Maverick City Music + Aaron Moses + Naomi Raine - Be Praised Lyrics
Lyrics
VERSE 1
You spoke the words let there be light and it was oh
And in that same breath the stars fell in line
With one voice creation cries
You do all things well(2x)
CHORUS
Be praised
Be praised
Be praised
Forever and always
VERSE 2
Lost in the dark up under the dirt
I was buried left to die
I heard your voice calling my name
From the tomb I came alive
You do all things well
From the tomb I came alive
You do all things well
CHORUS
Be praised
Be praised
Be praised
Forever and always
BRIDGE
When I think of all He’s done and all the battles you’ve brought me over
Hallelujah
For all the storms I saw him calm in my defense, my only song is
Hallelujah
And how He never let me fall, now unto Him who is able
Hallelujah
And let there never be a day that I don’t rise to bring you praise
Hallelujah
CHORUS
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Video
Be Praised (feat. Aaron Moses & Naomi Raine) | Maverick City Music | TRIBL
Meaning & Inspiration
Maverick City Music, along with Aaron Moses and Naomi Raine, lean into a familiar groove here, but the writing is surprisingly stripped back. In a genre often crowded with surplus adjectives and filler, this track is efficient. It doesn't waste time trying to explain the mechanics of a miracle; it just points at the wreckage of the past and the reality of the present.
The Power Line is hidden in plain sight: "From the tomb I came alive / You do all things well."
It works because it connects the abstract theology of creation—"Let there be light"—to the granular, messy reality of personal rescue. We spend so much time singing about God as an architect of galaxies that we forget he is an architect of resurrections. If you can move a planet, you can move a stone. If you can command a star, you can call a name. The line is punchy, unsentimental, and it forces a choice: either the claim is true, and the "tomb" phase of your life is actually over, or you’re just humming along to a melody.
Mark 7:37 records the crowds watching Jesus heal a deaf man, declaring, "He has done everything well." They weren't speaking in theological concepts; they were reacting to a man who had been isolated by his senses suddenly finding them restored. That’s the grit beneath this song. It’s not just a declaration of God’s character; it’s an audit of His history with us.
However, the bridge feels a bit cluttered. The repetition of "Hallelujah" as a placeholder for actual reflection feels like a missed opportunity to push the lyrics further. By the time we hit the third "Hallelujah," the weight of the earlier verses has begun to dissipate. We don't need another chorus of affirmation if we haven't first sat with the discomfort of what it means to be "under the dirt."
When I listen to this, I think about the tendency to move too quickly from the tomb to the praise. We want the "alive" part, but we often gloss over the "buried" part. If you’re currently in the dark, the song lands differently. It isn't a cheerleading session; it’s a desperate inventory of past deliverances.
"You do all things well" is a difficult claim to make when the storms aren't calming, or when the tomb feels like it’s still sealed. This song is best when it’s honest about the battle, yet it occasionally pulls its punches in favor of a big finish. It’s an effective piece of writing, but keep the focus on the resurrection, not just the refrain. That’s where the actual power sits.