Ephesians 5

Which worship songs are based on Ephesians 5?

My Jesus — Todd Agnew (2017) Ephesians 5:1-2
The song explicitly cites Ephesians while challenging believers to imitate God by following Christ's self-giving pattern of love rather than conforming to worldly values.
Walk in Love — Elevation Worship (2008) Ephesians 5:2
The chorus closely follows Paul's instruction to practice love in response to Christ's sacrificial love. Its movement from redemption to loving conduct preserves the verse's connection between Christ's self-giving and the believer's way of life.
Who Want It? — Mike Teezy (2022) Ephesians 5:2
The chorus uses the distinctive KJV expression for the pleasing aroma of Christ’s sacrificial offering to God.
Hear The Call Of The Kingdom - Live — Keith & Kristyn Getty (2013) Ephesians 5:2
The song adapts Paul's imagery of Christ's fragrant sacrifice to describe worship. Its subsequent call to live as people of light through righteous conduct closely follows the same chapter.
Full Surrender — Lakewood Music & Alexander Pappas (2025) Ephesians 5:2
The description of sacrifice and offering producing a pleasing fragrance closely reflects Paul’s language about Christ’s self-giving sacrifice to God, now applied to the worshiper’s surrender.
I Am — Janet Paschal (2009) Ephesians 5:8
The opening describes a change from darkness to a new identity in light, closely adapting Paul's description of believers' former condition and their identity in the Lord.
Go Glow — Newsboys (2013) Ephesians 5:8-14
The combination of spiritual sleep, a summons to awaken, and illumination received from Christ closely follows Paul's linked imagery of awakening and living as children of light.
Loco! — Bryson Gray (2021) Ephesians 5:11
The song explicitly identifies this verse and restates its command to avoid participation in works of darkness and expose them.
Serve Christ — Bryson Gray (2020) Ephesians 5:11
The song explicitly cites this verse to justify confronting conduct it regards as spiritually compromised. Its surrounding argument applies Paul's command to reject and expose works of darkness.
Exposed — Bryson Gray (2021) Ephesians 5:11
The introduction explicitly invokes Paul's instruction to avoid participation in deeds of darkness and instead bring them to light.
Wake Up — All Sons & Daughters (2012) Ephesians 5:13-14
The summons for sleepers to awaken closely adapts Paul's call to spiritual awakening. The surrounding references to divine light and revelation reinforce the connection to this passage.
All Things New — Andrew Peterson (2008) Ephesians 5:14
The repeated summons for a sleeper to awaken closely adapts Paul's exhortation, including its accompanying promise of illumination. The song presents that awakening within an explicitly Christ-centered context.
Start Over Again — Addison Road (2008) Ephesians 5:14
The opening pairs commands to awaken and rise, closely echoing Paul's call to spiritual awakening. The subsequent movement from darkness into light reinforces the connection to this verse and its surrounding context.
Wake Up — Ernie Haase & Signature Sound (2020) Ephesians 5:14
The recurring summons to awaken, rise, and receive divine light closely follows Paul’s call for the sleeper to arise and be illuminated by Christ. The song develops the same movement from spiritual sleep and darkness into active life in the light.
We Are — Kari Jobe (2012) Ephesians 5:14-16
The pre-chorus closely adapts the summons for a sleeper to awaken, within a passage about rising from death into Christ’s light. Its accompanying appeal to use remaining time well also echoes the instruction to make the most of every opportunity.
SETTLE — bodie (2025) Ephesians 5:14
The combined imagery of being awakened from spiritual sleep and raised from a fallen position closely reflects Paul's call for the sleeper to awaken and rise into Christ's light.
Let The Light In — Cody Carnes (2020) Ephesians 5:14
The opening summons a sleeper to awaken, the dead to rise, and divine light to shine, closely reproducing the distinctive sequence of Paul's awakening exhortation.
Dead Man, Dead Man — Bob Dylan (2017) Ephesians 5:14
The chorus addresses someone as dead and commands or implores him to rise, closely echoing Paul's summons for the spiritually sleeping person to awaken and arise from death.
What I See — Elevation Worship (2022) Ephesians 5:14
The chorus closely follows Paul's summons for a sleeper to awaken and rise from the dead, applying that call to believers who participate in Christ's resurrection life.
Square One — Chris Renzema (2024) Ephesians 5:14
The appeal for the sleeper to awaken closely echoes Paul's summons to spiritual awakening. The surrounding emphasis on illumination further reinforces the connection to this verse.
Grace Alone — Kings Kaleidoscope (2014) Ephesians 5:14
The third chorus joins awakening from spiritual sleep with illumination by Christ, closely adapting the paired images in this verse.
Kadosh (Holy One) — Beckah Shae (2010) Ephesians 5:14
The opening summons spiritually sleeping people to awaken, closely adapting Paul's call for the sleeper to rise and receive Christ's light.
Awake O Sleeper — Jeremy Camp (2017) Ephesians 5:14
The central summons directly reproduces Paul's call for the spiritually sleeping person to awaken, where awakening is associated with rising from moral death into Christ's light.
Arise — William McDowell (2011) Ephesians 5:14
The opening command to awaken from sleep and rise, combined with the arrival of light, closely adapts Paul’s summons to spiritual awakening and illumination by Christ.
