John 8

Which worship songs are based on John 8?

Britney — Bebo Norman (2008) John 8:3-11
The imagery of throwing stones at a publicly condemned woman evokes the confrontation over the woman caught in adultery. The singer’s admission of shared guilt echoes Jesus’ challenge to the accusers to recognize their own sin before condemning her.
In the Night — Andrew Peterson (2010) John 8:3-11
The woman threatened with stoning and the departing accusers identify the account of the woman caught in adultery. The song depicts Jesus' protection spatially, while the passage describes his challenge to the accusers and refusal to condemn her.
Church Hurt — Hannah Kerr (2024) John 8:3-11
The image of morally compromised people casting stones evokes Jesus’ confrontation with the accusers of the woman caught in adultery, especially his challenge that the sinless person should cast the first stone.
Follow Me — Casting Crowns (2014) John 8:3-11
The condemned woman, threatened stoning, and Jesus’ intervention unmistakably evoke the woman accused of adultery. The song creatively adapts Jesus’ response rather than reproducing His exact words.
Love Will Have the Final Word — Jason Crabb (2018) John 8:3-11
The appeal to relinquish stones and pride evokes the accusers who came prepared to stone a woman but withdrew after Jesus confronted their own sin. It supports the song's call to abandon self-righteous punishment.
At the Cross — Brian Free & Assurance (2017) John 8:3-11
The refusal to judge or cast stones unmistakably recalls Jesus’ confrontation with the accusers of the woman caught in adultery, where he exposed their own sin before they could condemn her.
Quem é Esse? — Julliany Souza (2025) John 8:3-11
The song explicitly retells Jesus’ encounter with the woman accused of adultery, including his writing on the ground, the appeal to Mosaic law, the threatened stoning, his challenge to the sinless accuser, and his refusal to condemn her.
Forgiven - Live — Sovereign Grace Music (2017) John 8:3-11
The call for self-condemning judges to put down their stones unmistakably evokes Jesus’ response to those seeking to stone the woman accused of adultery.
Jesus, Friend of Sinners — Casting Crowns (2011) John 8:3-9
Jesus writing on the ground while accusers abandon a proposed stoning unmistakably evokes the encounter with the woman accused of adultery. The song dramatizes their departure as relinquishing their stones.
Rebels — Influence Music & Michael Ketterer (2019) John 8:3-9
The second verse unmistakably recalls Jesus stooping to write on the ground when an accused woman was brought before him. It also paraphrases his challenge that only a sinless person should condemn her, after which her accusers depart.
Echo (In Jesus Name) — Charity Gayle (2021) John 8:3-11
The image of accusers abandoning their stones unmistakably recalls Jesus' intervention when a woman was brought before him for condemnation.
My Father In Me — CAIN (2020) John 8:3-11
The image of choosing not to cast stones evokes the account of the woman accused of adultery, where Jesus confronts her would-be executioners with their own sinfulness.
Unlearning (Live) — Lizzie Morgan (2025) John 8:3-11
The image of accusers abandoning their stones unmistakably recalls Jesus preventing the execution of the woman accused of adultery.
WWJD — Colleen McKenna (2024) John 8:3-11
Jesus writing on the ground while responding compassionately to someone facing condemnation unmistakably evokes the account of the woman caught in adultery.
Hold Me Now — Jennifer Knapp (2008) John 8:7
The second verse closely reproduces Jesus' challenge that only an accuser without sin should initiate the stoning of the woman accused of adultery. The song places this challenge in Christ's defense of the shamed woman.
Say So (Broken Halo) — Apollo LTD (2024) John 8:7
The refusal to condemn others by casting stones directly evokes Jesus’ challenge to the accusers of the woman caught in adultery.
Mothers of the Night — Delirious? (2008) John 8:7
The singer's admission of guilt for casting a stone invokes Jesus' challenge to the accusers of the woman caught in adultery. In the song's context of women facing sexual stigma, the image redirects judgment toward the person condemning them.
Cynicism — Josh Garrels (2012) John 8:7
The warning against stoning a woman unless the accuser is innocent directly adapts Jesus’ challenge to those seeking to stone the woman accused of adultery.
Something in Your Eyes — Allies (2011) John 8:7-11
The paired assurances against condemnation and stone-throwing unmistakably evoke Jesus’ response to the woman accused of adultery. The singer adopts the noncondemning posture illustrated by Jesus’ challenge to her accusers and his subsequent response to her.
Never Gonna Break My Faith — Aretha Franklin (2007) John 8:7
The chorus directly adapts Jesus' challenge to the accusers of the woman caught in adultery concerning who may initiate her stoning. The song uses this recognizable reference to confront judgment and violence disguised as righteousness.
Not a Cartridge — Corey Mills (2019) John 8:7
