Aline Barros - Autor Da Vida Lyrics
Lyrics
Tentaram me parar Me fazer desistir Mas eu não vou negar A fé que há em mim
Eu tenho a missão Eu vou seguir Jesus Por que eu não abro mão Do Evangelho da cruz
Mesmo que pedras venham contra mim E com palavras queiram me intimidar Maior aquele que está em mim Com Jesus, sempre vou me levantar
Eu olho pra Jesus Pro amor de Deus na cruz Eu clamo: "Aba, Pai Ó, vem com seu poder"
Eu olho pra Jesus Pro amor de Deus na cruz Nada pode parar O autor da vida
Mesmo que pedras venham contra mim E com palavras queiram me intimidar Maior aquele que está em mim Com Jesus, sempre vou me levantar
Eu olho pra Jesus Pro amor de Deus na cruz Eu clamo: "Aba, Pai Ó, vem com seu poder"
Eu olho pra Jesus Pro amor de Deus na cruz Nada pode parar O autor da vida
Outro silêncio até Gritar que Deus me abandonou Eu vivo pela fé E tenho um Deus que estende a mão Pra me levantar
Sei em quem eu tenho crido E que é poderoso pra fazer além E essa é a hora Deus toca, renova, transforma Tenho vida em Deus
Vida em Deus Tenho força em Deus Esperança em Deus Tenho tudo em Deus, em Deus!
Eu olho pra Jesus Pro amor de Deus na cruz Eu clamo: "Aba, Pai Ó, vem, ó, vem com seu poder"
Eu olho pra Jesus Pro amor de Deus na cruz Nada pode parar O autor da vida
Video
Aline Barros - Autor da Vida
Meaning & Inspiration
Aline Barros leans into a familiar space here, navigating the friction between external opposition and internal conviction. In music, we often deal with the filler—the chorus repetitions that serve only to pad the run-time. Here, the repetition isn’t just volume; it’s an anchor. It mimics the act of steadying oneself against a wind.
The Power Line of this track is: "Maior aquele que está em mim."
It works because it’s a direct echo of 1 John 4:4. It cuts through the noise of intimidation. In a culture that loves to catalog every reason we should feel small or silenced, this line functions as a recalibration. It’s not a soft sentiment; it’s a tactical shift in perspective. When she sings about stones being thrown and words used as weapons, she’s describing a lived reality where hostility is the baseline. We spend so much energy defending our reputation or our space, but this lyric suggests that the victory isn't found in a counter-attack. It's found in the displacement of fear by a larger Presence.
There’s a specific tension in the bridge where she mentions the temptation to "gritar que Deus me abandonou"—to scream that God has left. That’s the real human experience, isn't it? We act as if we are unshakable, but the midnight reality is often a desperate cry. Admitting that the thought of abandonment even occurs is what makes the final declaration, "Tenho tudo em Deus," actually land. If she hadn't acknowledged the silence, the victory would feel cheap. By naming the doubt, she grants the listener permission to be human while holding onto the hem of the garment.
Yet, I struggle with the later section where the lyrics cascade into a list: "Vida em Deus... força em Deus... esperança em Deus." It feels like a pivot toward a checklist. It threatens to move from a raw confession to a performance of certainty. I prefer the moments where she stays fixed on the cross—"Eu olho pra Jesus." When we stop looking at our own output and start looking at the "Autor da Vida," we aren't just reciting attributes of God to convince ourselves; we are observing the source.
It’s an unfinished realization, really. Every time we face a new obstacle, we have to re-learn that He is greater. We aren't static vessels of faith; we are constantly leaking, constantly needing to be refilled by that "Aba, Pai" cry. The song succeeds when it stops trying to convince the listener of how strong the singer is, and instead focuses on how persistent the Savior is. We don't need a monument to our own resilience; we need the Author to keep writing the story, even when we are tempted to close the book.