Exodus 3

Which worship songs are based on Exodus 3?

Ghost Stories — Brandon Lake (2025) Exodus 3:1-6
The song references the burning bush, which evokes the moment when God spoke to Moses, emphasizing the sacredness of God's presence.
ARE YOU STUPID? (feat. Torey D'Shaun & Mogli the Iceburg) — indie tribe & nobigdyl. & Jon Keith & DJ Mykael V & Torey D'Shaun & Mogli the Iceburg (2026) Exodus 3:1-10
The song references the idea of God speaking and questioning the listener's awareness, paralleling Moses' encounter with God at the burning bush where he is called to action.
The Monolith — Becoming the Archetype (2007) Exodus 3:2
The ending closely adapts the burning bush's distinctive paradox of remaining intact within divine fire. The song transfers that condition from the bush to its human narrator rather than retelling the encounter literally.
Inland — Jars of Clay (2013) Exodus 3:5
The instruction to remove footwear evokes God's command to Moses at the burning bush. The song adapts this gesture of reverence without explicitly identifying the ground as holy.
City of Angels — Israel & New Breed (2021) Exodus 3:5
The repeated designation of the worship space as sacred ground echoes God’s declaration to Moses at the burning bush that the place of divine manifestation is holy. The song applies that declaration to the present gathering.
Good God — Cade Thompson (2023) Exodus 3:5
The image of sacred ground beneath the singer’s feet evokes God declaring the ground around the burning bush holy because of his presence.
What Love Has Done — Jeremy Camp (2021) Exodus 3:5
The bridge echoes God's declaration to Moses that the place where he stands is holy because of the divine presence. The combination of standing in a place newly recognized as sacred points specifically to the burning-bush encounter.
Holy Ground — Charity Gayle (2021) Exodus 3:5
The central declaration closely adapts God's warning to Moses at the burning bush that the place where he stands is holy because of God's presence.
Bound For Glory — Jon Guerra (2015) Exodus 3:5
The description of standing on sacred ground echoes God's declaration to Moses at the burning bush. The song relocates that biblical image of God's presence to the singer's anticipated arrival in heaven rather than retelling Moses' encounter.
Singer's Song — Delirious? (2012) Exodus 3:5
The prayer depicts worshippers standing on ground made holy by God's presence, adapting the distinctive image from God's instruction to Moses at the burning bush. It applies that image to gathered worship rather than retelling Moses' encounter.
Where Jesus Is — Joey + Rory (2010) Exodus 3:5
The repeated description of the worshippers’ standing place as sacred ground recalls God’s declaration to Moses at the burning bush. The surrounding attention to footwear reinforces the image, though the song does not retell Moses’s encounter.
Holy Ground — Hillsong UNITED (2019) Exodus 3:5
The declaration that the present place is sacred because God is there closely echoes God’s words to Moses at the burning bush, where divine presence makes ordinary ground holy.
God's Still God — 11th Hour (2012) Exodus 3:6
The opening identifies God through Abraham, Isaac, and Jacob, closely adapting God's self-identification to Moses. Naming all three patriarchs makes this a specific scriptural connection rather than a general statement about faithfulness.
Freedom — Nicole C. Mullen (2009) Exodus 3:7-8
The bridge closely follows God’s declaration that he has heard the oppressed Israelites’ cries and has come down to deliver them. The song applies that distinctive sequence of hearing and descending to rescue to Jesus’ deliverance of the singer.
Milk & Honey — Crowder (2021) Exodus 3:8
The song’s title uses the biblical description of Canaan as a land of extraordinary abundance promised to Israel.
Take My Hand — Shawn McDonald (2013) Exodus 3:8
The opening invokes the promised land, the destination of Israel’s deliverance that God announces to Moses. The song uses that biblical destination figuratively in a personal prayer for divine guidance rather than retelling the Exodus.
Aimless Knight — Kings Kaleidoscope (2019) Exodus 3:8
The repeated image of milk and honey invokes the biblical description of the land God promised to bring Israel into, contrasting divine abundance with the speaker’s pursuit of wealth.