The challenge that only a morally perfect accuser should cast stones directly paraphrases Jesus' response to those preparing to stone the woman accused of adultery.
The Woman of Seven Devils — Neal Morse (2019) John 8:10-11
Jesus’ response to the accused Mary closely reproduces his refusal to condemn the woman accused of adultery. The song deliberately merges that separate Gospel encounter with Mary Magdalene’s deliverance.
Unbreakable — Fireflight (2008) John 8:10
The opening question about the whereabouts of the accusers closely echoes Jesus asking the woman accused of adultery where her accusers have gone. The connection is specific to that question, rather than a retelling of the entire encounter.
Gravity — John Schlitt (2008) John 8:12
The singer addresses Jesus using the distinctive title Jesus gives himself in this verse. The surrounding request for illumination and guidance reinforces the connection to Jesus’ promise that his followers will not walk in darkness.
His Name Is Jesus — Phil Wickham (2021) John 8:12
The chorus repeatedly applies Jesus’ Johannine designation as the world’s light directly to him.
God Gave Me a Song — Oslo Gospel Choir (2013) John 8:12
The repeated identification of Jesus with the world's light directly reproduces his self-description in this verse.
God of Brilliant Lights — Aaron Shust (2013) John 8:12
The song directly uses Jesus’ self-designation as the world's light. Its contrast between divine illumination and darkness reinforces the connection to this declaration.
Lightens Up — Bluetree (2012) John 8:12
The opening closely adapts Jesus’ declaration of his identity as the world's light and his promise that those following him will not walk in darkness. The bridge repeats that same promise.
The Sun Eater — Becoming the Archetype (2012) John 8:12
The Christ-voiced speaker identifies himself as the light in opposition to darkness, closely adapting Jesus’ declaration that he is the light of the world.
God Who Saves — Hillsong Worship (2013) John 8:12
The opening addresses Jesus using the distinctive title he gives himself in this passage, identifying him as the world's source of light.
Gentle Healer — Casting Crowns (2022) John 8:12
The final description of Jesus as light recalls his Johannine declaration that he is the light of the world, reinforced by the song's earlier movement from darkness to sight.
Jesus Messiah — Chris Tomlin (2008) John 8:12
The bridge applies to the divine addressee the distinctive title Jesus uses for himself in John's Gospel, identifying him as the world's light.
Light of the World — Shane & Shane (2025) John 8:12
The repeated identification of Jesus as the world’s Light closely invokes Jesus’ self-designation in John’s Gospel and the invitation to look to him rather than remain in darkness.
Parade — Kathy Troccoli (2015) John 8:12
The song applies to Jesus the distinctive description of his illuminating role that he uses for himself in this verse.
The Great American Novel — Kevin Max (2020) John 8:12
The closing declaration closely restates Jesus’ teaching that whoever follows him will no longer walk in darkness. Its identification of Christ as the Son also supports the intended light-and-darkness imagery.
Light of the World — Chris Tomlin (2009) John 8:12
The title and repeated refrain reproduce the distinctive designation Jesus gives Himself in this verse.
The Heart of Life — Cosmic Cathedral (2025) John 8:12
The mention of Jesus as a source of light resonates with Jesus' declaration of being the light of the world, emphasizing His role in dispelling darkness.
’Tis So Sweet — Hawk Nelson (2009) John 8:12
The chorus addresses Jesus using the distinctive title he gives himself in John 8:12, identifying him as the source of illumination for humanity.
Relentless — Hillsong UNITED (2013) John 8:12
The second verse presents Christ as the world's light to be followed, contrasting that direction with pursuing shadows. This closely adapts Jesus' declaration that he is the light of the world and that following him means leaving darkness.
Light's Always Stronger — Ellie Holcomb (2018) John 8:12
The song identifies Jesus as the world’s light and connects belief in him with no longer walking in darkness, closely restating Jesus’ declaration in this verse.
Majesty of Heaven (acoustic version) — Chris Tomlin (2010) John 8:12
The opening applies to Jesus the distinctive title he uses for himself in this verse, identifying him as the source of illumination for the world.
3:16 (Spontaneous) — Phil Wickham (2021) John 8:12
The chorus applies Jesus' Johannine identity as the world's light directly to him, reinforced by the preceding contrast between his authority and fleeing darkness.
This Is What We Believe — Aaron Shust (2011) John 8:12
The opening applies to Jesus the distinctive title he uses when identifying himself as the world's light.
Believe It — ELEVATION RHYTHM (2025) John 8:12
The phrase 'Jesus is the light' in the song alludes to John 8:12, where Jesus declares Himself as the light of the world, symbolizing guidance and hope.
I'll Follow - Live — Cody Carnes (2022) John 8:12
The song directly applies to Jesus his declaration that he is the world's light and connects that identity with following his guidance.
