Naomi Raine - We Agree With Heaven (Flow) Lyrics
Lyrics
Verse 1 Father make us one Fill us with Your passion We’ll stay on the wall Making intercession Show us how to pray Watching while we wait, Oh Lord Heaven here on earth Let the will of God come This our only hope Jesus and His Kingdom It’s time we believe We were made for so much more
Pre-Chorus 1 When we fall on our knees We know we will see His glory If we only believe He’s building our testimony
Chorus We agree with heaven Oh heaven We agree with heaven Come heaven
Verse 2 Father make us bold Pushing back the darkness Counting up the cost Picking up our crosses We love not our lives even unto death, oh Lord
Pre-Chorus 2 When we touch and agree We know we will see His power Every heart will receive And what we decree is ours
Chorus We agree with heaven Oh heaven We agree with heaven Come heaven
Bridge If it's settled in You Then it's settled in me And if you spoke it for us Then that's what we'll see If it's already done there Then let it be done here Let heaven come Let heaven come
Tag Heaven Come Heaven come Let heaven come
#weagreewithheaven #naomiraine #covertheearth
Video
Naomi Raine - We Agree with Heaven (feat. Todd Dulaney) [Official Video]
Meaning & Inspiration
There is a specific, heavy kind of weight that hits the room when a congregation starts singing about intercession. In Naomi Raine’s "We Agree with Heaven," the invitation isn't to a passive listening experience; it’s a demand for posture.
As someone who spends most of my week rearranging chord charts and worrying about whether a melody is accessible enough for the back row, I find this song’s architecture strange. It doesn’t follow the predictable climb of a bridge that builds into a frenzy of drums. It’s rhythmically insistent, almost like a march. But the lyrics—specifically the line “We love not our lives, even unto death, oh Lord”—pull the rug out from under any sense of casual singing.
That lyric is a direct echo of Revelation 12:11, where the victory over the accuser is won by the blood of the Lamb and the word of their testimony, because they did not love their lives so much as to shrink from death. Singing that on a Sunday morning is a dangerous business. It’s easy to hum along to the bridge’s repetition of “If it’s settled in You, then it’s settled in me,” which feels comfortable, like a promise of provision. But then the song pivots to that confession of surrender, and the room usually gets very quiet. Are we actually offering our lives? Or are we just singing a song about being willing to?
The singability here is tricky because the theology is demanding. It doesn't allow you to stay in the "me-centered" space of wanting God to fix your problems. Instead, it forces a shift toward the "will of God" mentioned in the opening verse. That’s the "Landing" for this song. When the music stops, the congregation isn’t left holding a feeling or a mountain-moving miracle; they are left standing in the tension of an alignment. We are declaring that our reality must bow to His.
I struggle with the line “And what we decree is ours” in the second pre-chorus. It leans toward a transactional theology that makes me nervous. It sounds dangerously close to assuming our wants are His, or that our agreement with heaven is a way to pull leverage on God. But if I push past my own irritation with that phrasing, I find a different, more haunting truth: the "testimony" being built isn't about what we get, but about the cost we’ve agreed to pay to see His glory.
The song doesn’t end with a victory lap. It ends with a plea—“Let heaven come.” It leaves us in a state of unfinished business. We’ve acknowledged that heaven is already settled, but we are still here, on earth, in the dark, "watching while we wait." It’s an uncomfortable place to be, but maybe that’s the point. It leaves the church not with a finished, polished emotion, but with a gaze fixed upward, waiting to see if we really meant it when we said we’d lay it all down.