Matthew 6

Which worship songs are based on Matthew 6?

Motives (Live) — SEU Worship & Kenzie Walker (2024) Matthew 6:1
The song's examination of worship performed for an audience closely reflects Jesus' warning against public acts of devotion motivated by being noticed by others.
So Real — Pat Barrett (2021) Matthew 6:1-6
The description of genuine religion as resistant to cameras echoes Jesus’ warning against performing acts of devotion for public recognition. The song applies that teaching to highly visible, image-conscious worship culture.
Secret Place / Goodness of God - Live — Hillsong Worship, Chris Davenport (2022) Matthew 6:5-6
The private place, closed door, and rejection of public recognition closely invoke Jesus’ instruction to pray unseen rather than perform devotion for an audience.
Secret Place — Hillsong Worship (2021) Matthew 6:5-6
The song’s emphasis on private devotion behind a closed door, removed from recognition and religious display, directly invokes Jesus’ teaching about praying secretly rather than performing for an audience.
I Will Rise — Bethel Music (2020) Matthew 6:6
The private encounter with God, deliberately removed from human observation or recognition, closely reflects Jesus’ instruction to seek the Father in concealed devotion.
That's How You Change the World — Newsboys (2013) Matthew 6:6
The chorus depicts prayer alone in a room and emphasizes actions performed without an audience. This closely echoes Jesus’ instruction to pray privately rather than for public recognition.
The Lord Will Make a Way — Aretha Franklin (2008) Matthew 6:6
The specific emphasis on approaching God through private, secret prayer echoes Jesus' instruction to pray to the Father in secret.
Além do Véu — Julliany Souza (2025) Matthew 6:6
Seeking God after closing the door specifically recalls Jesus' instruction to pray privately behind a shut door.
Eu Vou Orar - Ao Vivo — Nair Nany (2025) Matthew 6:6
Closing the door to speak with the Father in the secret place unmistakably invokes Jesus’ instruction about private prayer.
Puro e Simples - Ao Vivo — MORADA (2017) Matthew 6:6
The repeated image of meeting God privately in a secluded place evokes Jesus' teaching about entering a private room to pray to the Father, who sees what occurs in secret.
Oi, Jesus 2 - Ao Vivo — Isadora Pompeo (2025) Matthew 6:6
The recurring bedroom setting presents private, intimate prayer in contrast with public religious performance, closely reflecting Jesus’ instruction to pray in one’s room before the Father.
Restored — Lecrae (2020) Matthew 6:6
Lecrae's use of a closet as a former place of private prayer specifically evokes Jesus' instruction to withdraw into an inner room for prayer.
IN MY ROOM — Marty & McKenna Johns (2024) Matthew 6:6
The recurring picture of praying alone with God in a private room, without an audience, closely reflects Jesus’ instruction to pray privately in one’s room before the unseen Father.
Pray — Rachael Nemiroff (2025) Matthew 6:6
The song's reference to praying and falling on one's knees directly echoes the teaching in Matthew 6:6 about private prayer and seeking God in humility.
Superfriend — Mary Mary (2008) Matthew 6:8
The bridge describes God knowing a person's needs before they communicate them. This closely follows Jesus' teaching that the Father knows what people need before they ask him.
Sparrows (live) — Cory Asbury (2020) Matthew 6:8
The sparrows, lilies, concern about tomorrow, and assurance that God already knows human needs closely paraphrase Jesus’ teaching against anxiety in the Sermon on the Mount.
Good Good Father (feat. Chandler Moore & KJ Scriven) — Housefires (2023) Matthew 6:8
The song specifically reflects Jesus’ teaching that the Father already knows what his children need before they pray.
Song Of Intercession Intro — William McDowell (2011) Matthew 6:8
The spoken introduction closely reproduces Jesus’ assurance that the Father knows people’s needs before they ask. This wording comes from Jesus’ instruction about prayer earlier in Matthew 6, distinct from the subsequent teaching about anxiety.
Gonna Be Good — TAYA (2024) Matthew 6:8
The second verse reflects Jesus’ statement that the Father already knows a person’s needs before prayer is offered.
Talk to Him — Chris Tomlin (2021) Matthew 6:8
The song states that God knows a person's needs before they speak to Him, closely reflecting Jesus' teaching about prayer and the Father's prior knowledge of human needs.
I’ll Give Thanks - Live — Housefires & Kirby Kaple (2019) Matthew 6:8
The repeated challenge to worry rests on the assurance that God knows human needs even before they are expressed. This directly engages Jesus' teaching that the Father knows what people need and therefore they need not be anxious about provision.
None — Elevation Worship (2017) Matthew 6:8
The opening describes God as already knowing a person's needs before prayer is made, closely paraphrasing Jesus’ teaching about the Father’s prior knowledge.
Ask Seek Knock — Hillsong Kids (2018) Matthew 6:8
The pre-chorus reflects Jesus’ teaching that the Father already knows His children’s needs before they make their requests.
I’ll Give Thanks — Housefires & Kirby Kaple (2020) Matthew 6:8
The repeated rejection of worry rests on the Father's knowledge of human needs, including his knowledge before prayer. This directly engages Jesus' teaching that the Father already knows what people need and therefore they should not be anxious about provision.
What I Need (Interlude) — Kelly Price (2021) Matthew 6:8-10
The song explicitly identifies Matthew 6:8 and recites its teaching that the Father knows human needs before prayer. It then continues with the opening petitions of the Lord’s Prayer from the following verses.
Good Good Father — Soul Survivor & Beth Croft (2016) Matthew 6:8
The song closely paraphrases Jesus’ teaching that the Father already knows his children’s needs before they ask him.
Good Good Father — Seventh Day Slumber (2026) Matthew 6:8
The song closely paraphrases Jesus' teaching that the Father already knows what people need before they ask him.
Song of Intercession — William McDowell (2011) Matthew 6:8
The opening acknowledges that God knows the worshippers' needs before they ask, closely adapting Jesus' teaching about the Father's prior knowledge in prayer.
I Trust You — Jonathan Traylor (2020) Matthew 6:8
The claim that God already knows a person's needs before they are spoken closely paraphrases Jesus' teaching about prayer.
Praying for the Same Things — Evan Craft (2021) Matthew 6:8
The song affirms that God already knows a person's prayer before it is spoken, closely reflecting Jesus' teaching that the Father knows what people need before they ask.
Confident — Steffany Gretzinger, Bobby Strand (2018) Matthew 6:8
The song describes God as already knowing the singer’s need before prayer is voiced, closely paraphrasing Jesus’ teaching that the Father knows what his children need before they ask.
The Church — Bethel Music (2025) Matthew 6:9-10
The recurring petition for God’s kingdom to arrive, joined at the end by a request that his will be accomplished, closely follows the Lord’s Prayer.
Mountain — Hillsong UNITED (2013) Matthew 6:9-10
The petitions for God’s will to be accomplished and his kingdom to arrive directly adapt the Lord’s Prayer. The subsequent reverence for God’s name also echoes its opening petition.
In the Beginning, Part 2 — Jason Upton (2008) Matthew 6:9-13
Much of the song directly reproduces and expands the Lord’s Prayer, including its petitions for the kingdom, daily provision, forgiveness, and deliverance. The concluding doxology follows the traditional wording included in some translations, though absent from the earliest manuscripts of Matthew.