Great Light of the World — Bebo Norman (2007) John 8:12
The chorus adapts Jesus’ distinctive identification of himself as the world’s light. The surrounding contrast between darkness and divine illumination reinforces this specific allusion.
Light of the World — Lauren Daigle (2014) John 8:12
The central refrain uses the distinctive designation Jesus gives himself in this verse. The song applies that identification to his arrival at Christmas.
Adore — Chris Tomlin (2015) John 8:12
The song applies to Jesus the distinctive title he uses for himself in John's Gospel, identifying him as the world's illuminating presence.
Here I Am to Worship — Eoghan Heaslip (2010) John 8:12
The opening addresses Jesus using the distinctive title he gives himself in this passage. The surrounding contrast between illumination and darkness reinforces the reference.
Forever Reign — Newsboys (2011) John 8:12
The chorus applies Jesus' distinctive self-designation as the world's light to the one being worshipped. The bridge's explicit identification of Jesus confirms the Christ-centered reference.
Jingle Jango — Sam Purpose (2025) John 8:12
The mention of Jesus as 'the light of the world' in the lyrics reflects the declaration found in John, emphasizing His role in illuminating the darkness.
No Other Name - Radio Version — Hillsong Worship (2014) John 8:12
The chorus identifies Jesus using the specific title he gives himself in John's Gospel, presenting him as the world's source of spiritual illumination.
Forever Reign — Chris August (2012) John 8:12
The chorus applies Jesus' distinctive self-designation from this passage to the person being worshiped, whom the bridge explicitly identifies as Jesus.
Great Is the Lord — Jonathan McReynolds & Corey Barksdale & Tonya Baker (2018) John 8:12
The post-chorus combines Johannine descriptions of Jesus as the light and the truth with the exclusive claim that access to the Father is through him.
LIFE GETS HARD — DKG KIE (2025) John 8:12
The lyrics express gratitude for the light after being blinded by darkness, which directly aligns with Jesus' declaration of being the light of the world.
The Answer — Gary Valenciano (2014) John 8:12
The chorus addresses its divine recipient using Jesus’ distinctive self-description in John 8:12. Its prayer for illumination develops that passage’s identification of Jesus as light for the world.
Forever Reign (Radio Version) — Hillsong Worship (2012) John 8:12
The chorus applies to Jesus the distinctive title he uses for himself in this verse. The surrounding contrast between life and darkness reinforces the reference.
One Little Christmas Tree — Stevie Wonder (2024) John 8:12
The association of worldwide light with guiding those who have lost their way closely reflects Jesus’ presentation as the light of the world whose followers do not remain in darkness. In the song, that image is symbolically transferred to the small Christmas tree.
Shine, Jesus, Shine — Crystal Lewis (2014) John 8:12
The song addresses Jesus using the specific title he gives himself in this verse, identifying him as the world's light.
Your Word — Aaron Shust (2019) John 8:12
The bridge combines Jesus’ title as the world’s light with the resulting freedom from walking in darkness, closely matching his declaration in John.
I Will Follow — Chris Tomlin (2010) John 8:12
The paired descriptions of divine light for the world and for personal life echo Jesus’ identification as the world’s light and His promise of life-giving light to those who follow Him. The song’s repeated emphasis on following strengthens this specific connection.
Love Knows No End - Live — Hillsong Worship (2012) John 8:12
The closing identifies the divine addressee as the world's light, closely adapting Jesus' self-description. The song's explicit focus on Christ supports this identification.
In Christ Alone - Live — Keith & Kristyn Getty (2013) John 8:12
The designation of Jesus as the world's light directly reproduces his distinctive self-description in John.
Yesu - Live — Keith & Kristyn Getty & African Children's Choir & Sing! (2021) John 8:12
The designation of Jesus as the world’s light directly engages his self-identification in John’s Gospel.
You Are the Sun — Sara Groves (2025) John 8:12
The song applies Jesus’ distinctive self-designation as the world’s light to the divine figure it addresses, presenting him as the source of illumination for human life.
Forever Reign - Radio Edit — One Sonic Society (2011) John 8:12
The chorus applies to Jesus the distinctive title he gives himself in this passage. The earlier contrast between divine illumination and surrounding darkness reinforces the connection.
Here I Am to Worship — Worship Together (2011) John 8:12
The opening addresses Jesus using the distinctive title he gives himself in this verse. The accompanying contrast between illumination and darkness reinforces the connection.
Jehovah — ApologetiX (2010) John 8:24
The first bridge closely adapts Jesus’ warning that those who do not believe his declaration of identity will die in their sins. The song interprets that declaration as affirming Christ’s divine identity.
Slings and Arrows — Between Thieves (2025) John 8:31-32
