1 John 4

Which worship songs are based on 1 John 4?

Signed to Christ — Bryson Gray (2021) 1 John 4:1
Although the lyric appears to omit the numeral before John, the immediate transition to widespread false teachers strongly identifies this as John's command to test spiritual claims because many false prophets have appeared.
Devil Fell — ApologetiX (2014) 1 John 4:1
The explicit verse citation supports the song's instruction to scrutinize apparently heavenly messages rather than accept their spiritual credentials at face value.
Letter to the Church — Bryson Gray (2021) 1 John 4:1
The instruction to test spiritual influences directly invokes John's command to examine spirits rather than accepting every spiritual claim.
Never Fold — Bryson Gray (2021) 1 John 4:1
The declaration about testing spirits directly invokes John’s command to examine spiritual claims rather than believing every spirit.
Feels Like in First John — ApologetiX (2017) 1 John 4:2-3
The cited passage supplies the song's test of orthodox confession: Jesus Christ genuinely came in the flesh, contrary to teachings that deny His incarnation.
Joy of the Lord — Mac Powell (2021) 1 John 4:4
The second verse closely restates John’s assurance that the One dwelling in believers is greater than the hostile power operating in the world.
Nothing Can Separate Me — Janet Paschal (2012) 1 John 4:4
The bridge identifies Christ's indwelling presence as greater than opposing enemies, adapting John's comparison between the one within believers and the one in the world.
Solid as the Rock — Avalon (2008) 1 John 4:4
The bridge closely reproduces John’s comparison between the divine presence within believers and the opposing power in the world, adding an emphasis on that opponent’s defeat.
My Refuge, My Strength — Byron Cage (2012) 1 John 4:4
The encouragement identifies a greater divine presence within believers as the basis for overcoming opposition. This closely adapts John's assurance that the one within believers is greater than the one in the world.
Goodbye — Byron Cage (2009) 1 John 4:4
The singer attributes his endurance to the greater divine presence dwelling within him. This closely adapts John's assurance that God's presence within believers exceeds the power opposing them in the world.
Satan, Bite the Dust! — Carman (2017) 1 John 4:4
The believer’s confidence is expressed through John’s declaration that God’s indwelling presence is greater than the power operating in the world.
Enough — Koryn Hawthorne (2019) 1 John 4:4
The claim that victory over hostile spiritual influence is possible because God's Spirit dwells within closely reflects John's assurance that believers overcome because the One in them is greater than the one in the world.
Lift High The Name Of Jesus - Live — Keith & Kristyn Getty & Sing! (2017) 1 John 4:4
The second verse restates John’s assurance that the divine presence within believers is greater than the power operating in the world.
Rise — Shawn McDonald (2011) 1 John 4:4
The refrain closely adapts John's declaration of the greatness of God's indwelling presence. It changes the comparison from God's superiority over worldly opposition to God's superiority over the singer's own capacity.
Giants — Colton Dixon (2023) 1 John 4:4
The second verse closely reproduces John’s contrast between God dwelling within believers and the power operating in the world.
Never Too Far Away — Newsboys (2021) 1 John 4:4
The bridge directly invokes John's contrast between God's presence within believers and the lesser spiritual power operating in the world.
The Kingdom of Jesus — The Porter's Gate (2024) 1 John 4:4
The declaration that the one dwelling in believers is greater than the one operating in the world is an unmistakable quotation of this verse.
Turbo Style — Beckah Shae (2014) 1 John 4:4
The assertion that the indwelling Spirit exceeds opposing power closely reflects John’s assurance that the one within believers is greater than the one in the world. The accompanying emphasis on overcoming reinforces this connection.
Open Up Our Eyes — Elevation Worship (2013) 1 John 4:4
The opening closely adapts John's declaration that the one dwelling within believers is greater than the one in the world. The song retains the distinctive combination of divine indwelling and comparative greatness.
HIGH — Victor Thompson (2026) 1 John 4:4
The phrase 'Greater is He that's in me' directly quotes 1 John 4:4, affirming the strength and power of the divine presence within believers.
If He Did It Before....Same God - Live — Tye Tribbett (2022) 1 John 4:4