Hosanna — Jill Phillips (2012) Matthew 6:9-13
The opening closely follows the Lord’s Prayer in Matthew, preserving its sequence of petitions about God’s name, kingdom, will, daily provision, forgiveness, and deliverance. The final petitions adapt the biblical wording.
I WANNA BE — Christopher Syncere (2025) Matthew 6:9-10
The lyrics include a direct invocation of the Lord's Prayer, specifically referencing the desire for God's kingdom to come, which aligns with Matthew 6:9-10.
Pray For Me — Kirk Franklin (2015) Matthew 6:9-13
The second verse recites the Lord’s Prayer, following Matthew’s fuller version rather than Luke’s shorter account. Its concluding doxology reflects the traditional wording preserved in some manuscripts and translations.
CC4 — Lecrae (2022) Matthew 6:9-10
The closing prayer closely echoes the Lord’s Prayer by addressing the Father in heaven and joining the coming of divine power with God’s Kingdom and honor.
Fight for Your King — Corpus Christi (2009) Matthew 6:9
The direct address to the heavenly Father reproduces the opening invocation of the Lord’s Prayer.
I Need You — Gable Price and Friends (2022) Matthew 6:9-13
The declaration of divine ownership of the Kingdom echoes the Lord's Prayer, especially its kingdom petition and traditional concluding doxology. The song contrasts that divine reign with human possessiveness toward church institutions.
The Lord's Prayer — Jon Guerra (2023) Matthew 6:9-13
The song directly recites the prayer Jesus teaches during the Sermon on the Mount. It also includes the traditional concluding doxology found in the later manuscript tradition reflected in the King James Version.
2010 — Ty Brasel (2025) Matthew 6:9
The second verse directly invokes the opening address of the Lord’s Prayer, identifying God as the heavenly Father.
H2O — Lecrae (2025) Matthew 6:9
The direct prayer addressing the holy Father and locating God in heaven closely echoes the opening address of the Lord's Prayer.
Hosanna — Gracie Binion (2026) Matthew 6:9-11
The third verse directly incorporates several consecutive petitions from the Lord's Prayer concerning the Father's holiness, the coming kingdom, and daily bread.
Pray - Live — Worship Central & Luke Hellebronth (2018) Matthew 6:9-13
The song closely follows Jesus’ model prayer, including its address to the Father, the holiness of God’s name, the coming Kingdom, submission to God’s will, daily provision, forgiveness, and the correspondence of earth with heaven. The bridge also uses the traditional doxology associated with this passage.
Pray - Live — Nick Herbert & New Wine Worship (2018) Matthew 6:9-13
Most of the song directly adapts the Lord’s Prayer, including its address to the Father, the holiness of God’s name, the coming kingdom, submission to God’s will, daily provision, forgiveness, and the concluding doxology.
The Body — Steven Curtis Chapman (2016) Matthew 6:9-10
The bridge reproduces the Lord’s Prayer petitions for the Father’s kingdom to come and his will to be accomplished, applying them specifically to the church as his instrument.
Pray - Live — The Choir Room & Dwan Hill (2025) Matthew 6:9-13
The song directly references the Lord's Prayer, specifically the opening lines that address God as 'Our Father who is in heaven' and includes phrases like 'hallowed be Your name' and requests for daily bread and forgiveness, mirroring the biblical text.
Simple Kingdom - Live — Bryan & Katie Torwalt & Cody Carnes (2022) Matthew 6:9-10
The chorus directly adopts the Lord’s Prayer language concerning the holiness of God’s name, while the verses repeatedly pray for the arrival and embodiment of his kingdom.
Holy Be Your Name (Lord's Prayer) [feat. Lipscomb University Gospel Choir] — Matt Redman & Lipscomb University Gospel Choir (2025) Matthew 6:9-13
The entire song closely adapts Jesus’ model prayer, preserving its address to the heavenly Father and its petitions concerning God’s holiness, kingdom, will, provision, forgiveness, deliverance, and concluding doxology.
Our Father — Howard Hewett (2018) Matthew 6:9-13
The song directly renders the Matthean form of the Lord’s Prayer, including its address to the Father, petitions concerning God’s kingdom and will, provision, forgiveness, temptation, deliverance, and the traditional doxology.
You Reign Forever — Nqubeko Mbatha (2020) Matthew 6:9-10
The introduction directly adopts the Lord’s Prayer petitions concerning the holiness of God’s name, the coming kingdom, and the fulfillment of God’s will on earth as in heaven.
Spread the Opps — Lecrae (2022) Matthew 6:9-10
The chorus addresses the heavenly Father and asks for the arrival of divine power and kingdom, closely adapting the opening petitions of the Lord’s Prayer.
Our Father — Hillsong Worship (2014) Matthew 6:9-13
The song directly adapts the Lord’s Prayer as Jesus teaches it in the Sermon on the Mount, retaining its address, petitions for God’s rule and daily provision, and requests for spiritual protection while omitting the forgiveness petition. Its closing doxology follows the traditional expanded form of Matthew 6:13, present in some manuscripts and translations but absent from the earliest surviving Greek witnesses.
Till the Whole Earth Looks Like Heaven — Sean Feucht (2018) Matthew 6:9-10
The bridge directly adapts the Lord’s Prayer, addressing the Father and asking for God’s kingdom and will to be realized on earth in correspondence with heaven.
The Lord's Prayer — Andy Williams (2014) Matthew 6:9-13
The opening closely reproduces the prayer Jesus teaches in the Sermon on the Mount, including its petitions for provision, forgiveness, and deliverance. Its concluding doxology follows the traditional form preserved in some manuscripts and Christian liturgical usage.
Let The Nations Be Glad — Matt Boswell & Matt Papa (2019) Matthew 6:9-10
The third verse directly incorporates the Lord’s Prayer petitions concerning the coming of God’s kingdom, the accomplishment of his will, and the honoring of his name.
The Lord's Prayer — Frank Sinatra (2020) Matthew 6:9-13
The English and Latin texts reproduce Jesus’ model prayer from the Sermon on the Mount in its traditional liturgical form. The English conclusion includes the familiar doxology preserved in later manuscript and church traditions.
Thank You Need You Love You — Brandon Heath (2024) Matthew 6:9-12
The song closely adapts the opening petitions of the Lord’s Prayer, addressing God in heaven, honoring his name, requesting daily provision, and seeking forgiveness.
Kingdom — ALIA LARA (2024) Matthew 6:9-10
The chorus directly reproduces the Lord’s Prayer petition for God’s reign and will to be realized on earth as they are in heaven, while addressing God as Father.
Hail to the King — Don Moen (2009) Matthew 6:10
The petition for God's kingdom to come closely adapts the corresponding petition in the Lord's Prayer.
You - Live — Hillsong UNITED (2012) Matthew 6:10
The pre-chorus incorporates the Lord’s Prayer’s petition for the coming of God’s kingdom into a personal commitment to surrender. This directly invokes the petition rather than merely expressing a general desire to serve God.
Glorious — Newsboys (2009) Matthew 6:10
The bridge adapts the Lord's Prayer's distinctive pairing of earth and heaven, applying that correspondence to the singer's worship rather than directly repeating the petition about God's will.