Awaken — 11th Hour (2021) Ephesians 5:14
The bridge directly adopts the early Christian summons addressed to a sleeper, commanding awakening and resurrection from among the dead.
All Things Together — Andrew Peterson (2018) Ephesians 5:14
The closing command addressed to a sleeper echoes Paul's summons to awaken and rise, using resurrection language as a call to spiritual renewal.
Awaken Me — Bethany Barnard (2017) Ephesians 5:14
The prayer to be awakened from sleep, followed by Christ’s light shining upon the person, closely follows Paul’s summons to spiritual awakening and illumination by Christ.
My Beloved — Crowder (2014) Ephesians 5:14
The first verse combines awakening, rising into resurrection life, and receiving divine illumination. This closely adapts Paul's summons to awaken, rise from death, and receive Christ's light.
Sleeper — Josh Garrels (2020) Ephesians 5:14
The opening call closely follows Paul's sequence of awakening from sleep, rising from death, and receiving Christ's light. The song adapts that summons into a proclamation of divine resurrection.
Blameless — Building 429 (2013) Ephesians 5:14
The bridge directly adapts Paul's summons for the sleeper to awaken. Its invitation to spiritual awakening closely follows this verse rather than merely sharing a general theme of renewal.
Take It All In — Group 1 Crew (2016) Ephesians 5:14
The second verse closely reproduces Paul's summons for a spiritually sleeping person to awaken, using it as a call to attentive and purposeful living.
Christ Is Risen — Tenth Avenue North (2014) Ephesians 5:14
The repeated summons to awaken and rise from death closely adapts this verse's paired commands. The bridge's invitation to enter the light reinforces the connection to Christ illuminating the awakened believer.
Lo Que Veo (What I See) — Elevation Worship, Elevation Español (2022) Ephesians 5:14
The chorus closely echoes Paul's summons for the sleeper to awaken and rise from death in response to Christ's life and light.
Vi La Luz — Hillsong Worship, Hillsong en Español, David Ware (2020) Ephesians 5:14
The combined imagery of being dead, awakening, and encountering light closely follows Paul’s summons to awake from spiritual death and receive Christ’s light.
Faith For It - Live — Jesus Culture (2023) Ephesians 5:14
The summons for a sleeper to awaken and rise from death closely follows Paul’s exhortation concerning spiritual awakening and Christ’s light.
Arise Intro — William McDowell (2011) Ephesians 5:14
The opening command to awaken from sleep and rise echoes Paul’s summons to the spiritual sleeper. Its surrounding emphasis on divine illumination reinforces the connection, though the song omits the verse’s reference to rising from the dead.
Let the Light In — Kari Jobe (2020) Ephesians 5:14
The commands for sleepers to awaken and the dead to rise, followed by Christ shining upon them, closely reproduce Paul's awakening formula in this verse.
In My Veins — Colton Dixon (2017) Ephesians 5:14
The movement from spiritual sleep to wakefulness, reinforced by restoration from death to life, closely follows Paul's summons for the sleeper to awaken and rise from the dead through Christ.
Wolves — Switchfoot (2021) Ephesians 5:14
The chorus adopts Paul's distinctive summons for those in spiritual sleep to awaken and rise as Christ shines light upon them, forming the theological basis for the song's movement from evening darkness toward a new day.
Highest Praise - Live — Kingdom Culture Worship & Brett Shaw & Emma Munns (2024) Ephesians 5:14
The bridge's command for a sleeper to awaken and open their eyes closely echoes Paul's summons to spiritual awakening, though the song adapts its concluding language.
Come Forth — CAIN (2021) Ephesians 5:14
The chorus closely follows Paul’s summons for a sleeper to awaken and rise from the dead in response to Christ. Its juxtaposition of sleep, death, awakening, and Christ identifies this passage specifically.
Awake My Soul — Hillsong Worship (2020) Ephesians 5:14
The summons for spiritually slumbering people to awaken closely echoes Paul's call for the sleeper to rise and receive Christ's light.
Timepiece — Lecrae (2014) Ephesians 5:15-16
The second verse connects redeeming time with making the most of one's remaining opportunity, closely adapting Paul's instruction to live wisely by redeeming the time. The surrounding emphasis on purposeful service reinforces this connection.
Plugin Again (Intro) — Sam Purpose (2023) Ephesians 5:15-16
The description of wisely using time in an age characterized by darkness closely echoes Paul’s instruction to live carefully and make the most of the time because the days are evil.
Some Things Never Change — Bride (2013) Ephesians 5:18
The closing description of spiritual filling as an alternative to destructive intoxication evokes Paul's contrast between drunkenness and being filled with the Spirit. The earlier portrayal of drug-related harm reinforces that connection.
Eu Vou Orar - Ao Vivo — Nair Nany (2025) Ephesians 5:18
The song directly reproduces Paul’s contrast between intoxication with wine and being filled with the Holy Spirit.
With All of My Might — Byron Cage (2007) Ephesians 5:19
The instruction to make inward music directed to the Lord closely adapts Paul's instruction about singing and making melody in the heart to the Lord.
Making Melody — Sean Feucht (2014) Ephesians 5:19
The opening closely adapts Paul's instruction to make melody inwardly to the Lord. The bridge reinforces this connection by adapting the same verse's threefold description of worship through psalms, hymns, and spiritual songs.