The claim that truth brings freedom closely restates Jesus’s teaching that knowing the truth results in liberation.
Honesty — Elle Limebear (2020) John 8:31-32
The second verse directly adapts Jesus' teaching that knowing the truth brings freedom, identifying that liberating truth with the Heavenly Father's word.
You Ask Me Why — Chuck Girard (2010) John 8:31-32
The refrain connects receiving God's teaching with becoming free, closely adapting Jesus' teaching that continuing in his word leads to knowing the truth that brings freedom.
Toxic Lullabies — Behold the Beloved (2024) John 8:31-32
The song connects receiving and speaking divine truth with liberation, closely reflecting Jesus’ teaching that abiding in his word leads to truth that brings freedom.
Put Down The Mask — Sam Purpose (2019) John 8:32
The bridge and second verse closely reproduce Jesus’ teaching that truth brings freedom and that the freedom He gives is genuine and complete.
Trinity — Jennifer Knapp (2008) John 8:32
The song directly reproduces Jesus' declaration that truth brings freedom, combining it with a separate teaching about confessing Christ.
Stronger — Hillsong Worship (2008) John 8:32
The second verse closely adapts Jesus’ declaration that knowing the truth brings freedom, expressing that freedom personally.
Asi Son Las Cosas — Alex Zurdo (2009) John 8:32
The outro closely adapts Jesus’ declaration that truth brings freedom. This unmistakable verbal reference frames the song’s truth-telling as a liberating mission.
Thank You for Saving Me — Delirious? (2012) John 8:32
The chorus closely adapts Jesus’ declaration that knowing the truth brings freedom, presenting that freedom as something the worshippers have experienced.
Take Me Higher — Jars of Clay (2007) John 8:32
The opening verse closely adapts Jesus’ statement that knowing the truth brings freedom, presenting that liberation as the singer’s personal experience.
It’s Never as Dark as It Seems to Be — Jaci Velasquez (2017) John 8:32
The song directly invokes Jesus’ teaching that knowledge of the truth brings freedom.
Act Justly, Love Mercy, Walk Humbly — Pat Barrett (2021) John 8:32
The second verse closely reproduces Jesus’ statement that knowing the truth brings freedom.
Stronger — Dara Maclean (2014) John 8:32
The song personalizes Jesus’ promise that knowing the truth brings freedom, closely preserving the verse’s distinctive relationship between truth and liberation.
Darkest Valley — Group 1 Crew (2012) John 8:32
Blanca's closing assurance directly adapts Jesus' teaching that knowing the truth brings freedom.
Ready — Third Day (2010) John 8:32
The second verse closely adapts Jesus’ declaration that knowing the truth brings freedom. Its explicit association of truth with liberation makes this a specific scriptural reference rather than a general theme of renewal.
Long Time — Da’ T.R.U.T.H. (2018) John 8:32
The introduction directly invokes Jesus’ teaching that knowing the truth results in freedom, while also playing on the artist’s stage name.
You See Me — Jeremy Camp (2021) John 8:32
The first verse directly invokes Jesus' teaching that knowing the truth brings freedom, applying it to liberation from a false identity built around others' approval.
Keep Goin — Group 1 Crew (2014) John 8:32
The second verse closely adapts Jesus’ declaration that knowing the truth brings freedom, presenting that freedom as the speaker’s personal experience.
Undoing — DOE (2022) John 8:32
The chorus directly adapts Jesus’ teaching that knowing the truth brings freedom, applying it to the singer’s ongoing liberation from false beliefs.
Not Gonna Die — Skillet (2013) John 8:32
The second verse closely adapts Jesus’ declaration that truth brings freedom. Its surrounding imagery of release from control reinforces this specific verbal connection without explicitly identifying the controlling forces with sin.
If I Could See (What The Angels See) — Amy Grant (2013) John 8:32
The final verse and expanded chorus closely adapt Jesus' declaration that knowing the truth brings freedom.
Be It Unto Me — Don Moen (2023) John 8:32
The description of divine truth producing freedom closely restates Jesus’ teaching about knowing the truth and being made free.
Glorious Freedom — Gaither Vocal Band (2013) John 8:34-36
The opening depicts sin as slavery and Jesus as the one who grants genuine freedom, closely reflecting Jesus’ teaching about enslavement to sin and liberation through the Son.
Man of Sorrows - Live — Hillsong Worship (2013) John 8:36
The bridge closely reproduces Jesus’ declaration that freedom granted by the Son is genuine and complete.
Rescuer (Good News) — Rend Collective (2017) John 8:36
The final chorus uses Jesus’ distinctive assurance that liberation granted by the Son is genuine and complete.
Love Made A Way — Maverick City Music & Dante Bowe (2025) John 8:36
The post-chorus directly repeats Jesus' declaration that freedom granted by the Son is genuine freedom.
Free — Mandisa (2011) John 8:36
The chorus closely reproduces Jesus’ declaration that those liberated by the Son are truly free. This passage explicitly anchors the song’s celebration of deliverance in Jesus rather than self-effort.
