Luke 15

The Father Runs — a note on this chapter.

Which worship songs are based on Luke 15?

Black Sheep — Ben Fuller (2025) Luke 15:1-7
The imagery of a 'black sheep' evokes the parable of the lost sheep, where the shepherd seeks out the one lost sheep, reflecting the relentless pursuit of those who feel they do not belong.
He Hears Me — ApologetiX (2021) Luke 15:3-7
The straying lamb who remains welcome evokes Jesus’ parable of the lost sheep, where the shepherd seeks and restores one that has wandered.
Get Found Tonight — ApologetiX (2010) Luke 15:3-7
The song explicitly names Luke 15 and adapts Jesus’ parable of a shepherd leaving ninety-nine sheep to seek one that is lost. Its invitation applies the shepherd’s search to the listener’s return to God.
Me on Your Mind — Matthew West (2022) Luke 15:3-7
The opening verse explicitly recalls Jesus’ parable in which a shepherd leaves ninety-nine sheep to seek the one that is lost.
Look Around — Cade Thompson (2023) Luke 15:3-7
The numerical contrast between a single returning sheep and the remaining flock unmistakably invokes Jesus’ parable of the lost sheep, where the shepherd seeks one who is missing and restores it to the flock.
Citizens — Jon Guerra (2020) Luke 15:3-7
The appeal to leave the flock for one sheep directly paraphrases Jesus' parable of the shepherd who leaves the ninety-nine to seek the lost one.
How You See Me Now — Lydia Laird (2020) Luke 15:3-7
The bridge unmistakably invokes Jesus’ parable of the lost sheep by presenting God as the one who searches for and finds the single lost person in relation to the remaining ninety-nine.
Omemma (Live) — Chandler Moore (2024) Luke 15:3-7
The repeated contrast between ninety-nine sheep and one individual unmistakably invokes Jesus’ parable of the lost sheep, in which the shepherd pursues the missing sheep and rejoices when it is found. The song applies this image personally to God's pursuit and rescue of the sinner.
Ousado Amor — Isaias Saad (2018) Luke 15:3-7
The chorus unmistakably invokes Jesus’ parable of the lost sheep, presenting God as the shepherd who leaves the larger flock to seek the single missing sheep.
Saved — Elvis Presley (2018) Luke 15:3-7
The description of the former self as a lost lamb evokes Jesus’ parable of the lost sheep, in which one vulnerable animal is recovered and its rescue becomes an occasion for rejoicing. The song applies that image directly to repentance and salvation.
You Can't Tell Me That Ain't God — 11th Hour (2024) Luke 15:3-7
The image of a shepherd leaving ninety-nine sheep to recover the lost one directly invokes Jesus’ parable of the lost sheep.
Lord & Savior — Sam Rivera & Limoblaze (2024) Luke 15:3-7
The description of leaving ninety-nine sheep for one directly invokes Jesus’ parable of the shepherd who searches for the single lost sheep.
Kingdom — ALIA LARA (2024) Luke 15:3-7
The numerical contrast between one and ninety-nine evokes Jesus’ parable of the shepherd who leaves ninety-nine sheep to seek the one that is lost.
Green Pastures in the Sky — Ricky Skaggs (2009) Luke 15:4-6
The master's search continuing until the vulnerable sheep is found, followed by its return, closely follows Jesus' parable of the lost sheep. Although the supplied transcription obscures the return's precise details, the search-and-recovery sequence is clear.
The Worship Medley: Reckless Love / O Come To The Altar / Great Are You Lord (feat. Davies) — Tauren Wells, Essential Worship, Davies (2020) Luke 15:4-7
The shepherd’s pursuit of one missing sheep while leaving ninety-nine behind directly invokes Jesus’ parable of the lost sheep.
Black Sheep II — KB & Ben Fuller (2026) Luke 15:4
The song opens with a direct reference to the parable of the lost sheep, where a shepherd leaves the ninety-nine to find the one that is lost, highlighting themes of pursuit and redemption.
For Just You — ApologetiX (2012) Luke 15:4-7
The shepherd's pursuit of an individual wandering sheep directly recalls the lost-sheep parable in both cited passages. The celebration upon finding the lost one particularly identifies Luke's account.
God Who Saves — Hillsong Worship (2013) Luke 15:4-6
The second verse describes Jesus leaving those already safe to seek the lost. This specifically recalls the shepherd leaving the ninety-nine to recover the missing sheep, rather than merely expressing a general theme of divine rescue.
Fierce — Essential Worship (2017) Luke 15:4-6
The bridge's combined language of being sought, pursued, lost, and found closely reflects Jesus' parable of the shepherd who searches for the lost sheep until he finds it.
Day One — Childlike CiCi & Lecrae (2025) Luke 15:4-7
The song references the concept of God leaving the ninety-nine sheep to find the one lost sheep, highlighting divine care and guidance in personal struggles.
Under The Blood — Alex Jean (2026) Luke 15:4
The song references the idea of a shepherd leaving the ninety-nine to find the one lost sheep, which aligns with Jesus' teaching on God's pursuit of the lost.
