We Are Messengers - God You Are Lyrics
Lyrics
When I was young You called my name
I tried to run, but still You came
And You stepped into the dark
Cause that's just the kind of God You are
When heaven seems beyond my reach
You still see eternity in me
You're turning ashes into art
Cause that's the kind of God You are
It's in the empty tomb
It's on the rugged cross
Your death-defying love
Is written in Your scars
You'll never quit on me
You'll always hold my heart
Cause that's the kind of God You are
You gave me freedom from my sin
You told me I could start again
All the hurt is dead and gone
Now we're Your daughters and Your sons
Amazing grace how sweet the sound
We once were lost but now we're found
Forever You hold us in Your arms
Cause that's the kind of God You are
It's in the empty tomb
It's on the rugged cross
Your death-defying love
Is written in Your scars
You'll never quit on me
You'll always hold my heart
Cause that's the kind of God You are
You are Holy Holy Holy
High and set apart
You are Holy Holy Holy
God that's who You are
You are Holy Holy Holy
High and set apart
You are Holy Holy Holy
God that's who You are
It's in the empty tomb
It's on the rugged cross
Your death-defying love
Is written in Your scars
You'll never quit on me
You'll always hold my heart
Cause that's the kind of God You are
It's in the empty tomb
It's on the rugged cross
Your death-defying love
Is written in Your scars
You'll never quit on me
You'll always hold my heart
Cause that's the kind of God You are
When I was young You called my name
I tried to run, but still You came
And You stepped into the dark
Cause that's just the kind of God You are
Video
We Are Messengers - God You Are (feat. Josh Baldwin) [Official Music Video]
Meaning & Inspiration
We Are Messengers lean heavily into repetition here. It’s a common tactic in modern radio hits—find a hook and hammer it until it’s stuck in the listener’s skull. From a production standpoint, it’s efficient; from an editorial standpoint, it risks diluting the message. Once the chorus repeats for the third or fourth time, you start to zone out, missing the very thing the writer is trying to argue.
The 'Power Line' arrives early, buried in the first verse: "You stepped into the dark / Cause that's just the kind of God You are."
That line works because it resists the urge to be flowery. It acknowledges the friction between a holy Creator and the chaotic, shadow-filled reality we actually inhabit. We’re told God is "High and set apart," which feels distant and intimidating, but then the lyric pivots to the movement of stepping into the dark. It’s an active, messy pursuit. It reminds me of the Genesis account where, immediately after the fall, God is the one walking in the garden calling out, "Where are you?" He doesn’t wait for us to clean up the wreckage before He shows up. He meets us right in the middle of the fallout.
Then there’s the line, "You're turning ashes into art."
It’s a clever bit of wordplay, but it’s also a hard pill to swallow. We talk about beauty from ashes like it’s a quick transformation, but art takes time. It involves a kiln, a chisel, or a steady brush—a process that often feels like destruction while it's happening. When I listen to this, I think about the scars mentioned later in the song. If God’s love is "written in His scars," as the chorus insists, then He isn’t interested in hiding our brokenness. He’s interested in using it as the primary material for whatever it is He’s building in us.
There’s a tension here that the song doesn't quite resolve. We claim He’ll "never quit," yet we spend most of our human lives feeling like we’re one mistake away from losing our footing. Does the repetition of the chorus offer comfort, or does it try to shout down that nagging insecurity?
I’m left wondering if we’re actually comfortable with the God described here, or if we just like the catchy melody that frames Him. If He really is the kind of God who steps into the dark, that implies He’s going to drag us out of places we might actually want to stay. That isn’t just comforting; it’s intrusive. It’s a bit terrifying. And perhaps that’s the point we keep trying to gloss over with the next chorus.