Chris Tomlin stands as one of contemporary Christian music’s most influential songwriters, having penned worship anthems that resonate across denominational lines and generations. With over 16 million albums sold and countless CCLI chart-toppers, his catalog represents the soundtrack of modern worship. These twenty tracks showcase his remarkable ability to craft singable, theologically rich songs that connect intimate devotion with corporate celebration.
How Great Is Our God
This 2004 masterpiece remains Tomlin’s signature composition, combining theological depth with melodic accessibility. The song’s structure builds gradually, moving from contemplative verses into a soaring chorus that invites congregational participation. What makes this track particularly powerful is its bridge section, which introduces the Trinitarian names—”Name above all names, worthy of all praise”—creating a moment of focused declaration. The production features subtle string arrangements that enhance rather than overwhelm the lyrical content, while Tomlin’s vocal delivery maintains warmth without sacrificing authority. This track has been covered by hundreds of artists and translated into dozens of languages, cementing its status as a modern hymn that transcends cultural boundaries.
Good Good Father
Released in 2015, this emotional ballad showcases Tomlin’s ability to communicate God’s character through relatable imagery. The verses paint pictures of divine care—”I’ve seen many searching for answers far and wide”—before resolving into a chorus that repeats the affirming truth about God’s loving nature. The song’s genius lies in its simplicity; the melodic structure allows for easy memorization while the lyrical content addresses deep theological truths about God’s fatherhood. Tomlin’s vocal performance here is particularly restrained, creating space for listeners to internalize the message personally before joining the corporate declaration. The production incorporates organic instruments—acoustic guitar, piano, and light percussion—that support rather than distract from the song’s intimate message.
Our God
This anthem from 2010 demonstrates Tomlin’s gift for creating worship songs with stadium-sized energy. The track opens with a pulsing electronic backdrop before introducing driving percussion and layered vocals that build toward an explosive chorus. What distinguishes this song is its declarative nature—”Our God is greater, our God is stronger”—which transforms personal belief into collective proclamation. The bridge section, featuring the repeated phrase “And if our God is for us, then who could ever stop us,” draws directly from Romans 8:31, grounding the musical celebration in scriptural foundation. This track has become a staple in both small group settings and large worship gatherings, proving its versatility across different worship contexts. If you’re exploring more powerful worship anthems across different genres, check out our comprehensive collection of songs that move hearts and minds.
Whom Shall I Fear (God of Angel Armies)
This 2013 release showcases Tomlin’s ability to address human vulnerability while affirming divine protection. The song’s verses acknowledge genuine fear and uncertainty—”You crush the enemy underneath my feet”—before answering with the theological assurance found in the chorus. The production layers acoustic elements with electronic textures, creating a sonic landscape that feels both ancient and contemporary. Tomlin’s vocal delivery shifts between whispered vulnerability in the verses and confident declaration in the chorus, modeling the emotional journey from fear to faith. The use of the phrase “God of Angel Armies” connects modern worship to historical hymnody, specifically echoing the language found in traditional doxologies while making it accessible to contemporary ears.
Amazing Grace (My Chains Are Gone)
Tomlin’s 2006 reimagining of John Newton’s classic hymn represents a masterclass in respecting tradition while adding fresh perspective. By maintaining Newton’s original verses while introducing a new chorus—”My chains are gone, I’ve been set free”—Tomlin bridges historical and contemporary worship expressions. The arrangement begins with simple acoustic guitar before gradually introducing full band instrumentation, symbolizing the journey from bondage to freedom described in the lyrics. This version has become the definitive modern recording of “Amazing Grace” for many worship communities, demonstrating how thoughtful updates to classic hymns can introduce timeless truths to new generations. The song’s emotional climax occurs during the final chorus repetitions, where Tomlin’s voice breaks slightly, conveying genuine gratitude for redemption.
Holy Is the Lord
This track from Tomlin’s breakthrough album “Arriving” established many of the sonic and lyrical patterns that would define his career. The song opens with atmospheric keyboards before introducing a rhythmic foundation that propels the track forward. What makes this composition particularly effective is its call-and-response structure—”We stand and lift up our hands”—which naturally invites physical participation during worship. The bridge section strips away most instrumentation, focusing attention on the repeated declaration “Holy, holy, holy,” echoing the angelic worship described in Isaiah 6. This intentional connection to biblical worship scenes gives the song theological weight while maintaining contemporary musical relevance.