TWO WORDS — indie tribe, Mogli the Iceburg, Torey D'Shaun & nobigdyl. (2026) Luke 15:4-7
The song references the concept of leaving the 99 sheep to find the one lost sheep, which reflects the theme of seeking those who are lost or in need of help.
Baa! We're Lambs — ApologetiX (2012) Luke 15:4-6
The episode in which a sheep leaves the flock and is personally retrieved by God evokes Jesus’ parable of the lost sheep. The connection rests on the concrete sheep-and-recovery sequence, rather than merely a general theme of divine pursuit.
Reckless Love — Cory Asbury (2018) Luke 15:4-7
The chorus unmistakably invokes Jesus’ parable of the lost sheep, in which a shepherd leaves ninety-nine sheep to search for the one that is lost and rejoices upon finding it.
Come Thou Fount — Forrest Frank (2023) Luke 15:4-7
The description of Jesus seeking someone who had wandered from the flock closely evokes the parable of the shepherd who searches for his lost sheep.
So Will I — UPPERROOM & Abbie Simmons (2018) Luke 15:4-7
The closing description of God refusing to abandon a single person unmistakably recalls Jesus' parable of the shepherd who seeks the one lost sheep.
As I Am — Jason Gray (2014) Luke 15:4-6
Jesus pursuing a wanderer and carrying that person home closely evokes the lost-sheep parable, where the shepherd finds the missing sheep, places it on his shoulders, and returns home. The act of carrying makes this more specific than a general theme of divine pursuit.
It's Always Been You — Phil Wickham (2021) Luke 15:4-5
Being carried on another’s shoulders evokes Jesus’ parable in which a shepherd finds the lost sheep and joyfully carries it home.
Honest Love — Rita Springer (2024) Luke 15:4-6
The image of love leaving the larger group to seek one individual unmistakably recalls Jesus' parable of the shepherd who searches for a single lost sheep.
Reckless Love — Israel & New Breed (2021) Luke 15:4-7
The chorus unmistakably invokes Jesus’ parable of the lost sheep, portraying the shepherd’s departure from the ninety-nine and persistent search for the missing one. The song applies that image personally to God’s pursuit of the lost individual.
Runaway — Jess Ray (2024) Luke 15:4-7
The song directly invokes Jesus’ parable of the lost sheep, in which a shepherd leaves ninety-nine sheep to seek the one that is lost. This image frames God’s pursuit of a person who has wandered away.
CHRISTIAN RAPPER — Marty & Brenno (2024) Luke 15:4-7
The reference to leaving ninety-nine behind invokes Jesus' parable of the shepherd who searches for one lost sheep.
Hold Me Down — Ariel Fitz-Patrick (2025) Luke 15:4-6
The description of an extensive search that leaves ninety-nine sheep behind unmistakably invokes Jesus’ parable of the lost sheep and its emphasis on recovering one who has wandered.
Get to Me — Mike Teezy (2022) Luke 15:4-7
The song unmistakably invokes Jesus’ parable of the lost sheep, describing the shepherd’s departure from the ninety-nine to recover the missing one. It applies that pursuit personally to God’s rescue of the singer.
Looking For Me — ELEVATION RHYTHM (2022) Luke 15:4-7
The description of leaving the larger group to seek one lost individual unmistakably evokes Jesus’ parable of the shepherd who searches for the one missing sheep.
It's Always Been You (HGHTS Remix) — Phil Wickham (2026) Luke 15:4-5
The image of being carried on the rescuer’s shoulders recalls Jesus’ description of a shepherd finding a lost sheep and bearing it home.
Come Find Me — Rush of Fools (2011) Luke 15:4-7
The song explicitly invokes Jesus’ parable of a shepherd leaving ninety-nine sheep to seek one that is lost. The speaker identifies with the missing sheep and asks to receive that same rescuing attention.
star — CHANGETHEWXRLD (2024) Luke 15:4-7
The reference to leaving ninety-nine sheep to recover one who was lost unmistakably invokes Jesus' parable of the lost sheep.
Saving Grace — The Afters (2010) Luke 15:4-5
The repeated emphasis on being found culminates in a request to be carried on God's shoulder. This combination recalls the shepherd finding his lost sheep and carrying it on his shoulders, although the song does not explicitly identify the singer as a sheep.
Reckless Love - Live — New Wine Worship & Abi Johnson (2018) Luke 15:4-7
The chorus unmistakably invokes Jesus’ parable of the shepherd who leaves ninety-nine sheep to search for the one that is lost. The song applies that image to God’s active pursuit and recovery of an individual.
The One — Cade Thompson (2023) Luke 15:4-7
The chorus closely paraphrases Jesus' parable of the lost sheep, including the shepherd's departure from the ninety-nine and persistent search for the missing one.
Kids — Brandon Lake (2023) Luke 15:4-7
The shepherd and the ninety-nine directly evoke Jesus' parable of the shepherd who leaves the flock to recover one lost sheep.
February 20th — Steven Curtis Chapman (2009) Luke 15:7
