Maverick City Music - Consume Lyrics

Video

Consume (feat. Laila Olivera & Nate Diaz) | Como En El Cielo | Maverick City Música

Meaning & Inspiration

Maverick City Music’s "Como En El Cielo" leans heavily into a precarious request: "Yo quiero ser probado / Y purificado."

In the safety of a sanctuary, singing about being "refined" and "consumed" by fire is often treated as a comfortable aesthetic choice. We use the language of the altar as if it were a backdrop for an emotional climax. But if we take these lyrics as a creed, we are making a terrifying demand of the Almighty. To ask to be "tested" is to invite the scrutiny of the One whose eyes are as a flame of fire (Revelation 1:14). It is not a request for a spiritual high; it is an invitation for the stripping away of the wood, hay, and stubble of our own self-construction.

The lyric "Seré un sacrificio / Vivo para Ti" pulls directly from Romans 12:1. Paul’s instruction regarding a "living sacrifice" is often misunderstood as a call to volunteerism or religious activity. In the context of the first-century reader, it meant something far more brutal: a total surrender of the self, a death to the autonomy of the ego. When we sing this, are we prepared for the reality of propitiation—the idea that God’s wrath against our sin has been fully satisfied by Christ, and thus our "sacrifice" now is not an attempt to appease Him, but a response to the fact that He has already claimed ownership of our bodies?

There is a distinct weight in the petition, "Consume todo en mí." We are asking God to act as a refiner. Gold is not refined by being looked at with affection; it is refined by being placed in a crucible, heated until the impurities rise to the surface to be skimmed away. When I hear this played, I find myself uneasy. Does the congregation grasp that this fire is meant to destroy the parts of them they are most attached to? We speak so casually about "holiness," yet holiness is, by definition, the excision of anything that conflicts with His nature.

I’m left wondering about the line, "Ven toma lo que has deseado." It posits that God desires something from us—which is true, He desires our sanctification. But the tension lies in our reluctance. We are inconsistent creatures. We scream for His presence, then recoil when that presence begins to scorch the corners of our lives where we keep our private idols.

If this song is to be more than a momentary emotional expenditure, it must be lived out in the silence after the music stops. If we are genuinely asking to be purified, we are asking for the discomfort of correction. We are asking for the surgical removal of our pride. Most of us, myself included, spend a great deal of our lives hiding from the very refining fire we praise in song. To sing this is to drop our defenses. It is a dangerous prayer, and I suspect we would be much quieter if we truly believed He was going to answer it.