The claim that the greater power resides within the believer directly condenses John's assurance that God's indwelling presence is greater than the power operating in the world.
I Need A Word — Smokie Norful (2014) 1 John 4:4
The closing confession closely reproduces John's assurance that the divine presence within believers is greater than the opposing power in the world, shifting it into the first person.
Authority (In The Name of Jesus) — Housefires (2024) 1 John 4:4
The song combines God's self-revealed divine identity to Moses with John's assurance that the one dwelling in believers is greater than opposing powers.
Lift High The Name Of Jesus - Live — Keith & Kristyn Getty (2013) 1 John 4:4
The second verse closely adapts John's assurance that God's presence within believers is greater than the opposing power in the world.
King on the Inside — RICHLIN (2021) 1 John 4:4
The chorus closely reproduces John's declaration that the divine presence within believers is greater than the hostile power in the world, applying it specifically to insecurity and deception.
Same Power — Jeremy Camp (2015) 1 John 4:4
The bridge closely adapts John’s assurance that God’s presence within believers is greater than the opposing presence in the world. Its surrounding language of spiritual opposition reinforces the reference.
Greater — Chris Tomlin (2014) 1 John 4:4
The chorus closely adapts John's assurance that the divine presence within believers is greater than the opposing power in the world. It personalizes the verse's plural address to believers.
God Is With Her! — Anike & Porsha Love & HOLY GIRL X HLY GRL (2025) 1 John 4:4
The second verse directly invokes John's declaration that the divine presence within believers is greater than the hostile power operating in the world.
Greater — MercyMe (2014) 1 John 4:4
The chorus closely adapts John's declaration that God's presence within believers is greater than the opposing presence in the world. This comparison supplies the song's title and central assurance.
Triumphant — VaShawn Mitchell (2011) 1 John 4:4
The repeated assertion of a greater power within the believer, presented as the reason defeat cannot prevail, echoes John's explanation that believers overcome because God's indwelling presence exceeds the power opposing them.
Say Amen — Brian Free & Assurance (2014) 1 John 4:4
The second verse closely reproduces John's comparison between the greater divine presence within believers and the opposing power in the world.
Conqueror — VaShawn Mitchell (2011) 1 John 4:4
The declaration about the greater divine presence within the believer closely reproduces the first half of this verse. The song omits the verse’s explicit comparison with the opposing presence in the world.
Powerful God (Live) [feat. Keneiloe Hope] — Spirit Of Praise & Keneiloe Hope (2023) 1 John 4:4
The song directly adopts John's assurance that God's presence within believers is greater than the power operating in the world.
Greater Is He — Aaron Shust (2011) 1 John 4:4
The chorus closely reproduces John's comparison between God's presence within believers and the opposing spiritual power in the world. This passage supplies the song's central declaration.
He Really Got Mad — ApologetiX (2009) 1 John 4:7-8
The song explicitly names this chapter while identifying God as the source of love and affirming that love belongs to God's very nature. These statements closely reproduce the teaching of verses 7-8.
Beloved (1 John 4:7&8) — Maranatha! Kids (2012) 1 John 4:7-8
The chorus and bridge reproduce these two verses in King James wording and explicitly identify their chapter and verse numbers. The passage calls the community to mutual love, linking love with spiritual birth and knowledge of God's nature.
Here's My Heart — Crowder (2013) 1 John 4:8
The song directly identifies God with love, closely adapting John's declaration about God's nature into a second-person address. This is more specific than simply affirming that God loves the singer.
Another Song About Love — Brandon Heath (2022) 1 John 4:8
The song grounds the listener’s assurance of being loved in God’s essential nature, closely reflecting John’s repeated declaration that God is love.
Love Has Come — Mark Schultz (2011) 1 John 4:8
The chorus directly repeats the declaration about God's nature found in both verses. This is a specific verbal connection, rather than merely a shared theme of divine love.
NEVER WALK AWAY — ELEVATION RHYTHM (2019) 1 John 4:8