All Of My Days — I.D.O.4. (2021) Ephesians 5:19
The opening call to address the Lord in song from the whole heart closely parallels Paul's instruction to sing and make music to the Lord from the heart.
The Marriage Prayer — John Waller (2011) Ephesians 5:22-25
The bridge directly adapts Paul's instructions for marriage: a husband's love is patterned on Christ's love for the church, and a wife's submission to her husband is related to her submission to the Lord.
Feminine Not Feminist — Bryson Gray (2023) Ephesians 5:22-25
Its language about marital submission, the husband's headship, becoming one flesh, and a husband's Christlike love for his wife closely follows Paul's teaching on marriage in Ephesians 5.
Thank GOD You Ain't GOD — Marty & Brenno (2025) Ephesians 5:23-32
The song identifies the church as Christ's bride and body, closely matching Paul's linked images of Christ as the church's husband, head, and savior. This supports the claim that corrupt leaders do not determine the church's ultimate worth.
O Church Arise - Live — Keith & Kristyn Getty (2013) Ephesians 5:25-27
The description of the church as Christ's radiant bride closely reflects Paul's marriage imagery and his description of Christ presenting the church in splendor.
Beautiful Bride — Flyleaf (2009) Ephesians 5:25-32
The chorus combines marriage imagery with the church's bodily relationship to Christ. This combination specifically reflects Paul's application of marital union to Christ and the church, rather than merely invoking a generic bridal image.
The Cause of Christ — Kari Jobe (2016) Ephesians 5:25-32
The identification of the church as Christ's bride draws directly on Paul's marriage imagery, in which Christ's covenant love for the church is presented through the relationship between a husband and wife.
Cathedrals Of The Nelder Grove — Benjamin William Hastings (2022) Ephesians 5:25-32
The song identifies the church through the linked images of Christ’s body and bride. Ephesians similarly joins these metaphors while describing Christ’s sanctifying and healing care for the church.
HER — Isaac Carree (2019) Ephesians 5:25
The husband explicitly identifies Christ’s love for the church as the commanded model for loving his wife.
Covenant — Bethany Barnard (2017) Ephesians 5:25-32
The song presents a human marriage covenant as a visible reflection of the greater union between Christ and the church. This closely follows Paul's description of marriage as a profound mystery patterned after Christ's faithful, self-giving relationship with his people.
Fall Afresh — Kari Jobe (2017) Ephesians 5:25-27
The church is portrayed as Christ’s Bride being made holy and blameless for Him, closely matching Paul’s description of Christ presenting the church to Himself without moral blemish.
Rock of Salvation — Allies (2011) Ephesians 5:25-27
The expectation of Christ receiving a perfected bride draws on Paul's portrayal of Christ presenting the church to himself without blemish. The future-return setting extends that bridal image rather than reproducing the passage directly.
Jesus Is King — Chaotic Resemblance (2018) Ephesians 5:25-27
The spotless bride being purified and prepared in faithfulness reflects Paul's description of Christ sanctifying the church so that she may be presented to him without blemish.
Let My Love — John Mark Pantana (2017) Ephesians 5:25-27
The combined imagery of a radiant bride and cleansing by water closely reflects Paul's portrayal of Christ washing and sanctifying the church so that she is presented to him in splendor.
The Church — Bethel Music (2025) Ephesians 5:25-27
The Church is portrayed as Christ’s bride, purified and presented to him without blemish, directly invoking Paul’s description of Christ sanctifying the Church.
Love 4 Real — Social Club Misfits & Daramola (2017) Ephesians 5:25
The song presents romantic commitment as self-giving love modeled on God's love. In a song centered on marriage and lifelong devotion, this closely reflects Paul's instruction that a husband love his wife according to Christ's sacrificial pattern.
Unshakeable — Fred Hammond (2013) Ephesians 5:26
The opening verse connects Christ's cleansing work specifically with washing through the divine word, reproducing the distinctive combination of images in this passage.
Your Word, My Life — John Waller (2015) Ephesians 5:26
The opening cleansing petition closely adapts Paul's distinctive image of washing with water through the word. The song applies this image personally as a request for cleansing from shame.
The Church - Acoustic — Bethel Music, Jenn Johnson (2025) Ephesians 5:27
The imagery of the Church as a 'spotless bride' reflects the biblical metaphor found in Ephesians, emphasizing the purity and unity that the Church is called to embody.
Coming Back Again — Hostyle Gospel (2011) Ephesians 5:27
The image of a church free from stains and blemishes directly echoes Paul's description of the church Christ presents to himself in holiness.
Adore — Jaci Velasquez (2009) Ephesians 5:31-32
The second verse applies the marital image of two becoming one to the singer’s relationship with Jesus. This echoes Paul’s use of marital union to describe the relationship between Christ and the church.
Legacy Of Love — David Phelps (2010) Ephesians 5:33
The repeated instruction and personal commitment to love one's wife closely adapt Paul's directive to husbands. The song retains the command without reproducing the verse's comparison to loving oneself.