Keys to the Kingdom — Group 1 Crew (2008) Matthew 6:10
The introduction directly reproduces the Lord’s Prayer’s petition for God’s kingdom and will to become earthly reality.
Thank You for Saving Me — Delirious? (2012) Matthew 6:10
The petition for God’s kingdom to come directly adapts the corresponding petition in the Lord’s Prayer.
Unshakeable — Fred Hammond (2013) Matthew 6:10
The final bridge directly reproduces the paired petitions from the Lord's Prayer concerning the arrival of God's reign and the fulfillment of God's will.
Through the Fire — Hawk Nelson (2013) Matthew 6:10
The appeal for God's kingdom to come closely adapts the corresponding petition in the Lord's Prayer. The song places that petition within an urgent plea for divine intervention and justice.
Louder Than the Radio — Delirious? (2012) Matthew 6:10
The prayer for God's kingdom to arrive closely adapts the kingdom petition in the Lord's Prayer. The song places that petition within a request for faith and worldwide hope.
Hallelujah — Cory Asbury (2009) Matthew 6:10
The opening confession directly incorporates the kingdom petition from the Lord’s Prayer, expressing expectation of its fulfillment.
Your Name High — Hillsong Worship (2008) Matthew 6:10
The fourth verse closely adapts the petition in the Lord’s Prayer asking for the arrival of God’s kingdom.
Double Talk — First Call (2009) Matthew 6:10
The song closely reproduces the Lord’s Prayer petitions for God’s kingdom and will, changing them into third-person language. It questions the sincerity of those petitions when worshippers simultaneously pursue their own power.
Steer Me Right — Aaron Neville (2013) Matthew 6:10
The prayer for God's will to govern the singer's life closely adapts the petition in the Lord's Prayer, applying it personally.
God Of The Redeemed - — Bethel Music & Jeremy Riddle (2011) Matthew 6:10
The second verse closely adapts the Lord’s Prayer by linking the arrival of God’s kingdom with earthly life reflecting heaven.
1 Coríntios 13 — Aline Barros (2024) Matthew 6:10
The refrain directly adopts the petitions from the Lord's Prayer asking for God's kingdom to come and his will to be done.
Country Psalm — Brandon Lake (2023) Matthew 6:10
The nighttime prayer adopts the Lord's Prayer's language of submitting to God's will. In context, it completes the song's movement from anxious attachment toward surrender.
Ruins — Bebo Norman (2008) Matthew 6:10
The refrain adapts the kingdom petition from the Lord’s Prayer, placing its recognizable wording within the singer’s experience of helplessness and surrender. This is a verbal allusion rather than merely a shared theme of restoration.
Leave With Nothing Left — Brian Free & Assurance (2017) Matthew 6:10
The desire to see God's kingdom arrive clearly echoes the petition in the Lord's Prayer for God's kingdom to come, applying that prayer to visible service in the present.
We Will Not Conform — Every Nation Music (2014) Matthew 6:10
The kingdom-centered mission incorporates the Lord's Prayer's petition for God's kingdom to arrive, applying it to the congregation's purpose.
Follow the Son — Hillsong London (2007) Matthew 6:10
The chorus closely adapts the paired petitions in the Lord’s Prayer for God’s kingdom to come and His will to be done. Their appearance together makes this a specific textual connection rather than general language of surrender.
Fade With Our Voices — Jason Gray (2009) Matthew 6:10
The opening prayer language directly invokes the petition for God's kingdom in the Lord's Prayer. The song asks whether worshippers' actions honor the prayer they offer.
Kingdom — Jesus Culture (2010) Matthew 6:10
The chorus closely adapts the paired petitions in the Lord’s Prayer for the arrival of God’s kingdom and the fulfillment of His will.
Thy Will Be Done — Josh Garrels (2020) Matthew 6:10
The central refrain directly reproduces the petition for God's will to be accomplished from Jesus’s model prayer in the Sermon on the Mount.
The Gallows — Natalie Bergman (2021) Matthew 6:10
The closing petition directly uses two distinctive clauses from the Lord’s Prayer, submitting to God’s will and awaiting the arrival of his Kingdom.
Shining — Phil Wickham (2007) Matthew 6:10
The chorus directly adapts the petition in the Lord’s Prayer for God’s kingdom to come.
Patient Kingdom — Sandra McCracken (2020) Matthew 6:10
The recurring petition for God’s kingdom to come directly adapts the Lord’s Prayer, adding patience as the song’s interpretive emphasis.
Here as in Heaven — Elevation Collective, Tasha Cobbs Leonard (2018) Matthew 6:10
The bridge directly adapts the Lord’s Prayer, asking for God’s kingdom and will to be realized in the present world according to heaven’s order.
The Church - Acoustic — Bethel Music, Jenn Johnson (2025) Matthew 6:10
The song's repeated plea for God's kingdom to come echoes the Lord's Prayer, where believers are instructed to pray for God's will to be done on earth as it is in heaven.
Here as in Heaven (Acoustic) — Elevation Worship (2017) Matthew 6:10
The bridge directly adopts the Lord’s Prayer petition for God’s kingdom to come and his will to be accomplished on earth according to heaven’s pattern.
Your Will — Sarah Juers (2025) Matthew 6:10
The declaration that God’s will be done on earth closely reproduces the third petition of the Lord’s Prayer.
A New Eden (Live) — The Belonging Co & Lauren Sloat (2025) Matthew 6:10
The bridge adapts the Lord's Prayer by asking for heavenly reality to be manifested on earth.
What Does It Sound Like — Bethel Music (2010) Matthew 6:10
The spoken prayer closely adapts the Lord’s Prayer’s paired petitions for God's kingdom to come and His will to be done. Applying these petitions to the worshipping gathering localizes the verse’s request for God's will to prevail on earth.
Praise Is the Highway — Chris Tomlin (2018) Matthew 6:10
The outro directly adopts the Lord’s Prayer language describing earthly reality being brought into conformity with heaven.
Never Let Me Go — Hillsong UNITED (2007) Matthew 6:10
The chorus directly repeats the Lord’s Prayer petition for God’s will to be accomplished, making it a personal prayer of surrender.
God Who Saves — Hillsong Worship (2013) Matthew 6:10
The third verse closely adapts the Lord's Prayer by joining the petitions for God's kingdom and will with the comparison between earth and heaven.
As It Is in Heaven — Corey Voss & Michael Farren & Alisa Turner (2018) Matthew 6:10
The chorus directly adopts the Lord’s Prayer petition for God’s heavenly will and kingdom order to be realized on earth.
Living in the Overflow — Charity Gayle & Joshua Sherman (2021) Matthew 6:10
The declaration calling for God’s kingdom to come closely restates the corresponding petition in the Lord’s Prayer and is reinforced by the adjoining affirmation of divine sovereignty.
Kingdom Come — Elevation Worship (2010) Matthew 6:10
The opening closely reproduces the Lord’s Prayer’s petitions for God’s kingdom and earthly obedience to his will. It also incorporates the concluding doxology preserved in some manuscripts and traditional translations of Matthew 6:13.
Set Me Ablaze - Live — Planetshakers (2026) Matthew 6:10
The opening petition for God's kingdom to come directly echoes the corresponding request in the Lord's Prayer.