The Future (Tell Me Love Remains) — Brooke Fraser (2018) Exodus 3:8
The imagined future uses the biblical description of Canaan as an abundant land flowing with milk and honey. Its inaccessibility also evokes the broader idea of seeing a promised destination without entering it, though the song does not explicitly identify Moses.
Until We Meet Again — Cory Asbury (2023) Exodus 3:8
The description of an abundant land uses the distinctive biblical designation for Canaan given during God's promise to deliver Israel from Egypt.
About to Break — Kings Kaleidoscope (2019) Exodus 3:8
The image of living amid milk and honey invokes the abundant land God promised to give Israel after delivering them from Egypt.
Promised Land — VeggieTales (2009) Exodus 3:8
The song reproduces the distinctive description of Canaan's abundance in God's promise to deliver Israel from Egypt. Its food-centered humor treats that description literally.
I Will Praise You — Natalie Bergman (2021) Exodus 3:8
The song invokes Israel’s divinely promised destination and uses the distinctive biblical description of that land’s abundance. This language comes from God’s promise to deliver Israel from Egypt and bring the people into Canaan.
Postlude — Crowder (2022) Exodus 3:8
The movement from desert barrenness toward a land characterized by milk and honey invokes God's promise to bring Israel out of oppression and into the abundant land of Canaan.
Yahweh We ❤ ️️You — Elevation Worship (2024) Exodus 3:13-15
The repeated divine title invokes God's self-revelation to Moses and the disclosure of the covenant name Yahweh at the burning bush.
You Are I Am — Sanctus Real (2025) Exodus 3:13-15
The song repeatedly applies God's self-revealed divine name from the encounter with Moses to Jesus. This identification is central to the title and the song's confession of Christ's divine identity.
ARE YOU READY? — Voices of Fire & Pharrell Williams (2026) Exodus 3:13-14
The bridge directly recalls Moses asking how he should identify the God who sent him and God's response with the divine name of self-existence.
Face of God — Phil Wickham (2019) Exodus 3:13-14
Identifying the infant Jesus as the Great I Am applies to him the divine name revealed to Moses at the burning bush.
The Great I Am Can — Brandon Lake (2025) Exodus 3:13-14
The divine title used throughout the song invokes God's self-identification to Moses as the eternally existent I AM.
Matchless — Aaron Shust (2009) Exodus 3:14
The song applies to Jesus the divine self-identification revealed to Moses at the burning bush.
Infidelity: Kingdom’s End — A Hope for Home (2009) Exodus 3:14
The song invokes the distinctive divine self-identification God reveals to Moses at the burning bush, grounding its warning in God's authority.
The Anchor — Crowder (2021) Exodus 3:14
The climactic divine title invokes the name by which God identifies himself to Moses, applying that divine identity to Christ.
Authority (In The Name of Jesus) — Housefires (2024) Exodus 3:14
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.
Morningstar — Debby Boone (2013) Exodus 3:14
The closing divine title invokes God's self-identification to Moses at the burning bush. This is a specific biblical name rather than a general statement about God's attributes.
God Gave Me a Song — Oslo Gospel Choir (2013) Exodus 3:14
The divine self-identification given to Moses becomes a title of praise in the song. This is a recognizable allusion to God's revelation at the burning bush, rather than a retelling of that encounter.
Christ is Come — Big Daddy Weave (2009) Exodus 3:14
The bridge applies to Jesus the divine self-identification revealed to Moses at the burning bush. This invokes God's revealed identity rather than retelling the encounter.
Destined — Avalon (2009) Exodus 3:14
The song addresses God using the distinctive divine self-designation revealed to Moses at the burning bush. This is a specific allusion to God's revelation of his identity, rather than a general expression of divine greatness.
We Must Remember — Jeremy Camp (2013) Exodus 3:14
The divine title applied to Christ unmistakably invokes the name God reveals to Moses. The song uses that revealed identity without retelling the burning-bush encounter.
Every Crown — Bethel Music (2019) Exodus 3:14
The divine title used in the pre-chorus invokes God’s self-identification to Moses at the burning bush.