The song identifies unconditional love with God's essential identity, closely paraphrasing John's statement that love belongs to God's very nature.
Escolhi Te Esperar — Marcela Tais (2012) 1 John 4:8
The wordplay identifying God with love itself closely adapts this verse’s declaration about God's nature. It goes beyond saying that God loves by presenting love as intrinsic to who God is.
God Is Love (feat. Amanda Burnich & Bobby Myers) — Cross Point Music & Amanda Burnich & Bobby Myers (2023) 1 John 4:8
The central refrain directly repeats John’s concise declaration about God’s essential nature.
God Hates Flags — Five Iron Frenzy (2015) 1 John 4:8
The second verse directly reproduces John's definition of God's nature as love. Its challenge to religious bullying particularly fits this verse's insistence that failure to love reveals failure to know God.
You Are Love — Laura Story (2011) 1 John 4:8-10
The repeated identification of God with love, joined to the Father's gift of his Son for redemption, closely follows this passage's definition and demonstration of divine love.
God Is Love — Chris Renzema (2020) 1 John 4:8
The song directly draws on John's identification of God with love and his teaching that perfected divine love drives away fear.
Good Love — Chris McClarney (2021) 1 John 4:8
The chorus repeatedly uses John’s concise identification of God’s very nature with love, making that declaration the song’s theological center.
What Is Your Name? — Jon Guerra (2020) 1 John 4:8
The refrain asks whether love names the hidden divine presence, directly engaging John's identification of God's nature as love, though the song presents that claim as a searching question.
That’s Enough — Brandon Heath (2022) 1 John 4:8
The outro identifies love as intrinsic to God’s nature, directly reflecting John’s concise theological statement about who God is.
I Want To Thank You — Kelly Price (2021) 1 John 4:8
The song directly repeats John’s theological identification of God’s nature with love.
God's Love — VeggieTales (2022) 1 John 4:8
The chorus directly uses John's concise declaration about God's nature and connects it with believers demonstrating divine love toward others.
Ordinary Love — John Mark McMillan (2022) 1 John 4:8
The bridge and outro directly repeat 1 John's identification of God's nature with love. The surrounding idea of divine love dwelling within people also fits the chapter's emphasis on God abiding in those who love.
Gamble On Your Goodness — Chris Llewellyn (2023) 1 John 4:8
The chorus directly identifies God with love, closely echoing John's repeated declaration about God's essential nature.
Mad at Today — Lecrae (2025) 1 John 4:8
The song explicitly states that 'God is love,' directly quoting the essence of 1 John 4:8, which emphasizes the nature of God as love itself.
Altogether Good — Citizens & Sandra McCracken (2020) 1 John 4:8
The song directly identifies the Lord with love, closely restating John's twice-repeated declaration about God's essential nature.
I Belong to You — Building 429 (2008) 1 John 4:9-14
The song describes God sending His only Son to save humanity. This closely combines the passage’s description of God sending His unique Son with its identification of the Son’s saving mission.
He Loves Me — Smokie Norful (2014) 1 John 4:9
The song identifies God sending his Son into the world as concrete evidence of divine love. This closely parallels the verse’s explanation that God revealed his love by sending his Son so that people might live through him.
Choose to Love — Francesca Battistelli (2014) 1 John 4:9-11
The chorus grounds the decision to love others in God's sending His Son. This closely follows the passage's movement from God's demonstrated love in sending Jesus to the resulting obligation to love one another.
How Will You Plead — 11th Hour (2014) 1 John 4:9
The description of God sending His only begotten Son closely adapts this verse's distinctive wording. The surrounding emphasis on divine love and salvation reinforces the connection.
World That Breaks — Britt Nicole (2007) 1 John 4:9
The second verse closely adapts the passage’s description of God revealing his love by sending his only Son. The combination of divine sending, the unique Son, and love makes this a specific scriptural connection rather than a general statement about redemption.
Love Note (feat. Abbie Gamboa) — UPPERROOM & Abbie Gamboa (2021) 1 John 4:9
The opening presents God's love through His sending of His only Son, closely following John's description of how divine love was revealed.
I Just Want You - Live — Planetshakers (2026) 1 John 4:10