Assembly of the Saints — Bryann T. (2017) Matthew 6:10
The second verse directly invokes the Lord’s Prayer by pairing the coming of God’s kingdom with the accomplishment of his will.
Not Safe — Gable Price and Friends (2020) Matthew 6:10
The bridge adapts the Lord's Prayer by asking for the heavenly King's rule and restorative work to become present in earthly life.
House of God — John Waller (2009) Matthew 6:10
The chorus adapts the Lord's Prayer's petition for the arrival of God's kingdom into a declaration that the believing community embodies its presence.
A Place Called Earth — Jon Foreman, Lauren Daigle (2021) Matthew 6:10
The recurring prayer for heaven to become present within earthly life closely paraphrases Jesus’ petition that God’s will and kingdom be realized on earth as in heaven.
The Church (Live) — UPPERROOM & Abbie Gamboa (2025) Matthew 6:10
The repeated plea for 'Your Kingdom come' resonates with the request for God's will to be done on earth as it is in heaven, as expressed in Matthew 6:10.
& — American Arson (2019) Matthew 6:10
The chorus directly adopts the Lord’s Prayer petition for the arrival of God’s kingdom.
The Ride — Bryan Andrew Wilson (2021) Matthew 6:10
The singer directly adopts two petitions from the Lord's Prayer, submitting himself to God's will and anticipating God's kingdom.
God Is Smiling — Delirious? (2008) Matthew 6:10
The pre-chorus closely adapts the Lord’s Prayer’s petition for God’s kingdom to come. The song connects that petition with love becoming visible through communal reconciliation.
HEAVEN ON THIS EARTH — Forrest Frank (2024) Matthew 6:10
The chorus directly invokes the Lord’s Prayer, asking for God’s kingdom and heavenly will to be realized on earth.
My Father's Arms — Jeremy Camp (2017) Matthew 6:10
The petition for God's kingdom to come directly adopts the language of the Lord's Prayer.
Heaven Is Where You Are — Paul Baloche & Chris Brown (2020) Matthew 6:10
The prayer for God's kingdom to come throughout the earth closely restates the kingdom petition in the Lord's Prayer.
Army of the Light — Ariel Fitz-Patrick (2025) Matthew 6:10
The chorus adopts a petition from the Lord’s Prayer, expressing the desire for God’s reign to be established.
Breathe Miracles — Red Rocks Worship (2021) Matthew 6:10
The bridge closely follows the Lord’s Prayer by joining a request for God’s kingdom to arrive with a request for his will to be accomplished in the present place.
Not My Will (Live) — Lizzie Morgan & Seph Schlueter (2025) Matthew 6:10
The chorus draws directly from the Lord’s Prayer, applying its petition for God’s reign personally to the singers’ lives.
Toxic — Chris Llewellyn & Propaganda (2023) Matthew 6:10
The closing aspiration for earthly life to reflect heaven paraphrases the petition in the Lord’s Prayer for God’s will to be realized on earth as it is in heaven.
Que O Mundo Conheça - Playback — Aline Barros (2024) Matthew 6:10
The petition for God’s Kingdom and heaven’s reality to come among humanity directly echoes the kingdom petition in the Lord’s Prayer.
Jesus Healer — Bluetree (2012) Matthew 6:10
The chorus directly reproduces the paired petitions for God’s kingdom and the fulfillment of his will from the Lord’s Prayer.
Open the Heavens — Gateway Worship (2018) Matthew 6:10
The prayer for God's kingdom and will directly reproduces the central petitions of the Lord’s Prayer.
Pray on It — Hannah Kerr (2024) Matthew 6:10
The bridge directly incorporates the Lord’s Prayer petition for God’s kingdom to come and his will to be done.
Follow You — Leeland (2009) Matthew 6:10
The prayer for God’s kingdom to come directly adapts the corresponding petition in the Lord’s Prayer, framing practical service as participation in that petition.
Jesus I Believe — Big Daddy Weave (2015) Matthew 6:10
The bridge closely reproduces the Lord’s Prayer petition for God’s kingdom and will to be realized on earth as in heaven.
If We've Ever Needed You — Casting Crowns (2009) Matthew 6:10
The petition for the arrival of God's kingdom directly adapts the Lord's Prayer. The song applies that petition specifically to the community's inner life and daily conduct.
Awakening — Chris Tomlin (2010) Matthew 6:10
The chorus directly adapts the Lord's Prayer's petition for God's will to be accomplished, applying that petition to the worshipper's own life.
What I'm Waiting For — DOE (2022) Matthew 6:10
The image of heaven being poured out and God's kingdom descending echoes Jesus' prayer for God's kingdom and heavenly will to become present on earth.
With Every Act of Love — Jason Gray (2014) Matthew 6:10
The chorus adapts the Lord’s Prayer’s petition for God’s kingdom to come, reinforced by the surrounding connection between heaven and earth. The song presents ordinary acts of love as tangible expressions of that petition.
Touching God (feat. Yebba & Blood Orange) — Blood Orange & Daniel Caesar & YEBBA (2025) Matthew 6:10
The outro directly draws from the Lord's Prayer by invoking the coming of God's kingdom and the fulfillment of his will in heaven and on earth.
with me — gio. (2024) Matthew 6:10
The chorus directly invokes the petition from the Lord’s Prayer for God’s kingdom to come.
You Are My Passion — Jesus Culture (2010) Matthew 6:10
The commitment to God's will being fulfilled on earth closely adapts the petition in the Lord's Prayer, turning that request into a declaration of personal purpose.
The Door Is Open — Raul Hurtado (2021) Matthew 6:10
The repeated invitation to embody heaven’s life on earth closely echoes the Lord’s Prayer petition that God’s will be realized on earth as in heaven.
Kingdom Come — Rebecca St. James (2021) Matthew 6:10
The chorus closely reproduces the Lord’s Prayer petition for God’s reign and will to be realized on earth according to heaven’s pattern.
Let Your Kingdom Come — Sovereign Grace Music (2020) Matthew 6:10
The chorus directly adopts the Lord’s Prayer petitions for the arrival of God’s kingdom and the accomplishment of his will.
Amen — I AM THEY (2015) Matthew 6:10
The chorus closely adapts the paired petitions for God's kingdom and will in the Lord's Prayer. These specific requests identify the passage rather than merely expressing general surrender.
I Believe — Evan Craft (2023) Matthew 6:10
The bridge directly adopts the Lord’s Prayer petition asking for God’s kingdom to come.
Glory Rising — Every Nation Music (2014) Matthew 6:10
The chorus closely adapts the Lord's Prayer's petition for God's kingdom to arrive, placing that petition within a commitment to mission.
Alive — Hillsong Young & Free (2013) Matthew 6:10
The closing commitments in the second verse closely adapt the paired petitions of the Lord’s Prayer concerning God’s will and the coming of His kingdom.
Let Your Kingdom Reign — Elevation Worship (2009) Matthew 6:10
The repeated petition for God's kingdom to govern the earth closely adapts the Lord's Prayer's request for God's kingdom to come and his will to be accomplished on earth.
Dark Skin (feat. Black Violin) — KB & Black Violin (2020) Matthew 6:10
KB directly draws on the Lord's Prayer, presenting the realization of heaven's order on earth as the answer to social hatred and injustice.
