 19, 1997) is remembered at Friends University in Wichita, Kansas, in a dedicated archive known as “Rich’s Room” in the Edmund Stanley Library. His music continues to be performed by artists worldwide, and “Awesome God” remains, nearly four decades after its creation, the #1 ranked song in Contemporary Christian Music history.

 

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