Jesus Messiah
Released in 2008, this Christmas-appropriate worship song transcends seasonal limitations by focusing on Christ’s identity rather than nativity specifics. The verses recount the incarnation story—”He became sin who knew no sin”—while the chorus provides a simple, singable response that affirms Jesus’s messianic role. Tomlin’s production choices here emphasize clarity over complexity, using piano as the primary harmonic instrument and adding strings sparingly for emotional emphasis. The song’s bridge contains one of Tomlin’s most memorable melodic moments, ascending vocally as it declares “His body the bread, His blood the wine,” connecting communion theology to worship practice. This track demonstrates how thoughtful songwriting can create worship moments that are both doctrinally sound and emotionally engaging.
Indescribable
This 2004 creation-focused anthem showcases Tomlin’s ability to inspire awe through lyrical imagery and dynamic musical arrangement. The verses catalog natural wonders—”From the highest of heights to the depths of the sea”—before the chorus acknowledges human limitation in fully comprehending God’s greatness. The production features sweeping orchestral elements that mirror the vastness described in the lyrics, while Tomlin’s vocal performance maintains clarity even during the song’s most musically complex moments. What distinguishes this track is its intellectual engagement with worship; rather than simply stating truth, it invites listeners to contemplate creation as a reflection of the Creator’s character. The song has become particularly popular in outdoor worship settings where natural beauty provides visual accompaniment to the lyrical content.
Forever
This eucharistic-themed worship song from 2001 helped establish Tomlin as a serious worship songwriter beyond his already successful performance career. The track’s verses meditate on Christ’s sacrifice—”The ground began to shake, the stone was rolled away”—before the chorus responds with commitment to perpetual worship. The musical arrangement builds methodically, adding instrumental layers that create a sense of growing anticipation and celebration. Tomlin’s decision to include the phrase “Forever God is faithful, forever God is strong” in the bridge section provides both theological assurance and melodic variation. This song represents early evidence of Tomlin’s gift for creating worship moments that feel both intimate and corporate, personal and universal.
God’s Great Dance Floor
This 2013 release represents Tomlin’s most musically adventurous composition, incorporating electronic dance music elements into corporate worship. The production features synthesizer arpeggios, programmed percussion, and vocal processing techniques more commonly associated with pop music than worship recordings. Despite these contemporary production choices, the lyrical content remains focused on worship themes—”I will dance, I will sing, to be mad for my King”—connecting physical celebration to spiritual devotion. The song’s bridge section includes a breakdown where most instruments drop out except for synthesizers and hand claps, creating a moment of collective participation that translates effectively in live settings. This track demonstrates Tomlin’s willingness to experiment with genre while maintaining worship integrity.
God of This City
Though originally written by the Bluetree band, Tomlin’s 2008 recording brought this prayer-focused anthem to mainstream worship consciousness. His arrangement maintains the original’s building structure while adding production polish that enhanced radio accessibility. The verses function as declarations over cities and communities—”Greater things have yet to come”—while the chorus shifts to prayer mode, asking God to demonstrate His power. Tomlin’s vocal approach here emphasizes conviction without aggression, modeling how worship can be both confident and humble. The song’s effectiveness in corporate settings stems from its adaptability; the “this city” language can be personalized to any geographic or metaphorical context, making it relevant across diverse worship communities.
Even So Come (feat. Kristian Stanfill)
This 2015 collaboration showcases Tomlin’s ability to craft eschatologically focused worship that balances longing with hope. The song draws heavily from Revelation imagery—”All of the nations praise of your Son”—while maintaining accessibility for congregational singing. The production builds gradually, introducing strings and atmospheric keyboards that create a sense of cosmic anticipation. Kristian Stanfill’s vocal contribution adds textural variety, particularly during the chorus where the two voices interweave around the repeated phrase “Even so come, Lord Jesus, come.” The bridge section strips back to minimal instrumentation, creating space for reflection before the final chorus explosion. This track demonstrates how worship music can address complex theological topics like Christ’s return while remaining emotionally engaging.
White Flag
Released in 2012, this surrender-themed worship song addresses the tension between human resistance and divine sovereignty. The verses acknowledge personal struggle—”The battle rages on as storm and tempest roar”—before the chorus responds with imagery of surrender and submission. Tomlin’s production choices emphasize this thematic journey, beginning with sparse instrumentation that gradually adds layers representing the laying down of defenses. The repeated phrase “I surrender all to You” connects this contemporary worship moment to the classic hymn “I Surrender All,” demonstrating Tomlin’s consistent practice of honoring worship traditions. For listeners interested in understanding how audio equipment affects the worship experience, exploring our guide to comparing earbuds can enhance appreciation for production details.