HOUSE OF PRAYER — Mitch Wong (2025) Matthew 6:10
The closing petition directly adopts the Lord's Prayer language concerning the arrival of God's kingdom and the accomplishment of His will.
We Gon’ Be Alright — Tye Tribbett (2020) Matthew 6:10
Verse 4 reproduces the Lord’s Prayer petition for God’s kingdom to come and God’s will to be accomplished on earth.
Hope Will Rise — Every Nation Music (2014) Matthew 6:10
The second verse directly incorporates the Lord's Prayer's petition for the arrival of God's kingdom, presenting it as a present calling.
Your Will Be Done — CityAlight (2022) Matthew 6:10
The opening prayer closely follows the Lord’s Prayer by asking that the Father’s will govern earthly life as it does heaven.
You Are the Only One — Casting Crowns (2014) Matthew 6:10
The pre-choruses closely reproduce the Lord’s Prayer’s petitions for the coming of God’s kingdom and the fulfillment of his will.
Milk & Honey — Crowder (2021) Matthew 6:10
The bridge directly repeats the Lord’s Prayer petition for God’s kingdom to arrive, fitting its appeal for heavenly restoration to break into the present world.
Counted the Cost — Cory Asbury (2009) Matthew 6:10
The prayer for God’s kingdom to arrive on earth directly adapts the kingdom petition in the Lord’s Prayer.
Kingdom Come - Live — Covenant Worship & David & Nicole Binion & Joshua Dufrene (2014) Matthew 6:10
The opening petitions closely reproduce the paired requests in the Lord’s Prayer for the arrival of God’s kingdom and the fulfillment of his will.
it all belongs to You — Matt Crocker (2025) Matthew 6:10
The chorus closely invokes the Lord’s Prayer by asking for God’s kingdom and will to be realized on earth.
Así Será (It Is So) — Elevation Worship, Elevation Español (2020) Matthew 6:10
The bridge closely follows the Lord’s Prayer by asking the Father to accomplish his heavenly will and affirming that the kingdom belongs to him forever.
War Cry — Social Club Misfits & Tauren Wells (2018) Matthew 6:10
The song closely adapts the Lord’s Prayer petition that God’s heavenly will and reign be realized on earth, applying it to the artist’s public witness and mission.
Fire's Gonna Fall — Martin Smith (2019) Matthew 6:10
The congregation's petition for God's kingdom to come directly repeats a central request from the Lord's Prayer.
Kingdom of God — Luke + Anna Hellebronth (2019) Matthew 6:10
The bridge directly adopts the Lord’s Prayer petition for God’s kingdom to arrive and His will to be accomplished.
We Are Going — Bethany Music (2018) Matthew 6:10
The chorus directly adopts the Lord’s Prayer petition for God’s kingdom to come, making the church’s outward mission an expression of that prayer.
Thank You Jesus - Alternate Version — Hillsong Worship (2014) Matthew 6:10
The worshipper’s desire for God’s kingdom to come closely adapts the kingdom petition in the Lord’s Prayer, placing it within an offering of personal devotion.
Son Of David — Hillsong Worship, Ben Fielding (2022) Matthew 6:10
The bridge's prayer for heaven to become present on earth echoes the Lord's Prayer, where Jesus teaches his disciples to ask for God's kingdom and will to be realized on earth as in heaven.
Que O Mundo Conheça — Aline Barros (2024) Matthew 6:10
The repeated petition for God's Kingdom and heaven's reality to come among humanity closely echoes the Kingdom petition in the prayer taught by Jesus.
Great Things — Elevation Worship (2008) Matthew 6:10
The chorus compresses the Lord's Prayer's petition for the arrival of God's kingdom and the realization of God's will on earth into a declaration of present divine activity.
It Is So — Elevation Worship (2020) Matthew 6:10
The bridge draws directly from the Lord’s Prayer by submitting to the Father’s will and affirming the everlasting rule of his kingdom, including the traditional doxology preserved in many translations.
Never Gonna Break My Faith — Aretha Franklin (2007) Matthew 6:10
The bridge closely adapts the Lord's Prayer's petition for the fulfillment of God's will, recasting that petition as confidence that God's purposes will ultimately prevail.
New Gen — AWAKE84 (2024) Matthew 6:10
The pre-chorus directly adopts the petitions from the Lord’s Prayer concerning the arrival of God’s kingdom and the fulfillment of his will.
All Day, All Night — Allies (2011) Matthew 6:11
The singer describes grace as everyday nourishment, adapting the Lord’s Prayer’s petition for daily sustenance. The surrounding emphasis on prayer and dependence on God reinforces this connection, although the song applies the image specifically to grace.
Thank You, Lord — Jon Guerra (2023) Matthew 6:11
The second verse uses the Lord’s Prayer’s distinctive expression for asking God to provide the necessities of each day.
Hallelujah! Amen. (In the Wilderness) — The Porter's Gate (2025) Matthew 6:11
The community's request for provision one day at a time directly invokes the petition for daily bread in the Lord's Prayer.
At the heart of it — Benjamin William Hastings (2025) Matthew 6:11
The reference to daily bread invokes the Lord's Prayer, adapting its language of dependence on God for daily provision to express a desire for renewed spiritual vitality.
Daily Bread — The Porter's Gate (2025) Matthew 6:11
The recurring language of bread supplied for the present day directly invokes the petition for daily provision in the Lord's Prayer.
Jesus Loves Me / They'll Know We Are Christians / Helping Hand — Amy Grant (2012) Matthew 6:11
The description of a hungry person invokes the distinctive petition for everyday sustenance in the Lord’s Prayer. The song places that biblical image within an appeal to meet another person’s material needs.
Ninguém É Como O Senhor — Aline Barros (2024) Matthew 6:11
The reference to daily bread directly echoes the petition for daily provision in the prayer Jesus taught his disciples.
Den of Thieves — Munn & Dylan Stiles (2026) Matthew 6:11
The prayer for bread supplied one day at a time directly invokes the Lord’s Prayer and its posture of continual dependence on God.
Holding On — FFH (2007) Matthew 6:11
The prayer for daily sustenance directly adapts the Lord’s Prayer’s petition for bread, expressing dependence on God for each day’s provision.
When A Cowboy Prays — Brandon Lake (2025) Matthew 6:11
The song's request for daily sustenance echoes the Lord's Prayer, where believers ask for their daily bread, highlighting dependence on God for provision.
Breathe — Byron Cage (2014) Matthew 6:11
The song adopts the Lord’s Prayer’s distinctive image of bread provided each day, applying that provision to spiritual nourishment through God’s speech.
Green Grows the Holly — Calexico (2012) Matthew 6:11
The reference to daily sustenance uses the distinctive bread petition from the Lord’s Prayer. The song places that dependence on God alongside the human labor required to obtain food.
Father Please — OBED (2025) Matthew 6:11
The request for God to provide daily bread closely restates the provision petition in the Lord’s Prayer.
AMEN! — gio. (2025) Matthew 6:11
The song references the concept of 'Daily Bread,' which alludes to the biblical idea of relying on God for daily sustenance as articulated in the Lord's Prayer.