Greater Than — Gateway Worship (2018) Exodus 3:14
The bridge invokes the divine name God revealed to Moses at the burning bush, grounding God's supremacy in his self-declared identity.
Forever YHWH — Elevation Worship (2022) Exodus 3:14-15
The song invokes both God's self-identification to Moses and the covenant name disclosed immediately afterward. These names anchor its portrayal of God as eternally existent and personally present.
Nobody Greater — VaShawn Mitchell (2011) Exodus 3:14
The song addresses God using an expanded form of the divine self-identification revealed to Moses at the burning bush. This specifically invokes God's answer when Moses asks what name he should give the Israelites.
Mary Did You Know? (feat. Chandler Moore, Lizzie Morgan & Mav City Gospel Choir) — Maverick City Music & Chandler Moore & Lizzie Morgan & Mav City Gospel Choir (2021) Exodus 3:14
Identifies the sleeping infant with the divine self-existent name revealed to Moses at the burning bush, later applied to Jesus in his own declarations of eternal identity.
Mary Did You Know - Acapella — Cimorelli (2014) Exodus 3:14
The final identification of the infant with God’s self-revealed divine name unmistakably invokes the revelation to Moses at the burning bush. The song applies that divine identity to Jesus.
Boldly I Approach (The Art of Celebration) — Beth Croft (2014) Exodus 3:14
The second verse invokes the divine self-designation revealed to Moses. This is a specific reference to God's identification of himself at the burning bush, rather than merely a general title of praise.
Universal Hearts — Anthem Worship (2021) Exodus 3:14
The divine title used in the chorus unmistakably invokes God's self-identification to Moses as the self-existent I AM.
Forever YHWH (live) — Elevation Worship (2022) Exodus 3:14-15
The song invokes God's self-identification to Moses and the covenant name disclosed in the same encounter. The added claim of divine indwelling extends beyond the Exodus passage, but the underlying designation is unmistakable.
He Is Mine — Greater Vision (2011) Exodus 3:14
The song applies to Jesus the divine self-identification revealed to Moses at the burning bush, affirming his divine identity.
Daughter — Crystal Lewis (2011) Exodus 3:14
The chorus directly reproduces God's distinctive self-identification to Moses at the burning bush. The song places this declaration within a personal assurance of divine care.
Great I Am — Jared Anderson (2012) Exodus 3:14
The song’s central divine title adapts God's self-identification to Moses at the burning bush. This distinctive name anchors the repeated declarations of God's identity and power.
1,000 Names (Acoustic) — Phil Wickham (2022) Exodus 3:14
The song invokes the divine self-identification given to Moses at the burning bush, presenting God as the eternally self-existent one.
I Am — Crystal Lewis (2011) Exodus 3:14
The central divine self-designation invokes God's revelation of his name to Moses. Its repeated use as the culmination of divine titles makes this more specific than an ordinary first-person statement.
Hallelujah — David Phelps (2007) Exodus 3:14
The divine self-designation revealed to Moses is applied to Jesus, linking the infant’s identity to God’s revelation at the burning bush.
New Name Written Down in Glory (feat. David Gentiles) — Charity Gayle & David Gentiles (2021) Exodus 3:14
The bridge repeatedly invokes the divine title revealed when God identified himself to Moses as the I AM, using that name as the authority behind the believer's identity.
With You — Common Hymnal & Jenny Wahlström & James Paek (2025) Exodus 3:14
The phrase 'the great I am' is a direct reference to God's self-identification in Exodus, emphasizing His eternal and unchanging nature.
Thank GOD You Ain't GOD — Marty & Brenno (2025) Exodus 3:14
The designation of God as the Great I Am invokes the divine self-identification revealed to Moses, distinguishing God's unique identity from fallible religious leaders.
Who Is Like You? — Jon Thurlow (2013) Exodus 3:14
The second bridge invokes the divine self-identification revealed to Moses at the burning bush, using it as a name of worship.
Your Name Is Holy — Phil Wickham (2023) Exodus 3:14
The divine title used in the bridge invokes God's self-identification to Moses at the burning bush.
Deny — Sam Purpose (2020) Exodus 3:14