The song reflects the concept that God's love is freely given and covers sin, echoing the message found in 1 John 4:10 about love being defined by God's actions toward humanity.
Just a Girl — Brandon Heath (2013) 1 John 4:14
The song applies to Jesus the distinctive title identifying the Son as the world's Savior, matching this verse’s description of the Father’s sending of the Son.
Go Tell It on the Mountain — NEEDTOBREATHE (2008) 1 John 4:14
The repeated designation of Jesus reproduces the title used in this verse for the Son whom the Father sent to bring salvation to the world.
Thank You for Saving Me — Delirious? (2012) 1 John 4:14
The song applies to Jesus the specific title used in this verse to describe the Son’s saving mission for the world.
Savior of the World — Newsboys (2011) 1 John 4:14
The chorus repeatedly applies to Jesus the exact saving title used in this verse. The surrounding emphasis on God giving his Son reinforces the connection to John's testimony about the Father's sending of the Son.
He Shall Reign Forevermore — Chris Tomlin (2015) 1 John 4:14
The bridge identifies Jesus with the specific worldwide saving title used in John's testimony about the Son sent by the Father.
God Is With Us Now — Gateway Worship (2010) 1 John 4:14
The song repeatedly identifies Jesus using the specific worldwide saving title that John applies to the Son sent by the Father.
Savior of the World — Aaron Shust (2019) 1 John 4:14
The song repeatedly applies to Jesus the distinctive biblical title identifying the Son as the world's Savior.
Friend of Sinners — Laura Story (2011) 1 John 4:14
The chorus repeats the verse’s designation of Jesus as humanity’s universal Savior. Its accompanying reference to his heavenly sending further supports this connection.
Peace Has Come — Hillsong Worship (2014) 1 John 4:14
The opening verse applies to Jesus the distinctive designation of the world's Savior, closely adapting the description of the Son in this passage.
Forever — Bethel Music, Brian Johnson (2013) 1 John 4:14
The song identifies Jesus with the same title John uses for the Son sent by the Father to save the world.
Lectio Divina — Beth Croft (2014) 1 John 4:14
The chorus identifies God's Son as the world's Saviour, closely reproducing this verse's distinctive identification of the Son and his saving role.
Forever (Live) — Bethel Music & Kari Jobe (2014) 1 John 4:14
The first verse applies to Jesus the specific title used in John's testimony about the Father sending his Son to save the world.
At the Cross (Love Ran Red) — Chris Tomlin (2014) 1 John 4:14
The outro applies to Jesus the same distinctive title used in John’s testimony about the Father sending his Son for the world’s salvation.
Awesome — Charles Jenkins & Fellowship Chicago (2013) 1 John 4:14
The song closely reproduces the distinctive title given to the Son in this verse, identifying him as the Savior whose saving significance extends to the world.
Identity — John Waller (2007) 1 John 4:16-17
The repeated movement from God's character to the believer's identity closely adapts John's assertion that believers are as Christ is. The surrounding emphasis on love and intimate union also corresponds to John's description of God and believers abiding in one another.
Joyful, Joyful — Casting Crowns (2009) 1 John 4:16
The bridge connects living in love with belonging to God, closely adapting John’s statement that those who abide in love abide in God.
I'm Reminded — Fred Hammond (2013) 1 John 4:18
The song closely adapts John's statement that perfect love drives out fear, presenting divine love as the source of renewed confidence.
Found in You — Vertical Worship (2013) 1 John 4:18
The second verse portrays fear as overcome by God's love, closely echoing John's teaching that perfect love drives out fear.
Glorious Freedom — Gaither Vocal Band (2013) 1 John 4:18
The final verse specifically associates fear with torment and celebrates release from it. This closely adapts the verse’s distinctive description of fear as tormenting, though the hymn does not reproduce its explanation concerning perfect love.
Windows in the World — Andrew Peterson (2008) 1 John 4:18
The description of love actively destroying the singer's fear closely adapts this verse's assertion that perfect love expels fear.
Threads — David Leonard (2019) 1 John 4:18
The repeated association of experiencing divine love with freedom from fear closely paraphrases John's teaching that mature love expels fear.
His Perfect Love — Fred Hammond (2014) 1 John 4:18