God’s Been Good — Tasha Cobbs Leonard (2020) John 8:36
The bridge closely restates Jesus’ declaration that freedom granted by the Son is genuine and complete.
ALL FOR ME — Darrel Walls & PJ Morton (2025) John 8:36
The song references the concept of freedom through a direct quote from John 8:36, which states that those whom the Son sets free are free indeed.
Weight Of Heaven - Live — Planetshakers (2025) John 8:36
The declaration of being truly free echoes Jesus' statement that the freedom granted by the Son is genuine and complete.
Since Jesus — Ben Fuller (2025) John 8:36
The song references the concept of freedom that comes from Jesus, paralleling the declaration that those whom the Son sets free are free indeed.
I Break — Jekalyn Carr (2025) John 8:36
The bridge directly invokes Jesus’ declaration that freedom granted by the Son is genuine and complete.
NEVER LEFT MY SIDE — Forrest Frank (2024) John 8:36
The second verse closely reproduces Jesus’ declaration that those liberated by the Son are truly free, applying that promise personally to the singer’s salvation.
Where Oh Where — ELEVATION RHYTHM (2025) John 8:36
The lyrics express a sense of freedom and transformation, aligning with the verse that states that if the Son sets you free, you will be free indeed.
You Are My King (Amazing Love) — Worship Together (2011) John 8:36
The extended freedom section closely reproduces Jesus’s declaration that liberation by the Son establishes genuine freedom.
Somebody Set Me Free — Jamie MacDonald (2026) John 8:36
The identification of Jesus as the one who brings freedom closely paraphrases Jesus’ declaration that freedom given by the Son is genuine freedom.
I Feel Good — Fred Hammond (2011) John 8:36
The bridge specifically identifies the Son as the one who grants freedom, closely adapting Jesus’ declaration that those freed by the Son are truly free.
Free Indeed (You Said I Am) — Israel & New Breed (2021) John 8:36
The central refrain directly reproduces Jesus’ declaration that freedom granted by the Son is genuine and complete.
Crime Scene Earth — Saint (2008) John 8:36
The declaration of freedom through the Son closely condenses Jesus' statement that those whom the Son sets free are truly free. Its placement after the account of humanity's bondage to sin reinforces the connection.
Now Why This Fear — Sovereign Grace Music (2014) John 8:36
The concluding assurance closely adapts Jesus' declaration that those whom the Son frees are truly free.
History — Megan Woods (2025) John 8:36
The song explicitly quotes the phrase about being set free by the Son, which directly references the biblical assertion of freedom through Christ.
God Is On The Throne - Live — Planetshakers (2026) John 8:36
The repeated assertion of being 'free indeed' reflects the message of liberation found in John, where it states that those whom the Son sets free are truly free.
I Have A Father (Live) — Chandler Moore (2024) John 8:36
The freedom refrain directly invokes Jesus’ declaration that the freedom granted by the Son is genuine and complete.
Lions and Eagles — Big Daddy Weave (2025) John 8:36
The song explicitly references the idea that those who are liberated by Christ are free, echoing the sentiment found in John 8:36 about the freedom that comes through the Son.
Rinsed in the Blood — Crowder (2024) John 8:36
The declaration of genuine freedom closely paraphrases Jesus’ teaching that those liberated by the Son are truly free.
Done Holding On — Hawk Nelson (2011) John 8:36
The third verse specifically links the Son’s arrival with the desire for freedom, echoing Jesus’ teaching that the Son sets people free. The connection rests on that pairing rather than the song’s broader themes of confession and surrender.
Who You Say I Am — Hillsong Worship (2018) John 8:36
The chorus directly adapts Jesus’ declaration that freedom granted by the Son is genuine and complete.
Fake Love — ELEVATION RHYTHM (2022) John 8:36
The song directly invokes Jesus' declaration that liberation granted by the Son is genuine freedom. This grounds its language of personal transformation in Christ's power to free people from slavery to sin.
Test — Bryson Gray (2021) John 8:36
The outro directly invokes Jesus' declaration that freedom granted by the Son is genuine freedom, applying it to deliverance from behaviors and identities the speaker regards as bondage.
Glorious Day/Free Indeed — Israel & New Breed (2021) John 8:36
The chorus closely restates Jesus’ declaration that freedom granted by the Son is genuine and complete.
ALL FOR ME - REMIX — Darrel Walls & PJ Morton & The Walls Group (2026) John 8:36
The song explicitly states that those who are set free are free indeed, echoing the declaration found in John 8:36 about the freedom that Jesus provides.
Draw Near To The Cross — AWAKE84 (2025) John 8:36
The song references the concept of freedom through Christ, echoing the declaration that if the Son sets us free, we are free indeed. This aligns closely with the message found in John 8:36.
CELEBRATION — Forrest Frank (2025) John 8:36
The lyrics reference the idea that those whom the Son sets free are truly free, directly quoting a well-known verse about spiritual liberation.
