Beckah Shae - Awake Lyrics
Lyrics
Verse 1
Arise, arise
Can you feel the fire
Rising up higher
Higher, higher
Arise, arise
Darkness can't stand by
Cause the light is getting brighter
Brighter, brighter
Pre Chorus
And when we hear the trumpet sound
And the four winds blow
We will be the ones found
Looking up ready to go
And in the twinkling of an eye
We will be raised high
Every heart beating in time
With Adonai
Chorus
Awake, Awake
Sleeping giant
Open your eyes, it's time
To rise and shine
Awake, Awake
Sleeping giant
Open your eyes, it's time
Dry bones come alive
Verse 2
Revive, revive
Breathe the breath of life
Let it fill you with power
Power, power
Revive, revive
Heed His voice be wise
Ready for the final hour
Hour, hour
Bridge
Holy, holy is the one
Who was and is
and is to come
Oh, Holy, holy
Holy, holy is the one
Who was and is
and is to come
Oh, Holy, holy
Chorus
Awake, Awake
Sleeping giant
Open your eyes, it's time
To rise and shine
Awake, Awake
Sleeping giant
Open your eyes, it's time
Dry bones come alive
Awake, Awake
Sleeping giant
Open your eyes, it's time
To rise and shine
Awake, Awake
And open your eyes
Dry bones come alive
Video
Beckah Shae - Awake (Official Video)
Meaning & Inspiration
When I look at the structure of a song like Beckah Shae’s Awake, I find myself balancing between the energy of the room and the actual weight of the theological claim. From a liturgy perspective, this track pushes hard on the concept of agency—the "sleeping giant" is told to wake up, to rise, to shine. It’s an urgent call, echoing the prophet Ezekiel’s vision in the valley of dry bones.
But there’s a tension here that I wrestle with as someone responsible for what we sing on Sunday mornings. We often lean into the "rise and shine" language because it’s invigorating. It feels like an adrenaline shot for a tired congregation. Yet, when I sing the line "Dry bones come alive," I have to check my own heart. Is the life of the bone coming from the giant’s own decision to open its eyes, or is it the sovereign wind of the Spirit? Ezekiel 37 is clear: the prophet preached to the bones, but it was the breath—the ruach—that actually performed the resurrection.
If we aren't careful, "Awake, awake" becomes a motivational speech rather than a liturgical confession. I want my people to leave a song feeling less like they’ve just finished a workout and more like they’ve been interrupted by God.
The Bridge hits a different note, though. Shifting the focus to "Holy, holy is the one / Who was and is and is to come" grounds the entire movement in Revelation 4:8. That is the necessary pivot. It moves the song away from the "giant" (us) and fixes the gaze on the Throne. Without that shift, the song risks being a circular loop of self-empowerment.
When the music stops, what are the people actually holding? If they walk away thinking, "I need to wake up and get it together," we’ve missed the point of the Cross. Our wakefulness isn’t a task we master; it’s a posture we occupy because Christ has already burst the tomb. The dry bones don't decide to get up; they respond to a Word that isn't their own.
I’m left wondering if we sing these calls to "arise" too flippantly. We treat spiritual vitality like a light switch we can flip. But true revival—the kind that moves from static to kinetic—is always a disruption of our own plans. If we’re going to call the church a "sleeping giant," we better make sure we’re clear that the only thing strong enough to wake a dead thing is the voice of the One who was, and is, and is to come. Anything else is just noise.