The Home — Jackie Hill Perry (2025) Matthew 6:12
The song's contemplation of forgiveness aligns with the biblical teaching on the necessity of forgiving others, as indicated in the Lord's Prayer, which emphasizes the importance of forgiveness in our relationships.
Worship from a Wretch — Front Porch Step (2017) Matthew 6:12
The plea for forgiveness of trespasses adopts the characteristic language of the Lord’s Prayer.
Goodbye Jimmy Reed — Bob Dylan (2020) Matthew 6:13
The second verse directly invokes the traditional doxological ending of the Lord’s Prayer as preserved in the King James textual tradition and Christian liturgy.
Breathe Out Your Praise (spontaneous) — Bethel Music (2018) Matthew 6:13
The bridge closely reproduces the traditional doxological ending of the Lord’s Prayer, assigning the kingdom, power, and glory to God forever. This ending appears in later Greek manuscripts and translations such as the KJV.
Glorious Victorious — Bluetree (2012) Matthew 6:13
The bridge adapts the kingdom, power, and glory doxology traditionally attached to the Lord's Prayer. This ending appears in some manuscripts and translations, while many modern translations place it in a footnote or omit it from the main text.
Welcome — Big Daddy Weave (2015) Matthew 6:13
The repeated threefold attribution of divine sovereignty, might, and everlasting honor closely reproduces the traditional closing doxology of the Lord’s Prayer. This doxology appears in later manuscripts and translations such as the KJV, but is omitted from the main text of many modern translations.
You’re Good (To Him Who Sits On The Throne) - Live — Maranda Curtis (2024) Matthew 6:13
The closing worship section directly uses the traditional doxology of the Lord's Prayer, attributing the kingdom, power, and glory to God eternally.
Jesus Is Love - — Heather Headley & Smokie Norful (2009) Matthew 6:13
The sequence of power, glory, and everlasting duration closely adapts the traditional closing doxology of the Lord’s Prayer, applying it to divine love. This doxology appears in some manuscript traditions and Bible translations, but is absent from many modern critical editions.
Where the Spirit of the Lord Is (acoustic version) — Chris Tomlin (2010) Matthew 6:13
The repeated attribution of the kingdom to God closely reproduces the opening of the Lord's Prayer's traditional concluding doxology. This doxology appears in the KJV and some other translations, though many modern translations omit it or place it in a footnote.
You're Good (To Him Who Sits On The Throne) — Maranda Curtis (2024) Matthew 6:13
The closing section repeatedly uses the traditional doxology attached to the Lord’s Prayer, attributing the kingdom, power, and glory to God forever.
Só Tu És Santo / Uma Coisa / Deixa Queimar / Quando Ele Vem - Ao Vivo — MORADA (2021) Matthew 6:13
The declaration assigning the kingdom, power, and eternal glory to God closely follows the traditional doxology attached to the Lord’s Prayer.
Só Tu És Santo - Ao Vivo — MORADA (2017) Matthew 6:13
The declaration assigning the kingdom, power, and glory to God forever closely follows the traditional doxological ending of the Lord’s Prayer.
The Three Bells — Johnny Cash (2012) Matthew 6:13
The congregation repeatedly uses the Lord’s Prayer petition asking God not to lead them into temptation. This directly reproduces the petition in Jesus’ teaching on prayer.
Praise the Father, Praise the Son — Chris Tomlin (2008) Matthew 6:13
The bridge closely reproduces the concluding doxology traditionally attached to the Lord’s Prayer, attributing eternal dominion, might, and honor to God. This doxology appears in the KJV and some other translations but is absent from the earliest surviving Greek manuscripts.
We Look to You - Live — Sovereign Grace Music (2017) Matthew 6:13
The recurring petition for rescue from evil directly adopts the closing request of the Lord’s Prayer.
Your Kingdom Knows No End - Live — Covenant Worship (2014) Matthew 6:13
The bridge closely adapts the traditional concluding doxology of the Lord's Prayer, attributing kingdom, power, and glory to God eternally. This doxology appears in the KJV and some manuscript traditions but is absent from many modern translations' main text.
I FORGIVE YOU (FEAT. CEELO GREEN & QUAVO) — Voices of Fire & Pharrell Williams & CeeLo Green & Quavo (2026) Matthew 6:14-15
The lyrics reference the concept of forgiveness in a way that aligns closely with the teaching found in Matthew 6:14-15, which emphasizes the necessity of forgiving others in order to receive forgiveness from God.
Kuregerera in Advance — Joyous Celebration (2015) Matthew 6:14-15
The opening links refusing to forgive others with adverse consequences before God, reflecting Jesus' warning that those who withhold forgiveness will not receive the Father's forgiveness. The song extends that warning into concern about final judgment.
Invest in Love — Beckah Shae (2008) Matthew 6:19-21
The chorus closely reproduces Jesus’ warning against accumulating earthly treasure vulnerable to decay and theft, including his teaching that the heart follows its treasure.
Outlive Your Life — Brian Free & Assurance (2022) Matthew 6:19-21
The song contrasts perishable material treasure with the enduring value of a heart invested in love and faith. This closely parallels Jesus' teaching that earthly treasures decay and that the location of one's treasure reveals the heart.
vanity — CHANGETHEWXRLD (2024) Matthew 6:19-20
The description of earthly treasure being corrupted by moth and decay closely follows Jesus’ warning that material wealth is perishable and should not be treated as ultimate.
Faith Hope Love — We Are Messengers (2026) Matthew 6:19-21
The lyrics reference the idea of storing treasures in heaven rather than on earth, which aligns with the teachings in Matthew 6 about prioritizing spiritual wealth over material possessions.
Gone (Our version) — Switchfoot (2023) Matthew 6:19-21
Its question about the location of one’s treasure, surrounded by warnings that money and earthly achievements disappear, strongly recalls Jesus’ contrast between temporary earthly wealth and enduring heavenly treasure.
Give Me Jesus (Live) — Hope Darst (2025) Matthew 6:19-21
The lyrics reflect the idea of prioritizing spiritual treasures over earthly possessions, aligning with Jesus' teaching on laying up treasures in heaven rather than on earth.
King Jesus — KB & nobigdyl. (2022) Matthew 6:19-20
The chorus closely restates Jesus’ instruction to store treasure in heaven, contrasting its permanence with the decay that threatens earthly wealth.
Where Your Treasure Is — Jon Guerra (2025) Matthew 6:19-21
The song directly quotes Jesus' teaching about not storing up treasures on Earth, emphasizing the impermanence of material wealth and the importance of heavenly treasures.
Diamond — Brandon Heath (2012) Matthew 6:19-20
The chorus closely adapts Jesus’ teaching about storing treasure in heaven. The contrast with earthly dirt and the narrator’s limited material riches reinforces the distinction between heavenly and earthly wealth.
Green Heart — Flyleaf (2012) Matthew 6:19-21
The opening reproduces Jesus’ wording about thieves stealing earthly treasure. The song’s association of money with the heart also closely engages his teaching that the heart follows its treasure.
Jesus — Jon Guerra (2025) Matthew 6:19-21
The contrast between material wealth and treasure that cannot be stolen closely follows Jesus’ teaching about storing treasure in heaven rather than on earth.
No One Ever Cared for Me like Jesus — Steffany Gretzinger (2020) Matthew 6:19-21
The song directly adopts Jesus’ teaching that a disciple’s true treasure should be located in heaven rather than invested in earthly possessions.