YEAR OF VICTORY — Rend Collective (2021) John 8:36
Its repeated declaration of genuine freedom closely reproduces Jesus’ assurance that freedom granted by the Son is complete.
I'm Free — 7eventh Time Down (2021) John 8:36
The final chorus adopts Jesus’ distinctive language for the decisive freedom granted by the Son.
Quien Dices Que Soy — Hillsong Worship, Hillsong en Español, Brooke Ligertwood (2019) John 8:36
The chorus echoes Jesus’ declaration that the freedom given by the Son is genuine and complete freedom.
Sing Of Your Love — ELEVATION RHYTHM, Joe L Barnes (2025) John 8:36
The phrase 'You set me free, so I'm free indeed' echoes the message of freedom found in the Gospel of John, where Jesus speaks about the liberating power of His truth.
LETTER TO CHRISTIAN RAP — DKG KIE (2025) John 8:36
The lyrics express a theme of liberation and breaking free from sin, which aligns with the message that Christ can set one free from bondage, as stated in John.
Praise Him — Josh Garrels (2019) John 8:36
The declaration of complete freedom closely reproduces Jesus’ statement that freedom granted by the Son is genuine freedom.
Draw My Eyes — BRAG WORSHIP & Trip Lee & DOE (2026) John 8:36
The lyrics convey the idea of being set free from shackles, which aligns with the message of John 8:36 about the freedom that comes through Christ.
Freedom — xander. & Sam Rivera & Mike Teezy (2025) John 8:36
The song uses the distinctive concluding language of Jesus’ declaration that freedom granted by the Son is genuine and complete.
Great & Glorious — Martin Smith (2019) John 8:36
The freedom refrain uses Jesus’ distinctive assurance that liberation given by the Son is genuine and complete.
FREE! - Live — SEU Worship, David Ryan Cook (2024) John 8:36
The chorus directly invokes Jesus’ declaration that freedom granted by the Son is genuine and complete.
God Did II — RUA YOUNG & KB (2025) John 8:36
The song explicitly references the concept of freedom that comes from Jesus, aligning with the declaration that those whom the Son sets free are free indeed.
Bad Words — Disciple (2023) John 8:36
The repeated declaration of genuine freedom through Christ closely adapts Jesus’ teaching that freedom granted by the Son is true freedom.
Jesus’ Temptation — Neal Morse (2019) John 8:44
The description of Satan as the originator of lies, reinforced by his association with death, directly recalls Jesus’ characterization of the devil in John 8:44.
Satan, Bite the Dust! — Carman (2017) John 8:44
The song applies Jesus’ distinctive designation of the devil as the originator and source of falsehood.
I'm Gone — Trip Lee (2014) John 8:44
The song directly uses Jesus’ designation of the devil as the originator of lies. Its surrounding depiction of people following their spiritual father also echoes this verse’s account of the devil’s children carrying out his desires.
Judas’ Death — Neal Morse (2019) John 8:44
Judas uses Jesus’ designation of the devil as the source and father of falsehood, interpreting his own actions as the result of satanic deception.
Devil Is a Liar — Allies (2011) John 8:44
The chorus repeatedly identifies the devil as deceitful, closely adapting Jesus’ description of him as a liar and the father of lies. The warnings about temptation apply that characterization to the teenagers’ misplaced confidence.
The Devil is a Liar — Evan Craft (2022) John 8:44
The repeated identification of the devil as a liar recalls Jesus' description of him as the source and father of falsehood.
Call You Out — Flyleaf (2012) John 8:44
The portrayal of deception as the adversary’s own language closely echoes Jesus’ description of the devil speaking lies as his native language. The speaker’s admission of formerly sharing that language reinforces the connection.
Satan Is Yo Daddy — Bryson Gray (2020) John 8:44
The song’s central accusation that the Devil is the spiritual father of those who reject God closely echoes Jesus’ identification of the Devil as the father of his hostile hearers.
Survivor — Da’ T.R.U.T.H. (2011) John 8:44
The chorus identifies the devil as a liar, directly echoing Jesus' characterization of him as a liar and the originator of lies.
Stained Glass — HolyName & Heal The Hurt (2024) John 8:44
The song applies Jesus’ designation of the devil as the origin and father of falsehood to a trusted religious leader whose teaching proved deceptive.
Perseverance — Bryann T. (2015) John 8:44
The repeated identification of the devil as a liar directly echoes Jesus' characterization of the devil. The song uses that description to reject deception about the possibility of forgiveness.
Unshakeable — Fred Hammond (2013) John 8:58
The bridge identifies the earthly Jesus by the divine self-designation associated with his declaration of existence before Abraham. Its focus on Jesus makes this a stronger immediate connection than the original revelation to Moses.
John 1:1 — ApologetiX (2010) John 8:58
The opening invokes Jesus’ distinctive divine self-identification during his dispute with his hearers. The song’s emphasis on his divinity points particularly to this declaration of existence before Abraham.