The song invokes the divine name revealed to Moses, identifying the Lord as the self-existent God.
Yahweh Great I AM — Hillsong Worship, Alexander Pappas (2026) Exodus 3:14
The song references 'Yahweh Great I am,' which directly quotes God's self-identification to Moses in Exodus 3:14, emphasizing His eternal and unchanging nature.
Face of God — Shane & Shane & Phil Wickham (2018) Exodus 3:14
The divine name revealed to Moses is applied to the infant Jesus, identifying the child Mary holds with the God who spoke at the burning bush.
The Gospel — Bizzle (2018) Exodus 3:14
The final divine self-designation invokes the covenant name revealed to Moses at the burning bush.
Yahweh - Live — Transformation Worship & Roosevelt Stewart & Elizabeth Rosa (2024) Exodus 3:14-15
The repeated names Yahweh and the Great I Am invoke God's self-revelation to Moses, where he identifies himself as I AM and discloses his covenant name.
Mary Did You Know — India.Arie & Gene Moore Jr. (2014) Exodus 3:14
The final identification of the infant Jesus with God's self-designation to Moses unmistakably invokes the divine name revealed at the burning bush. The song applies that identity to Jesus as its culminating claim about his divinity.
Man of Your Word — Maverick City Music & Chandler Moore & KJ Scriven (2020) Exodus 3:14
The outro invokes God by the self-identifying divine name revealed to Moses and connects that name with God’s authority to define the worshipper’s identity.
God, The Uncreated One (King Forevermore) - Live — Keith & Kristyn Getty & Sing! & Tommy Bailey (2017) Exodus 3:14
The divine self-name revealed to Moses is invoked to emphasize God's self-existence and unchanging nature.
I Will Praise You — Hillsong Worship (2020) Exodus 3:14
The divine name invoked in the bridge recalls God’s self-identification to Moses at the burning bush.
Mary Did You Know — Jason Crabb (2010) Exodus 3:14
The closing identification of Jesus with God's self-designation to Moses deliberately invokes the divine name revealed at the burning bush, applying it to Mary's infant.
The Way (Acoustic) — Jeremy Camp (2010) Exodus 3:14
The chorus invokes the divine self-designation revealed to Moses at the burning bush and applies it to Jesus.
Past, Present, Future — Kings Kaleidoscope (2022) Exodus 3:14
The singer directly addresses God by the divine name revealed to Moses at the burning bush.
My World Needs You — Kirk Franklin (2015) Exodus 3:14
The refrain identifies Jesus with the divine self-designation revealed to Moses. This is a specific invocation of God's revealed identity, rather than merely a general statement of divine greatness.
The One — Aaron Shust (2013) Exodus 3:14
The divine title invokes God's self-identification to Moses at the burning bush. The song makes that revealed identity the basis for trusting God amid uncertainty.
Mary Did You Know? — Scotty McCreery (2012) Exodus 3:14
The concluding divine title invokes God's self-identification to Moses at the burning bush. Applying that name to Mary's infant makes an explicit claim about Jesus' divine identity.
Dance With the King — Beckah Shae (2008) Exodus 3:14
The closing divine title invokes God’s self-identification to Moses at the burning bush. It identifies the welcoming King with the God revealed in Exodus.
I AM — Becoming the Archetype (2012) Exodus 3:14
The repeated divine self-identification directly reproduces God's answer to Moses at the burning bush. It anchors the song's divine speaker in the identity revealed in Exodus.
The King Has Come — Kristian Stanfill & Passion (2020) Exodus 3:14
Jesus is given the divine self-designation revealed to Moses, explicitly identifying the incarnate Son with Israel's God.
The Creation — Neal Morse (2007) Exodus 3:14
The song identifies the creator using the distinctive divine self-designation revealed to Moses at the burning bush, importing that name into its portrayal of Eden.
Worship The Lamb — Jessa Anderson (2011) Exodus 3:14
The divine title used in the chorus invokes God's self-identification to Moses at the burning bush.
I Am — Janet Paschal (2009) Exodus 3:14
The repeated divine self-identification invokes the name God gives Moses. Its placement alongside other biblical declarations of divine identity makes this more than an ordinary first-person expression.
Taken by Love — Kutless (2009) Exodus 3:14