Hunter Biden Flow — Bryson Gray (2022) Matthew 6:19-21
The rejection of pursuing earthly money closely reflects Jesus’ warning against accumulating treasure on earth and his call to value heavenly treasure instead.
Every Step — CityAlight (2022) Matthew 6:20-21
The association of the believer’s heart with treasure kept in heaven directly reflects Jesus’ teaching that the heart follows its true treasure.
Flood Waters — Josh Garrels (2011) Matthew 6:20
The song describes a refuge beyond the destructive reach of moth and rust, closely adapting Jesus's description of heavenly treasure that cannot decay.
This World Is Not My Home — Ricky Skaggs (2009) Matthew 6:20
The first verse locates the singer’s treasure in heaven rather than on earth, closely adapting Jesus’ instruction to store up heavenly treasure.
Always Be My Love — Martin Smith (2019) Matthew 6:21
The chorus closely associates God as the singer’s treasure with God’s abiding place in his heart, reflecting Jesus’ connection between treasure and the heart.
Never Fold — Bryson Gray (2021) Matthew 6:24
The opposition between serving God and serving money closely follows Jesus’ teaching that divided allegiance between the two masters is impossible.
Zion & Babylon — Josh Garrels (2008) Matthew 6:24-30
The opening personifies wealth as a rival master, invoking Jesus’ warning against serving both God and money. The closing imagery of birds and flowers recalls the same discourse’s illustrations of divine provision.
He Really Got Mad — ApologetiX (2009) Matthew 6:24
The spoken interlude closely reproduces Jesus' warning that allegiance to God and wealth cannot coexist, including the contrast between loving one master and hating the other. Luke 16:13 contains the same teaching.
God First — Bryson Gray (2020) Matthew 6:24
The repeated choice of God over wealth and status reflects Jesus’ teaching that devotion to God cannot be shared with money and that God’s kingdom must be sought first.
Hold That — Lecrae (2026) Matthew 6:24
The competing calls of God and money recast Jesus’ warning that a person cannot serve both God and wealth. The surrounding concern about destructive allegiances reinforces the passage’s demand for a choice between masters.
Hard Drugs — Chris Renzema (2021) Matthew 6:24
The contrast between devotion to God and attachment to money directly paraphrases Jesus’ teaching that no one can serve both God and wealth. The surrounding focus on greed reinforces this specific connection.
The Kind — Flyleaf (2009) Matthew 6:24
The spoken interjection directly reproduces Jesus’ prohibition against serving both God and money. Its placement alongside another teaching from Matthew’s Sermon on the Mount supports this reference over the parallel in Luke 16:13.
Game Over — Bryson Gray (2020) Matthew 6:24
The song condemns placing money above God, closely restating Jesus' warning that allegiance to wealth is incompatible with serving God.
The Messenger Returns (Intro) — Bizzle (2020) Matthew 6:24
The repeated priority of God above money closely condenses Jesus’ teaching that devotion to God and service to wealth are rival allegiances.
Momma I Made It — Bizzle (2025) Matthew 6:24
The song contrasts devotion to God with allegiance to wealth, confessing that financial success displaced prior faithfulness. This closely reflects Jesus’ teaching that a person cannot serve both God and money.
Die a Beggar — Josiah Queen (2024) Matthew 6:24
The opening contrast between devotion to money and devotion to the Lord closely restates Jesus’ teaching that a person cannot serve both God and wealth.
Reasons — Koryn Hawthorne (2018) Matthew 6:24
The rejection of divided service directly invokes Jesus’ teaching that a person cannot serve both God and wealth. The song’s earlier rejection of fame and money reinforces this specific context.
Pick a Side — Bryson Gray (2021) Matthew 6:24
The chorus presents service to wealth and service to God as mutually exclusive, closely restating Jesus' teaching about the impossibility of serving both masters.
Try — Jonathan McReynolds (2018) Matthew 6:24
The interpolation directly invokes Jesus’ warning that a person cannot serve two masters, applying it to the impossibility of combining devotion to God with continued self-directed compromise.
BREAKING — P.O.D. (2024) Matthew 6:24
The declaration about the impossibility of serving two masters directly invokes Jesus’ warning that devotion to God cannot coexist with enslavement to wealth.
Let Go — Sam Rivera (2022) Matthew 6:24
The song presents loyalty to God and attachment to a rival desire as mutually exclusive, closely reflecting Jesus’ teaching that a person cannot serve two masters.
EVERYTHING IS UP — Futuristic (2025) Matthew 6:24
The confession that wealth once functioned as a deity and commanded his allegiance closely reflects Jesus’ warning that a person cannot serve both God and money.
Jehovah — Amy Grant (2007) Matthew 6:25-33
The song closely adapts Jesus’ teaching about lilies, Solomon’s royal splendor, and birds as evidence of the Father’s provision. Its reassurance that God values His people more than these creatures and knows their needs follows the passage’s argument against anxiety.
W.O.W. — AWAKE84 (2023) Matthew 6:25-30
The opening appeal to birds that do not worry and flowers that grow under God's care closely paraphrases Jesus’ teaching against anxiety in the Sermon on the Mount.
I See the Birds — Jon Guerra (2025) Matthew 6:25
The song opens with a direct quote from scripture that addresses anxiety about life, grounding the listener in a biblical context.
How Much More — Rita Springer (2024) Matthew 6:25-34
The song closely follows Jesus’ teaching about anxiety and divine provision, invoking the birds, wildflowers, Solomon’s splendor, the inability of worry to lengthen life, and God’s greater care for people.
Up With The Birds — Olivia Stern & Circuit Rider Music (2026) Matthew 6:25-34
The birds’ freedom from anxiety and the singer’s trust in God’s comprehensive care strongly paraphrase Jesus’ teaching that birds do not secure their own provision yet remain under the Father’s care.
First Things First (Matthew 6) - Live — Shane & Shane & Kingdom Kids (2022) Matthew 6:25-34
The song closely follows Jesus’ teaching on anxiety by contrasting life with food and clothing, invoking God’s care for birds and flowers, describing worry as powerless, refusing anxiety about tomorrow, and prioritizing God’s kingdom and righteousness while trusting him for daily needs.
Like You Love Me — Tauren Wells (2020) Matthew 6:25-34
The song closely follows Jesus’ teaching against anxiety by pointing to God’s provision for birds, his clothing of lilies, and the futility of worrying about tomorrow.
I'll Give Thanks (feat. Davy Flowers) — Housefires (2023) Matthew 6:25-32
The repeated challenge to worry is grounded in the assurance that the Father already knows what is needed, closely paraphrasing Jesus’ teaching about anxiety and divine provision.
Puzzle Pieces — Nathan Wagner (2017) Matthew 6:25
The divine reassurance closely reproduces Jesus’ instruction concerning anxiety over one’s life. The wording is distinctive enough to identify the teaching rather than merely a general encouragement against fear.
Lilies & Sparrows — Jess Ray (2024) Matthew 6:25-34
The song closely reproduces Jesus’ teaching about birds that neither sow nor reap, flowers that neither toil nor spin, the Father’s knowledge of human needs, seeking God’s kingdom first, and refusing anxiety about tomorrow.