John 8 (King James Version)

¹ Jesus went unto the mount of Olives.

² And early in the morning he came again into the temple, and all the people came unto him; and he sat down, and taught them.

³ And the scribes and Pharisees brought unto him a woman taken in adultery; and when they had set her in the midst,

⁴ They say unto him, Master, this woman was taken in adultery, in the very act.

⁵ Now Moses in the law commanded us, that such should be stoned: but what sayest thou?

⁶ This they said, tempting him, that they might have to accuse him. But Jesus stooped down, and with his finger wrote on the ground, as though he heard them not.

⁷ So when they continued asking him, he lifted up himself, and said unto them, He that is without sin among you, let him first cast a stone at her.

⁸ And again he stooped down, and wrote on the ground.

⁹ And they which heard it, being convicted by their own conscience, went out one by one, beginning at the eldest, even unto the last: and Jesus was left alone, and the woman standing in the midst.

¹⁰ When Jesus had lifted up himself, and saw none but the woman, he said unto her, Woman, where are those thine accusers? hath no man condemned thee?

¹¹ She said, No man, Lord. And Jesus said unto her, Neither do I condemn thee: go, and sin no more.

¹² Then spake Jesus again unto them, saying, I am the light of the world: he that followeth me shall not walk in darkness, but shall have the light of life.

¹³ The Pharisees therefore said unto him, Thou bearest record of thyself; thy record is not true.

¹⁴ Jesus answered and said unto them, Though I bear record of myself, yet my record is true: for I know whence I came, and whither I go; but ye cannot tell whence I come, and whither I go.

¹⁵ Ye judge after the flesh; I judge no man.

¹⁶ And yet if I judge, my judgment is true: for I am not alone, but I and the Father that sent me.

¹⁷ It is also written in your law, that the testimony of two men is true.

¹⁸ I am one that bear witness of myself, and the Father that sent me beareth witness of me.

¹⁹ Then said they unto him, Where is thy Father? Jesus answered, Ye neither know me, nor my Father: if ye had known me, ye should have known my Father also.