The divine name used in the opening verse directly invokes God's self-identification to Moses at the burning bush.
Arrival — Hillsong Worship (2017) Exodus 3:14
The divine self-designation given to Moses is applied to the eternal God who entered temporal human existence.
God The Uncreated One (King Forevermore) — Keith & Kristyn Getty & Tommy Bailey & Sing! (2020) Exodus 3:14
The divine title used in the second verse invokes God's self-revelation to Moses as the self-existent I AM.
Mary, Did You Know? — Rascal Flatts (2010) Exodus 3:14
The closing divine designation adapts God's self-identification to Moses at the burning bush and applies it to the infant Jesus. This is a specific allusion to the revealed divine name, not merely a general assertion of Jesus' divinity.
Beautiful King — Every Nation Music (2014) Exodus 3:14
The song adapts God’s self-identification to Moses into a divine title addressed to Jesus. This is a specific reference to the revelation of God’s identity at the burning bush, rather than a generic expression of praise.
I Still Have You — Smokie Norful (2022) Exodus 3:14
The divine self-designation used in the outro directly invokes God's self-revelation to Moses at the burning bush.
Mary, Did You Know? — CCV Music (2023) Exodus 3:14
The song identifies Jesus with the divine self-designation revealed to Moses, presenting the infant as the incarnate God of Israel.
Hallelujah Challenge Praise Medley — Nathaniel Bassey (2021) Exodus 3:14
The divine title applied to God recalls his self-identification to Moses at the burning bush as the self-existent I AM.
1,000 Names — Phil Wickham (2021) Exodus 3:14
The divine title based on God's self-identification to Moses unmistakably invokes the revelation of God's name at the burning bush.
Overcomer (Capital Kings remix) — Mandisa (2013) Exodus 3:14
The bridge identifies Jesus using the divine self-designation revealed to Moses. This invokes a specific biblical name rather than merely describing God's greatness.
Holy Hands - Live — Paul McClure & Hannah McClure & Bethel Music (2025) Exodus 3:14
The phrase 'the Great I Am' in the lyrics echoes God's self-identification in Exodus, highlighting His eternal and unchanging nature.
Yahweh — Rend Collective (2018) Exodus 3:14-15
The song joins the divine name Yahweh with God’s self-identification as the eternal I AM, directly recalling God’s revelation of his name to Moses.
Awesome God — Brian Courtney Wilson (2009) Exodus 3:14
The song invokes the distinctive divine self-identification revealed to Moses at the burning bush, adapting it into a title of praise.
Twelve Gates to the City — Buddy Greene (2010) Exodus 3:14
The divine self-identification given to Moses is used as a title for Christ. This is a specific invocation of the revealed divine name rather than a retelling of the burning-bush encounter.
Mary, Did You Know? — Zara Larsson (2024) Exodus 3:14
The concluding divine title invokes the name by which God identifies himself to Moses and applies that identity to Jesus.
You Are You — Nathaniel Bassey (2024) Exodus 3:14
The song directly uses God's self-identification to Moses at the burning bush, invoking the divine name revealed in Exodus.
True to Your Word — Nathaniel Bassey & Grace Omosebi (2021) Exodus 3:14
The song uses the distinctive divine self-identification revealed to Moses at the burning bush.
Mary, Did You Know? — Carly Pearce (2021) Exodus 3:14
The divine title applied to the sleeping child invokes God’s self-identification to Moses, presenting Jesus as sharing the identity of Israel’s God.
Mary Did You Know — Angelo Kelly & Family (2021) Exodus 3:14
Identification of the sleeping infant with the divine name revealed to Moses at the burning bush, also invoked in Jesus' self-identification in John's Gospel, asserts the child's eternal self-existence.
Foundation - Live — Planetshakers (2025) Exodus 3:14
The divine title applied to Jesus evokes God’s self-identification to Moses in Exodus. Its use here presents Jesus as sharing the eternal divine identity.
Dream for You — Casting Crowns (2014) Exodus 3:14
The divine title invoked in the final verse draws directly on God's self-identification to Moses at the burning bush.
The Great I Am — Donnie McClurkin (2009) Exodus 3:14
The song’s central divine title directly invokes God’s self-identification to Moses at the burning bush.