The second vamp directly adapts the verse's distinctive teaching that perfect love expels fear. This is a specific textual connection, not merely a shared theme of reassurance.
Adorar Sin Cesar (Live) — Bethel Music (2019) 1 John 4:18
The song directly presents perfected love as the force that causes fear to depart, closely restating John’s teaching about love casting out fear.
Raise Your Hands — Saint (2010) 1 John 4:18
The opening declaration that fear is absent with the Father, reinforced by the song’s repeated emphasis on divine love, closely adapts John’s statement that love excludes fear.
EVERYTHING EVERYTHING — ELEVATION RHYTHM (2019) 1 John 4:18
The movement from being surrounded by the Father's love to fear having no place closely reflects John's teaching that complete love expels fear.
Sinking Deep — Hillsong Young & Free (2013) 1 John 4:18
The song links the perfection of divine love with the removal of fear, closely adapting this verse's distinctive teaching that perfect love drives out fear.
Living With a Fire — Jesus Culture (2018) 1 John 4:18
The claim that complete love removes fear directly echoes John's teaching about the incompatibility of perfected love and fear.
Ministers — Tenth Avenue North (2024) 1 John 4:18
The opening directly links freedom from fear with perfected love, closely paraphrasing John's teaching that perfect love drives out fear.
By the Spirit — Pat Barrett (2021) 1 John 4:18
The second verse connects freedom from fear specifically with perfect love, closely paraphrasing John’s teaching that perfected love expels fear.
Love People — Chris Tomlin (2021) 1 John 4:18
The opening identifies love as the force that expels fear, closely echoing John's teaching about the relationship between perfected love and fear.
By the Cross - Live — Red Rocks Worship (2019) 1 John 4:18
The description of perfect love removing fear closely paraphrases John’s teaching that perfected love drives fear out.
Burning With Your Love - Live — Leeland (2019) 1 John 4:18
The chorus presents divine love as removing fear and producing fearlessness, closely paraphrasing John's teaching that perfected love drives out fear.
Abide — Housefires (2016) 1 John 4:18
The prayer for divine love to subdue fear closely paraphrases the teaching that perfected love expels fear. The pairing of love and fear is specific enough to indicate this passage rather than a merely general appeal for comfort.
Perfect Love — Jeremy Camp (2015) 1 John 4:18
The opening and chorus directly reproduce the verse’s distinctive assertion that perfected love drives away fear. This assertion supplies the song’s central premise.
No Fear in Love — Steffany Gretzinger (2014) 1 John 4:18
The chorus directly repeats the verse’s opening assertion that love excludes fear. Its placement after the singer anticipates faltering reinforces the passage’s contrast between perfected love and fear of punishment.
Rule — Hillsong Worship, Hillsong UNITED (2015) 1 John 4:18
The chorus closely adapts John's statement that perfect love casts out fear, making this a specific textual connection rather than a general theme of reassurance.
Wonder of the Cross — ICF Worship (2014) 1 John 4:18
The verse describes love overcoming fear, closely adapting John’s declaration that perfect love expels fear. The surrounding emphasis on release from condemnation supports this connection.
The Garden — Kari Jobe (2017) 1 John 4:18
The bridge closely paraphrases John's teaching that perfected love drives fear away, presenting divine love as the force that overcomes inward terror.
Me First — Beckah Shae (2014) 1 John 4:18
The bridge connects divine love and perfection with the absence of fear, echoing John's teaching that perfect love casts out fear. Its proximity to the chorus's adaptation of the following verse strengthens this connection.
Be with Us Now (Emmanuel) — Building 429 (2015) 1 John 4:18
The chorus's appeal to love overcoming fear closely adapts John's teaching that perfect love drives out fear. It turns that assurance into a plea for comfort amid suffering.
Dance — Jesus Culture (2011) 1 John 4:18
The bridge describes divine love breaking fear's power, closely adapting the verse's distinctive assertion that perfect love expels fear.
Perfect Love — The Oak Ridge Boys (2013) 1 John 4:18
The closing description connects the disappearance of fear specifically with the perfection of God's love, closely adapting John's statement that perfected love expels fear.
Your Promises — Elevation Worship (2014) 1 John 4:18
The chorus connects the expulsion of fear with God's liberating love, closely adapting John's declaration that perfect love drives out fear.