²⁰ These words spake Jesus in the treasury, as he taught in the temple: and no man laid hands on him; for his hour was not yet come.

²¹ Then said Jesus again unto them, I go my way, and ye shall seek me, and shall die in your sins: whither I go, ye cannot come.

²² Then said the Jews, Will he kill himself? because he saith, Whither I go, ye cannot come.

²³ And he said unto them, Ye are from beneath; I am from above: ye are of this world; I am not of this world.

²⁴ I said therefore unto you, that ye shall die in your sins: for if ye believe not that I am he, ye shall die in your sins.

²⁵ Then said they unto him, Who art thou? And Jesus saith unto them, Even the same that I said unto you from the beginning.

²⁶ I have many things to say and to judge of you: but he that sent me is true; and I speak to the world those things which I have heard of him.

²⁷ They understood not that he spake to them of the Father.

²⁸ Then said Jesus unto them, When ye have lifted up the Son of man, then shall ye know that I am he, and that I do nothing of myself; but as my Father hath taught me, I speak these things.

²⁹ And he that sent me is with me: the Father hath not left me alone; for I do always those things that please him.

³⁰ As he spake these words, many believed on him.

³¹ Then said Jesus to those Jews which believed on him, If ye continue in my word, then are ye my disciples indeed;

³² And ye shall know the truth, and the truth shall make you free.

³³ They answered him, We be Abraham’s seed, and were never in bondage to any man: how sayest thou, Ye shall be made free?

³⁴ Jesus answered them, Verily, verily, I say unto you, Whosoever committeth sin is the servant of sin.

³⁵ And the servant abideth not in the house for ever: but the Son abideth ever.

³⁶ If the Son therefore shall make you free, ye shall be free indeed.

³⁷ I know that ye are Abraham’s seed; but ye seek to kill me, because my word hath no place in you.

³⁸ I speak that which I have seen with my Father: and ye do that which ye have seen with your father.

³⁹ They answered and said unto him, Abraham is our father. Jesus saith unto them, If ye were Abraham’s children, ye would do the works of Abraham.

⁴⁰ But now ye seek to kill me, a man that hath told you the truth, which I have heard of God: this did not Abraham.

⁴¹ Ye do the deeds of your father. Then said they to him, We be not born of fornication; we have one Father, even God.

⁴² Jesus said unto them, If God were your Father, ye would love me: for I proceeded forth and came from God; neither came I of myself, but he sent me.

⁴³ Why do ye not understand my speech? even because ye cannot hear my word.

⁴⁴ Ye are of your father the devil, and the lusts of your father ye will do. He was a murderer from the beginning, and abode not in the truth, because there is no truth in him. When he speaketh a lie, he speaketh of his own: for he is a liar, and the father of it.

⁴⁵ And because I tell you the truth, ye believe me not.

⁴⁶ Which of you convinceth me of sin? And if I say the truth, why do ye not believe me?

⁴⁷ He that is of God heareth God’s words: ye therefore hear them not, because ye are not of God.

⁴⁸ Then answered the Jews, and said unto him, Say we not well that thou art a Samaritan, and hast a devil?

⁴⁹ Jesus answered, I have not a devil; but I honour my Father, and ye do dishonour me.

⁵⁰ And I seek not mine own glory: there is one that seeketh and judgeth.

⁵¹ Verily, verily, I say unto you, If a man keep my saying, he shall never see death.

⁵² Then said the Jews unto him, Now we know that thou hast a devil. Abraham is dead, and the prophets; and thou sayest, If a man keep my saying, he shall never taste of death.

⁵³ Art thou greater than our father Abraham, which is dead? and the prophets are dead: whom makest thou thyself?

⁵⁴ Jesus answered, If I honour myself, my honour is nothing: it is my Father that honoureth me; of whom ye say, that he is your God:

⁵⁵ Yet ye have not known him; but I know him: and if I should say, I know him not, I shall be a liar like unto you: but I know him, and keep his saying.

⁵⁶ Your father Abraham rejoiced to see my day: and he saw it, and was glad.

⁵⁷ Then said the Jews unto him, Thou art not yet fifty years old, and hast thou seen Abraham?

⁵⁸ Jesus said unto them, Verily, verily, I say unto you, Before Abraham was, I am.

⁵⁹ Then took they up stones to cast at him: but Jesus hid himself, and went out of the temple, going through the midst of them, and so passed by.