Exodus 3 (King James Version)

¹ Now Moses kept the flock of Jethro his father in law, the priest of Midian: and he led the flock to the backside of the desert, and came to the mountain of God, even to Horeb.

² And the angel of the LORD appeared unto him in a flame of fire out of the midst of a bush: and he looked, and, behold, the bush burned with fire, and the bush was not consumed.

³ And Moses said, I will now turn aside, and see this great sight, why the bush is not burnt.

⁴ And when the LORD saw that he turned aside to see, God called unto him out of the midst of the bush, and said, Moses, Moses. And he said, Here am I.

⁵ And he said, Draw not nigh hither: put off thy shoes from off thy feet, for the place whereon thou standest is holy ground.

⁶ Moreover he said, I am the God of thy father, the God of Abraham, the God of Isaac, and the God of Jacob. And Moses hid his face; for he was afraid to look upon God.

⁷ And the LORD said, I have surely seen the affliction of my people which are in Egypt, and have heard their cry by reason of their taskmasters; for I know their sorrows;

⁸ And I am come down to deliver them out of the hand of the Egyptians, and to bring them up out of that land unto a good land and a large, unto a land flowing with milk and honey; unto the place of the Canaanites, and the Hittites, and the Amorites, and the Perizzites, and the Hivites, and the Jebusites.

⁹ Now therefore, behold, the cry of the children of Israel is come unto me: and I have also seen the oppression wherewith the Egyptians oppress them.

¹⁰ Come now therefore, and I will send thee unto Pharaoh, that thou mayest bring forth my people the children of Israel out of Egypt.

¹¹ And Moses said unto God, Who am I, that I should go unto Pharaoh, and that I should bring forth the children of Israel out of Egypt?

¹² And he said, Certainly I will be with thee; and this shall be a token unto thee, that I have sent thee: When thou hast brought forth the people out of Egypt, ye shall serve God upon this mountain.

¹³ And Moses said unto God, Behold, when I come unto the children of Israel, and shall say unto them, The God of your fathers hath sent me unto you; and they shall say to me, What is his name? what shall I say unto them?

¹⁴ And God said unto Moses, I AM THAT I AM: and he said, Thus shalt thou say unto the children of Israel, I AM hath sent me unto you.

¹⁵ And God said moreover unto Moses, Thus shalt thou say unto the children of Israel, The LORD God of your fathers, the God of Abraham, the God of Isaac, and the God of Jacob, hath sent me unto you: this is my name for ever, and this is my memorial unto all generations.

¹⁶ Go, and gather the elders of Israel together, and say unto them, The LORD God of your fathers, the God of Abraham, of Isaac, and of Jacob, appeared unto me, saying, I have surely visited you, and seen that which is done to you in Egypt:

¹⁷ And I have said, I will bring you up out of the affliction of Egypt unto the land of the Canaanites, and the Hittites, and the Amorites, and the Perizzites, and the Hivites, and the Jebusites, unto a land flowing with milk and honey.

¹⁸ And they shall hearken to thy voice: and thou shalt come, thou and the elders of Israel, unto the king of Egypt, and ye shall say unto him, The LORD God of the Hebrews hath met with us: and now let us go, we beseech thee, three days’ journey into the wilderness, that we may sacrifice to the LORD our God.

¹⁹ And I am sure that the king of Egypt will not let you go, no, not by a mighty hand.

²⁰ And I will stretch out my hand, and smite Egypt with all my wonders which I will do in the midst thereof: and after that he will let you go.

²¹ And I will give this people favour in the sight of the Egyptians: and it shall come to pass, that, when ye go, ye shall not go empty:

²² But every woman shall borrow of her neighbour, and of her that sojourneth in her house, jewels of silver, and jewels of gold, and raiment: and ye shall put them upon your sons, and upon your daughters; and ye shall spoil the Egyptians.