Holy Is the Lord

Where "Our God" announces, this song invites. The opening is gentler — piano-led, unhurried — before the full band enters with a warmth rather than a roar. There is a processional quality to the rhythm, almost hymn-like in its measured deliberateness, as though the song is teaching the listener how to approach something sacred rather than rushing them into its presence. The chord progressions lean on familiar evangelical worship vocabulary but feel earned rather than predictable, each resolution landing with a satisfying weight. Tomlin's vocal is at its most reverent here, less the confident proclamation of his bigger anthems and more a kind of awed declaration — he sounds like someone reporting what he has witnessed rather than arguing what he believes. The lyric traces a movement from the earth to the heavens and back again, locating holiness both in transcendence and in the gathered assembly of voices, so that the song becomes self-referential in a quietly elegant way: singing about holiness in a holy gathering. It was written with Louis Giglio and belongs to that early-2000s era when modern worship was still finding its liturgical seriousness, before the genre fully surrendered to pop production values. It suits the moment just before something begins — a wedding processional, the opening of a retreat, the quiet minutes before a congregation settles into worship proper.