Ephesians 5 (King James Version)

¹ Be ye therefore followers of God, as dear children;

² And walk in love, as Christ also hath loved us, and hath given himself for us an offering and a sacrifice to God for a sweetsmelling savour.

³ But fornication, and all uncleanness, or covetousness, let it not be once named among you, as becometh saints;

⁴ Neither filthiness, nor foolish talking, nor jesting, which are not convenient: but rather giving of thanks.

⁵ For this ye know, that no whoremonger, nor unclean person, nor covetous man, who is an idolater, hath any inheritance in the kingdom of Christ and of God.

⁶ Let no man deceive you with vain words: for because of these things cometh the wrath of God upon the children of disobedience.

⁷ Be not ye therefore partakers with them.

⁸ For ye were sometimes darkness, but now are ye light in the Lord: walk as children of light:

⁹ (For the fruit of the Spirit is in all goodness and righteousness and truth;)

¹⁰ Proving what is acceptable unto the Lord.

¹¹ And have no fellowship with the unfruitful works of darkness, but rather reprove them.

¹² For it is a shame even to speak of those things which are done of them in secret.

¹³ But all things that are reproved are made manifest by the light: for whatsoever doth make manifest is light.

¹⁴ Wherefore he saith, Awake thou that sleepest, and arise from the dead, and Christ shall give thee light.

¹⁵ See then that ye walk circumspectly, not as fools, but as wise,

¹⁶ Redeeming the time, because the days are evil.

¹⁷ Wherefore be ye not unwise, but understanding what the will of the Lord is.

¹⁸ And be not drunk with wine, wherein is excess; but be filled with the Spirit;

¹⁹ Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord;

²⁰ Giving thanks always for all things unto God and the Father in the name of our Lord Jesus Christ;

²¹ Submitting yourselves one to another in the fear of God.

²² Wives, submit yourselves unto your own husbands, as unto the Lord.

²³ For the husband is the head of the wife, even as Christ is the head of the church: and he is the saviour of the body.

²⁴ Therefore as the church is subject unto Christ, so let the wives be to their own husbands in every thing.

²⁵ Husbands, love your wives, even as Christ also loved the church, and gave himself for it;

²⁶ That he might sanctify and cleanse it with the washing of water by the word,

²⁷ That he might present it to himself a glorious church, not having spot, or wrinkle, or any such thing; but that it should be holy and without blemish.

²⁸ So ought men to love their wives as their own bodies. He that loveth his wife loveth himself.

²⁹ For no man ever yet hated his own flesh; but nourisheth and cherisheth it, even as the Lord the church:

³⁰ For we are members of his body, of his flesh, and of his bones.

³¹ For this cause shall a man leave his father and mother, and shall be joined unto his wife, and they two shall be one flesh.

³² This is a great mystery: but I speak concerning Christ and the church.

³³ Nevertheless let every one of you in particular so love his wife even as himself; and the wife see that she reverence her husband.