Shelter — Vertical Worship (2018) 1 John 4:18
The second verse directly reproduces John's teaching that perfected love drives fear away.
My Hallelujah — Bryan & Katie Torwalt (2018) 1 John 4:18
The movement from fear to courage through perfect love closely paraphrases John’s teaching that perfected love expels fear.
No Longer Slaves - 2023 Short Edit / Live — Tasha Cobbs Leonard (2023) 1 John 4:18
The bridge depicts fear being overcome through perfect love, closely adapting John's teaching that perfected love expels fear.
No Hopeless Soul — Stephen Stanley (2020) 1 John 4:18
The description of divine love as perfect evokes John's teaching that perfected love expels fear. Here that love is presented as healing the inner fragmentation caused by shame and distress.
By The Spirit (Live) — Pat Barrett (2021) 1 John 4:18
The song directly associates perfect love with freedom to defy fear, closely reflecting John’s teaching that perfected love expels fear.
Wordless — Lauren Daigle (2015) 1 John 4:18
The opening and outro closely paraphrase John's declaration that fear is absent from love. This specific pairing directly connects the song to the verse, rather than merely sharing a general theme of reassurance.
Love Alone Is Worth the Fight — Switchfoot (2013) 1 John 4:18
The opening verse describes love as actively removing fear, closely adapting John's declaration that perfect love casts out fear. This specific relationship between love and fear supports the connection, though the song does not develop the passage's context of judgment and punishment.
Unto the Lamb — Chaotic Resemblance (2020) 1 John 4:18
The bridge closely paraphrases John’s teaching that perfected love removes fear, presenting divine love as the source of courage under persecution.
More Than Welcome — Aaron Shust (2019) 1 John 4:18
The opening and closing directly invoke John's teaching that perfected divine love expels fear.
Honesty — Bethel Music & Sydney Allen (2022) 1 John 4:18
The song connects freedom from fear with abiding in God's love, closely paraphrasing John's teaching that perfected love drives out fear associated with punishment.
Sing Brave — Brandon Heath (2015) 1 John 4:18
The bridge presents love’s presence as eliminating fear, closely adapting this verse’s teaching that love casts out fear. Heath applies that assurance to stage fright in the context of Jesus’ loving presence.
Tempo Para Amar — Thiago Grulha (2017) 1 John 4:18
The song directly invokes John’s teaching that perfected love expels fear, using it to frame love as the choice that restores life.
No Longer Slaves — Bethel Music (2015) 1 John 4:18
The bridge adapts John's specific teaching that perfect love expels fear, combining it with the sea-crossing imagery to portray fear's defeat.
Just Love — Brian Courtney Wilson (2009) 1 John 4:18
The repeated pairing of love with the absence of fear condenses John’s teaching that fear has no place in love. The congregation’s reassuring welcome gives that teaching a communal expression.
We Are Loved — David Crowder Band (2009) 1 John 4:19
The song explicitly grounds the community’s ability to love in having first received divine love, closely adapting John’s statement that our love originates in God’s prior love for us.
Driven — Chaotic Resemblance (2022) 1 John 4:19
The singer grounds personal identity and response in God's prior love, closely echoing John's teaching that believers love because God loved them first.
Jesus I Love You (Live) — Sinach (2024) 1 John 4:19
The spoken introduction explicitly grounds the worshippers’ love for Jesus in God’s prior love for them, closely paraphrasing John’s statement that human love is a response to divine initiative.
Flowers (with Jamie MacDonald) — Phil Wickham (2026) 1 John 4:19
The singer identifies God’s prior love as the source of his own worship and surrender, closely paraphrasing John’s teaching that human love responds to God’s initiating love.
Oh, How I Love Jesus — VeggieTales (2009) 1 John 4:19
The refrain closely adapts John's explanation that believers' love is a response to God's prior love, expressing that relationship in the first person.
Mercy — Cade Thompson (2023) 1 John 4:19
The chorus directly reflects John's teaching that human love is a response to God's prior love, making divine initiative the basis for loving others.
God Be Praised — Elevation Worship (2011) 1 John 4:19
The bridge presents the believer's capacity to love as a consequence of having first received divine love, closely adapting this verse's causal statement.