The song explicitly appeals to Jesus' teaching that heaven rejoices over a person turning to God, applying that celebration to the child's response to Jesus. Its depiction of God singing expands poetically on the promised heavenly rejoicing.
At the Sound of a Sinner’s Prayer — 11th Hour (2024) Luke 15:7
The celebration in heaven when another sinner turns to God closely paraphrases Jesus’ teaching that heaven and the angels rejoice over one sinner who repents.
Here in My Life — Hillsong Worship (2007) Luke 15:7
The second verse closely adapts Jesus' declaration that heaven rejoices over one sinner who repents, presenting an individual's salvation as an occasion for heavenly celebration.
How Sweet the Sound — Jordan Feliz (2024) Luke 15:7
The movement from being lost to being found, accompanied by heavenly celebration, closely reflects Jesus' teaching about heaven rejoicing when a lost sinner is restored.
Purify — ELEVATION RHYTHM, Elizabeth Rosa (2023) Luke 15:7
The celebration taking place in heaven evokes Jesus’ teaching that heaven and the angels rejoice when a sinner repents. The song places its prayer for cleansing within that heavenly joy.
Hlala Nathi — Nontokozo Mkhize (2025) Luke 15:7
The song directly recalls Jesus’ teaching that heaven rejoices when a sinner repents, using that truth to challenge the church’s failure to welcome sinners with love.
Love Like This — Lauren Daigle (2018) Luke 15:8-10
The portrayal of someone valuable being persistently sought until found closely echoes Jesus’ parable of the lost coin, in which a woman searches carefully until she recovers it. The song similarly presents God as the seeker and the lost person as His treasure.
Coming Back — Delirious? (2012) Luke 15:10
The singer imagines angels celebrating his repentance, closely reflecting Jesus’ teaching about heavenly joy over one sinner who repents.
Just One More Soul — Greater Vision (2012) Luke 15:10
The song identifies a single person's salvation as an occasion for angelic rejoicing, closely adapting Jesus' teaching about heavenly joy over one sinner who repents.
I Am Redeemed — Brian Free & Assurance (2023) Luke 15:10
The rejoicing of angels when a sinner receives grace closely paraphrases Jesus' statement that God's angels rejoice over one sinner who repents.
Resurrection Story — Phil Wickham (2026) Luke 15:11-32
The lyrics mention being a long-lost prodigal, directly referencing the story of the prodigal son who returns home after squandering his inheritance.
TWO WAY MIRROR — indie tribe & nobigdyl. & Torey D'Shaun & Mogli the Iceburg (2026) Luke 15:11-32
The lyrics reference the concept of redemption for those who feel lost or marginalized, echoing the message of the Prodigal Son, where a wayward son is welcomed back by his father.
Daddy's DNA — Brandon Lake (2025) Luke 15:11-32
The song references the imagery of living in a pigsty and the desire to return home, which directly parallels the story of the Prodigal Son who finds himself in a similar predicament before returning to his father.
Daddy's DNA — Brandon Lake (2025) Luke 15:11-32
The song references living in a 'pig sty' and the desire to return home, mirroring the Prodigal Son's journey of rebellion and eventual repentance.
Daddy's DNA (live) — Brandon Lake (2025) Luke 15:11-32
The song references living in a pig sty and the longing to return home, which directly parallels the story of the Prodigal Son, who finds himself in a similar desperate situation before returning to his father.
Jesus on the Radio — Anne Wilson (2025) Luke 15:11-32
The song references the theme of redemption and salvation, which aligns with the parable of the Prodigal Son, emphasizing that any sinner can be saved.
Outside In — Circle of Dust (2025) Luke 15:18
The song expresses a plea for mercy and a desire to return home, echoing the sentiment of the prodigal son who acknowledges his sin and seeks forgiveness from his father.
A Forgiving God — SEU Worship, Ashton Hage, Chelsea Plank (2025) Luke 15:18-20
The speaker paraphrases the returning son's confession that he sinned against his father and was unworthy to retain the status of son, followed by the father running to receive him.
Gift Of Salvation — Zahriya Zachary (2025) Luke 15:20
The imagery of God running to meet the singer with outstretched hands evokes the moment in the Prodigal Son parable where the father embraces his returning child, highlighting themes of acceptance and redemption.
WHO I WAS — NF & mgk (2025) Luke 15:20
The song reflects a moment of returning to God, similar to the prodigal son being embraced by his father upon his return, highlighting themes of grace and acceptance after a period of estrangement.
Amazing Grace — The Soul Stirrers (2013) Luke 15:24
The first-person reversal from lostness to recovery closely adapts the father's declaration about his returning son. This is a verbal allusion rather than a retelling of the parable.
Amazing Grace — Aaron Neville (2009) Luke 15:24
The opening testimony closely adapts the father's description of his restored son, turning the passage's contrast between former lostness and present recovery into a first-person confession.