Awake My Soul (with Lecrae)
This 2015 collaboration represents Tomlin’s most successful crossover between contemporary worship and hip-hop culture. Lecrae’s rap verse adds rhythmic and cultural diversity to the worship conversation, while Tomlin’s melodic chorus provides accessible entry points for traditional worship participants. The production incorporates urban music elements—programmed beats, synthesizer bass, and vocal samples—while maintaining worship lyrical focus. The song’s theme centers on spiritual awakening—”There’s a light breaking through”—addressing both personal revival and collective renewal. This track exemplifies how thoughtful collaboration can expand worship music’s cultural reach without compromising theological content, introducing worship themes to audiences who might not engage with traditional worship formats.
I Lift My Hands
This 2011 ballad showcases Tomlin’s gift for creating musically simple yet emotionally profound worship moments. The song’s structure centers on repetition—”Be still, there is a healer”—allowing the message to penetrate through iteration rather than lyrical complexity. The production maintains restraint, using piano as the primary harmonic instrument and adding strings only during choruses for emotional emphasis. Tomlin’s vocal delivery here is particularly intimate, using dynamic range to communicate vulnerability and trust. The song’s effectiveness in corporate worship stems from its universality; the themes of needing divine intervention and lifting hands in surrender resonate across theological traditions and personal experiences. This track has become a favorite for contemplative worship moments and prayer gatherings.
At the Cross (Love Ran Red)
This 2014 crucifixion-focused worship song demonstrates Tomlin’s ability to approach familiar theological territory with fresh perspective. The verses recount the Passion narrative—”There on the hill, truth and mercy met”—while the chorus personalizes the gospel message with the phrase “The love of God, the cross has spoken.” The production features organic instrumentation—acoustic guitar, piano, and understated percussion—that supports rather than competes with the lyrical content. Tomlin’s vocal performance balances celebration of redemption with acknowledgment of crucifixion’s brutality, creating emotional complexity. The bridge section introduces a musical shift, moving from the song’s contemplative tone to declarative worship, modeling the journey from reflection to response. This track represents mature worship songwriting that honors biblical narrative while creating space for personal application.
Jesus Loves Me
Tomlin’s 2019 reimagining of Anna Bartlett Warner’s 1860 children’s hymn represents his ongoing commitment to updating classic worship songs for contemporary audiences. Rather than simply modernizing the arrangement, Tomlin expands the original two verses with additional lyrical content that maintains the song’s theological simplicity while adding depth. The production incorporates contemporary worship elements—layered vocals, full band instrumentation, and dynamic shifts—while preserving the melody’s recognizable structure. This approach allows the song to function effectively in multiple contexts: children’s ministry, intergenerational worship, and adult contemplation of foundational faith truths. The song’s chorus maintains the original’s straightforward declaration—”Yes, Jesus loves me”—proving that sometimes the most profound theological truths require the simplest expression.
Is He Worthy?
This 2018 call-and-response anthem, co-written with Andrew Peterson, showcases Tomlin’s ability to create theologically rich worship that engages both intellect and emotion. The song’s structure follows a question-and-answer format—”Do you feel the mountains tremble?”—that invites congregational participation while building toward eschatological celebration. The production gradually adds layers, beginning with solo voice and piano before introducing full band and choir during later verses. What distinguishes this composition is its biblical literacy; the lyrics reference multiple scriptural passages without becoming didactic or overly complex. The bridge section, featuring the repeated question “Is He worthy?” answered by increasingly enthusiastic affirmations, creates a crescendo of worship that works effectively in both recorded and live formats. For those who appreciate hearing worship music’s intricate production details, our headphones comparison guide helps identify equipment that reveals these sonic layers.
Resurrection Power
This 2018 Easter-themed anthem demonstrates Tomlin’s continued evolution in contemporary worship songwriting. The track addresses the resurrection’s ongoing implications—”We were the dead men walking, walking in the dark”—before celebrating transformation through Christ’s victory. The production incorporates contemporary pop elements, including synthesizers and programmed percussion, while maintaining worship focus. Tomlin’s vocal delivery shifts between conversational verses and anthemic choruses, modeling the movement from testimony to declaration. The bridge section introduces a chant-like repetition of “Resurrection power” that creates memorable moments in corporate worship settings. This song represents Tomlin’s ability to address classic Christian doctrines through contemporary musical language without diluting theological content.