Away in a Manger / Worthy is Your Name (feat. Kim Walker-Smith, Chandler Moore & Mav City Gospel Choir) — Maverick City Music & Kim Walker-Smith & Chandler Moore & Mav City Gospel Choir (2021) 1 John 4:19
The closing explanation for loving Jesus closely adapts John's statement that human love is a response to God's prior love.
Oh We Love You (John 3:16) - Live — Shane & Shane & Kingdom Kids (2022) 1 John 4:19
The chorus and closing tag directly reproduce the verse’s cause-and-effect teaching that human love responds to God’s prior love.
As You First Loved Me (Live) — Shane & Shane (2023) 1 John 4:19
The recurring commitment to love in response to Christ’s prior love directly restates John’s teaching that believers love because God loved them first.
I Just Love You - Spontaneous / Live — Gateway Worship (2023) 1 John 4:19
The bridge explicitly grounds the worshiper's responsive love in God's prior love, closely reproducing this verse's distinctive formulation.
Motion of Mercy — Francesca Battistelli (2011) 1 John 4:19
The song explicitly grounds its commitment to loving others in God's having loved the speaker first, closely adapting this verse's wording and causal relationship.
Love Knows No End - Live — Hillsong Worship (2012) 1 John 4:19
The singer makes God's prior love the reason for their own commitment to love, closely reproducing this verse's distinctive causal relationship.
Worship, Honor and Love — Shekinah Glory Ministry (2007) 1 John 4:19
The song closely adapts the verse's explanation that human love responds to God's prior love, personalizing that relationship for the worshipper.
All I Have Is Christ - Live — Keith & Kristyn Getty & Bob Kauflin & Jordan Kauflin & Devon Kauflin (2017) 1 John 4:19
The opening confession attributes the believer’s response entirely to God’s prior love, closely following John’s teaching that human love arises from God loving first.
First Loved Me — Israel & New Breed (2015) 1 John 4:19
The chorus closely adapts John's explanation that human love responds to God's prior love, making that causal relationship the song's central declaration.
Só Quero Ver Você — Gabriel Guedes de Almeida (2017) 1 John 4:19
Identifying the Creator as the one who loved the singer first echoes John’s statement that human love is a response to God’s prior love.
I Just Love You - Live — Gateway Worship (2022) 1 John 4:19
The bridge directly adopts John's teaching that human love is a response to God's prior love.
All I Have Is Christ — Sovereign Grace Music (2014) 1 John 4:19
The first verse closely adapts John's statement that human love responds to God's prior love. The song emphasizes that God's initiative precedes the singer's willingness to respond.
Stand my Ground — Carrollton (2017) 1 John 4:19
The bridge presents human love as a response to God's prior love, directly reflecting John's explanation that believers love because God loved them first.
Nobody Loves Me Like You — Chris Tomlin (2018) 1 John 4:19
The bridge places Jesus' love before the singer's answering love for God, reflecting John's teaching that human love is a response to God's prior love.
i love You — Dante Bowe & Aaron Moses & JUDAH. (2021) 1 John 4:19
The chorus presents human love for God as a response to God's prior love, closely paraphrasing John's teaching that believers love because God loved them first.
Ele Me Amou Primeiro - Ao Vivo — MORADA (2017) 1 John 4:19
The refrain presents the singer's enduring love for God as a response to God's prior love, closely restating the order of love taught in this verse.
Dono da Minha Afeição - Ao Vivo — fhop music (2025) 1 John 4:19
The singer grounds personal devotion in Christ's prior love, closely reflecting John's teaching that human love is a response to God loving first.
First Loved Me [Live] — Covenant Worship (2014) 1 John 4:19
The chorus closely adapts John's explanation that believers love because God loved them first. This causal relationship is the song's central declaration, personalized as a response to Jesus.
Father Knows Best — Kirk Franklin (2019) 1 John 4:20-21
The outro closely restates John’s argument that professed love for God is incompatible with refusing love to a fellow believer. God’s fatherhood is presented as creating a family whose members are obligated to love one another.
Talk to Me Nice (feat. S.O.) — KB & S.O. (2023) 1 John 4:20-21
The song challenges the consistency of claiming love for God while failing to love another person, closely matching John's test of genuine love for God.