Walking with Me — Archers Rise (2018) Luke 15:24
The hook uses Luke 15's distinctive lost-and-found declaration to describe the singer's salvation. It echoes the father's description of his restored son without explicitly retelling the parable.
Amazing Grace (My Chains Are Gone) — Worship Together (2011) Luke 15:24
The opening closely adapts the father's declaration that his previously lost son has been found. This is a recognizable verbal echo rather than a retelling of the parable.
NO L’s — Forrest Frank (2025) Luke 15:24
The song's theme of being lost and then found echoes the parable of the prodigal son, where the father rejoices over the return of his lost child.
Isn’t He Good — Phil Wickham (2023) Luke 15:24
The paired movement from being lost to found and from death to restored life closely follows the father's description of his returned son. The combination of both contrasts makes this more specific than a general salvation theme.
Born Again — Robert Randolph & The Family Band (2013) Luke 15:24
The contrast between former lostness and present recovery closely adapts the father's description of his restored son, likely mediated through the hymn Amazing Grace. This wording supports a verse-level connection without establishing a retelling of the parable.
Amazing Grace — Jeff Beck (2023) Luke 15:24
The description of a person moving from lostness to being found closely reproduces the language used for the restored son in Jesus’ parable. The lyric applies that language personally without explicitly retelling the prodigal-son narrative.
Jesus, Thank You — Katy Nichole (2023) Luke 15:24
The singer describes her former lost condition and present recovery using the same contrast found in Jesus’ parable. The wording is likely mediated through the hymn “Amazing Grace,” but its biblical source is clearly reflected here.
You’re All I’ll Take With Me — Lauren Daigle (2023) Luke 15:24
The fourth verse closely echoes the father's declaration in Jesus’ parable that his son had been lost and was now found. The wording also invokes the well-known hymn “Amazing Grace,” which draws on this biblical language.
Amazing Grace — Lizz Wright (2010) Luke 15:24
The opening stanza's reversal from lostness to being found closely echoes the father's declaration about his returning son. This is a verbal connection rather than a retelling of the parable.
Grace Like Rain — Todd Agnew (2010) Luke 15:24
The opening testimony closely echoes the father's declaration that his formerly lost son has been found. This is a wording-level connection rather than a retelling of the prodigal son's story.
Amazing Grace — Josh Turner (2018) Luke 15:24
The singer describes his salvation through the same lost-to-found reversal used by the father to describe his restored son. The song applies that biblical language personally without retelling the parable.
Amazing Grace — Mahalia Jackson (2012) Luke 15:24
The testimony of moving from lostness to being found closely adapts the father's description of his restored son. This is a verbal connection to the verse, rather than a retelling of the parable.
Amazing Because It Is — The Almost (2007) Luke 15:24
The hymn incorporated into the chorus closely adapts the father's description of his son's transition from being lost to being found. This is a verbal connection to the verse, rather than a retelling of the prodigal son's story.
I Was, But God — ELEVATION RHYTHM (2025) Luke 15:24
The bridge reproduces the lost-to-found formula used by the father to describe his son's restoration in Jesus' parable.
Brand New — Da’ T.R.U.T.H. (2018) Luke 15:24
The singer's confession that he had been lost and was found closely recasts the repeated declaration concerning the recovered son in Jesus' parable. The song does not provide enough narrative detail to classify this as an explicit reference to the prodigal-son story.
Only Love — Jordan Feliz (2020) Luke 15:24
The paired descriptions of restored life and movement from lostness to being found closely reproduce the language used when the prodigal son returns.
Amazing Grace — Gloria Gaynor (2019) Luke 15:24
The testimony of having been lost and subsequently found closely echoes the father's declaration in Jesus’ parable. The song uses the verse’s wording without otherwise retelling the prodigal-son narrative.
Amazing Grace (My Chains Are Gone) — Pentatonix (2020) Luke 15:24
The singer describes a transition from being lost to being found, closely echoing the father's declaration about his restored son in Jesus' parable.
Amazing Grace — Elvis Presley (2011) Luke 15:24
The reversal from lostness to being found closely echoes the father’s description of his returned son. This is a verbal allusion rather than a retelling of the parable.
Amazing Grace (live) — Aretha Franklin (2021) Luke 15:24
The singer’s movement from being lost to being found closely parallels the father’s description of his restored son. The song does not include enough narrative detail to identify the prodigal-son story at the story level.