The Table
Released in 2014, this communion-focused worship song addresses themes of inclusion and divine invitation with both theological precision and emotional warmth. The verses acknowledge human insufficiency—”I will feast at the table of the Lord”—while the chorus celebrates grace that welcomes sinners to sacred spaces. The production maintains simplicity, using acoustic instruments to create an intimate atmosphere that mirrors the song’s lyrical focus on fellowship and belonging. Tomlin’s vocal approach emphasizes invitation rather than performance, communicating that worship is participatory rather than observational. The song’s effectiveness stems from its ability to make abstract theological concepts tangible through the concrete imagery of shared meals and community gathering. This track has become particularly meaningful in worship communities that practice regular communion, providing musical language for a sacred ritual that often lacks contemporary worship expression.
Frequently Asked Questions
What is Chris Tomlin’s most popular worship song?
“How Great Is Our God” consistently ranks as Chris Tomlin’s most recognized and widely sung composition globally. Released in 2004 on the album “Arriving,” this song has been performed in churches across denominational lines and translated into numerous languages. The track topped CCLI’s most-sung worship songs list for multiple consecutive years and has been covered by hundreds of artists. Its popularity stems from the combination of theological depth, melodic memorability, and structural accessibility that allows congregations of various sizes and musical abilities to engage meaningfully. The song’s bridge section, which introduces Trinitarian declarations, provides a moment of focused worship that resonates particularly strongly during corporate gatherings.
How many Grammy Awards has Chris Tomlin won?
Chris Tomlin has won one Grammy Award despite receiving 23 nominations throughout his career. His Grammy win came in 2012 for Best Contemporary Christian Music Album for “And If Our God Is With Us…” This recognition from the Recording Academy represents just one aspect of his broader impact on Christian music. Tomlin has received significantly more recognition from Christian music-specific organizations, including 23 Dove Awards from the Gospel Music Association. His influence extends beyond awards, however; as the most-sung worship leader in the world according to CCLI statistics, his true impact is measured through the millions of people who engage with his songs weekly in worship settings globally.
What makes Chris Tomlin’s worship songs so effective for congregational singing?
Chris Tomlin’s worship songs succeed congregationally because they balance musical accessibility with theological substance. His compositions typically feature memorable melodic hooks, limited vocal range requirements, and repetitive structures that allow quick memorization. Tomlin intentionally writes within singable keys and avoids complex rhythmic patterns that might hinder participation. His lyrical approach uses declarative statements and collective pronouns that transform individual worship into corporate experience. Additionally, his production choices on recordings maintain clarity, allowing worship leaders to easily adapt songs for various instrumentation levels. The combination of scriptural grounding, emotional authenticity, and structural simplicity creates songs that serve both as personal devotional tools and corporate worship vehicles.
Has Chris Tomlin collaborated with other Christian artists?
Chris Tomlin has collaborated extensively with other prominent Christian artists throughout his career, enriching his music with diverse perspectives and styles. Notable collaborations include “Awake My Soul” with rapper Lecrae, which bridged contemporary worship and hip-hop cultures. He’s worked with Matt Redman on multiple projects, including their co-write “Our God.” Tomlin frequently features other Passion Movement artists like Kristian Stanfill, as heard on “Even So Come.” His collaborative approach extends to songwriting partnerships with industry figures like Ed Cash, Jesse Reeves, and Matt Maher. These collaborations demonstrate Tomlin’s commitment to unity within the Christian music community and his recognition that worship transcends individual artistry.
What are Chris Tomlin’s most recent worship releases?
Chris Tomlin continues actively releasing new worship music, with his most recent full-length album “Always” arriving in 2022. This project features contemporary worship anthems while maintaining his signature theological focus and congregational accessibility. The album includes collaborations with artists like Elevation Worship and Brandon Lake, demonstrating his ongoing commitment to intergenerational and cross-denominational worship expression. Recent singles have explored both traditional hymn reimaginings and original compositions that address contemporary faith experiences. Tomlin’s consistent release schedule, typically featuring new material every 12-18 months, ensures his catalog remains current while his classic compositions continue serving worship communities worldwide. His active touring schedule and participation in the Passion conferences keep him connected to emerging worship trends and next-generation worshipers.