1 John 4 (King James Version)

¹ Beloved, believe not every spirit, but try the spirits whether they are of God: because many false prophets are gone out into the world.

² Hereby know ye the Spirit of God: Every spirit that confesseth that Jesus Christ is come in the flesh is of God:

³ And every spirit that confesseth not that Jesus Christ is come in the flesh is not of God: and this is that spirit of antichrist, whereof ye have heard that it should come; and even now already is it in the world.

⁴ Ye are of God, little children, and have overcome them: because greater is he that is in you, than he that is in the world.

⁵ They are of the world: therefore speak they of the world, and the world heareth them.

⁶ We are of God: he that knoweth God heareth us; he that is not of God heareth not us. Hereby know we the spirit of truth, and the spirit of error.

⁷ Beloved, let us love one another: for love is of God; and every one that loveth is born of God, and knoweth God.

⁸ He that loveth not knoweth not God; for God is love.

⁹ In this was manifested the love of God toward us, because that God sent his only begotten Son into the world, that we might live through him.

¹⁰ Herein is love, not that we loved God, but that he loved us, and sent his Son to be the propitiation for our sins.

¹¹ Beloved, if God so loved us, we ought also to love one another.

¹² No man hath seen God at any time. If we love one another, God dwelleth in us, and his love is perfected in us.

¹³ Hereby know we that we dwell in him, and he in us, because he hath given us of his Spirit.

¹⁴ And we have seen and do testify that the Father sent the Son to be the Saviour of the world.

¹⁵ Whosoever shall confess that Jesus is the Son of God, God dwelleth in him, and he in God.

¹⁶ And we have known and believed the love that God hath to us. God is love; and he that dwelleth in love dwelleth in God, and God in him.

¹⁷ Herein is our love made perfect, that we may have boldness in the day of judgment: because as he is, so are we in this world.

¹⁸ There is no fear in love; but perfect love casteth out fear: because fear hath torment. He that feareth is not made perfect in love.

¹⁹ We love him, because he first loved us.

²⁰ If a man say, I love God, and hateth his brother, he is a liar: for he that loveth not his brother whom he hath seen, how can he love God whom he hath not seen?

²¹ And this commandment have we from him, That he who loveth God love his brother also.