Luke 15 (King James Version)

¹ Then drew near unto him all the publicans and sinners for to hear him.

² And the Pharisees and scribes murmured, saying, This man receiveth sinners, and eateth with them.

³ And he spake this parable unto them, saying,

⁴ What man of you, having an hundred sheep, if he lose one of them, doth not leave the ninety and nine in the wilderness, and go after that which is lost, until he find it?

⁵ And when he hath found it, he layeth it on his shoulders, rejoicing.

⁶ And when he cometh home, he calleth together his friends and neighbours, saying unto them, Rejoice with me; for I have found my sheep which was lost.

⁷ I say unto you, that likewise joy shall be in heaven over one sinner that repenteth, more than over ninety and nine just persons, which need no repentance.

⁸ Either what woman having ten pieces of silver, if she lose one piece, doth not light a candle, and sweep the house, and seek diligently till she find it?

⁹ And when she hath found it, she calleth her friends and her neighbours together, saying, Rejoice with me; for I have found the piece which I had lost.

¹⁰ Likewise, I say unto you, there is joy in the presence of the angels of God over one sinner that repenteth.

¹¹ And he said, A certain man had two sons:

¹² And the younger of them said to his father, Father, give me the portion of goods that falleth to me. And he divided unto them his living.

¹³ And not many days after the younger son gathered all together, and took his journey into a far country, and there wasted his substance with riotous living.

¹⁴ And when he had spent all, there arose a mighty famine in that land; and he began to be in want.

¹⁵ And he went and joined himself to a citizen of that country; and he sent him into his fields to feed swine.

¹⁶ And he would fain have filled his belly with the husks that the swine did eat: and no man gave unto him.

¹⁷ And when he came to himself, he said, How many hired servants of my father’s have bread enough and to spare, and I perish with hunger!

¹⁸ I will arise and go to my father, and will say unto him, Father, I have sinned against heaven, and before thee,

¹⁹ And am no more worthy to be called thy son: make me as one of thy hired servants.

²⁰ And he arose, and came to his father. But when he was yet a great way off, his father saw him, and had compassion, and ran, and fell on his neck, and kissed him.

²¹ And the son said unto him, Father, I have sinned against heaven, and in thy sight, and am no more worthy to be called thy son.

²² But the father said to his servants, Bring forth the best robe, and put it on him; and put a ring on his hand, and shoes on his feet:

²³ And bring hither the fatted calf, and kill it; and let us eat, and be merry:

²⁴ For this my son was dead, and is alive again; he was lost, and is found. And they began to be merry.

²⁵ Now his elder son was in the field: and as he came and drew nigh to the house, he heard musick and dancing.

²⁶ And he called one of the servants, and asked what these things meant.

²⁷ And he said unto him, Thy brother is come; and thy father hath killed the fatted calf, because he hath received him safe and sound.

²⁸ And he was angry, and would not go in: therefore came his father out, and intreated him.

²⁹ And he answering said to his father, Lo, these many years do I serve thee, neither transgressed I at any time thy commandment: and yet thou never gavest me a kid, that I might make merry with my friends:

³⁰ But as soon as this thy son was come, which hath devoured thy living with harlots, thou hast killed for him the fatted calf.

³¹ And he said unto him, Son, thou art ever with me, and all that I have is thine.

³² It was meet that we should make merry, and be glad: for this thy brother was dead, and is alive again; and was lost, and is found.