Weightless — Hawk Nelson (2018) Matthew 6:25-34
The refusal to spend life worrying, together with confidence that the future belongs under God's control, closely reflects Jesus' teaching against anxiety about one's life and tomorrow.
Sparrows and Lilies — Pat Barrett (2018) Matthew 6:25-30
The song closely follows Jesus’ teaching against anxiety by presenting birds as recipients of divine provision and lilies as beautifully clothed without anxious effort. The combined imagery makes this passage, rather than a general theme of providence, unmistakable.
GOD TAKES BREAKS — Forrest Frank (2024) Matthew 6:25-26
The invitation to observe birds living without anxiety draws specifically on Jesus' instruction to consider the birds when confronting worry about life.
SWITCH — Futuristic (2025) Matthew 6:25-34
The song reflects a theme of prioritizing what truly matters in life, similar to the teaching in Matthew 6 about not worrying and focusing on God's provision.
Do Not Worry — Ellie Holcomb (2018) Matthew 6:25-34
The song closely paraphrases Jesus’ teaching about anxiety by pointing to God’s provision for birds and flowers, affirming that people are more valuable, and warning against worry about tomorrow.
Sure As — Brian Courtney Wilson (2020) Matthew 6:26-30
God's care for sparrows and his clothing of the field's lilies directly combine two images from Jesus' teaching about the Father's detailed providence.
RICH MAN — Forrest Frank (2024) Matthew 6:26
The second verse invokes Jesus’ teaching that God feeds the birds, using it to express trust in divine provision despite limited food.
Prettier Than Solomon — Jon Guerra (2020) Matthew 6:26-29
The chorus closely paraphrases Jesus’ teaching about God providing for birds, clothing field flowers more splendidly than Solomon, and therefore not being anxious about the next day. The reference to tomorrow specifically favors Matthew’s account over the parallel in Luke 12.
This Is My Father's World — Kings Kaleidoscope & Kings Kaleidoscope Hymns (2025) Matthew 6:26
The imagery of birds raising their carols connects to the verse that emphasizes God's care for the birds of the air, highlighting His providence in creation.
Enough — DreamerJazz (2024) Matthew 6:26-30
The paired images of birds finding food and grass flourishing under divine care closely follow Jesus’ teaching that God feeds the birds and clothes the grass. The refrain applies those natural examples to trust in God's provision for human needs.
Keep Your Head Up — Jackie Hill Perry & Scootie Wop (2025) Matthew 6:26
The phrase 'His eye on the sparrow' directly quotes a well-known biblical verse that emphasizes God's care and attention to His creation, found in Matthew 6:26.
Hollow — Mercy Chinwo (2023) Matthew 6:26
The appeal to God’s care for birds as assurance of his care for people closely follows Jesus’ teaching about the birds of the air and the Father’s provision.
It'll Get You Where You're Goin' — Joey + Rory (2013) Matthew 6:26
The appeal to God's feeding birds directly recalls Jesus' teaching that the heavenly Father feeds them. Its placement amid concerns about material scarcity reinforces the passage's reassurance about daily provision.
I Need Thee — Mike Teezy (2024) Matthew 6:26
The observation that God provides food for birds becomes the basis for trusting that God will also provide for the speaker, closely following Jesus' teaching about the birds of the air.
The Lord Will Provide - Live From Passion 2024 — Passion & Landon Wolfe (2024) Matthew 6:26-33
The song closely follows Jesus' teaching about God's care for birds and flowers, freedom from anxiety about tomorrow, and the priority of seeking God's kingdom with confidence that necessities will be supplied.
The Lord Will Provide - Live From Passion 2025 — Passion & Anna Golden & Landon Wolfe (2025) Matthew 6:26
The imagery of the sparrow lacking for nothing alludes to Matthew 6:26, where Jesus teaches about God's provision for even the smallest of creatures, reinforcing the theme of divine care.
Still Water — Rend Collective & Abby Siler (2025) Matthew 6:27
The song reflects the biblical sentiment that worrying does not add to one's life, echoing the teaching found in Matthew 6:27 about the futility of anxiety.
Sparrows — Jason Gray (2016) Matthew 6:27-34
The song closely paraphrases Jesus’ teaching that anxiety cannot extend one’s life, then invokes God’s attention to the flowers of the field and urges trust concerning tomorrow.
Jireh — Elevation Worship (2021) Matthew 6:28-30
The bridge closely follows Jesus’ teaching that God adorns the lilies and attends to sparrows, using his care for them as assurance of his greater care for people.
LNB — Anendlessocean (2024) Matthew 6:28-30
The imagery of God adorning lilies with splendor directly evokes Jesus' teaching that God clothes the lilies more magnificently than Solomon, providing grounds for trust rather than doubt.
Jireh - Live From Passion 2022 — Passion & Maverick City Music (2022) Matthew 6:28-30
The appeal to God's clothing of lilies and attention to sparrows directly combines two teachings of Jesus that reason from God's care for lesser creatures to his greater care for people.
He Said — Group 1 Crew (2012) Matthew 6:31-32
The second verse closely follows Jesus' instruction against worrying, grounding that instruction in the Father's knowledge of people's needs. This pairing makes the connection more specific than a general encouragement to trust God.
Just Like Magic — Mike Teezy (2024) Matthew 6:31-33
The chorus connects seeking God's kingdom with trusting the heavenly Father to provide what is needed, closely paraphrasing Jesus' teaching about kingdom priority and divine provision.
Bread Upon the Water — Gaither Vocal Band (2009) Matthew 6:31-33
The second verse prioritizes pursuing God's kingdom over preoccupation with personal necessities, closely adapting Jesus’ instruction to seek the kingdom first rather than worry about provision.
Satisfied — Crystal Lewis (2014) Matthew 6:31-32
The bridge closely adapts Jesus' assurance that the heavenly Father already knows people's material needs. The song's concern with clothing, acquisition, and trusting divine provision supports this passage rather than a generic reference to God's knowledge.
Don't Grow Weary — Sam Purpose (2025) Matthew 6:31-33
The song combines seeking God's kingdom first with the assurance that God already knows one's needs, closely following Jesus' teaching in the Sermon on the Mount.
If He Did It Before....Same God - Live — Tye Tribbett (2022) Matthew 6:31-32
The counsel not to be anxious because God already knows one's needs closely follows Jesus' teaching against worry in the Sermon on the Mount.
This Is the Kingdom — Elevation Worship (2022) Matthew 6:33
The bridge repeatedly condenses Jesus’ command to prioritize God’s kingdom and trust that necessary provision will follow.
Build Your Kingdom Here — Rend Collective (2012) Matthew 6:33
The second verse closely adapts Jesus’ instruction to make seeking God’s kingdom the first priority.
Matthew 6:33 — ALIA LARA (2023) Matthew 6:33
The song names this verse and frames putting God first and seeking him as its governing way of life, directly reflecting Jesus’ command to prioritize God's kingdom and righteousness.
Narrow Path — Bryson Gray (2021) Matthew 6:33
The instruction to place God’s kingdom first directly echoes Jesus’ teaching that divine priorities should precede concern for material provision.
Not Afraid — Jesus Culture (2018) Matthew 6:33
The first verse directly invokes Jesus' instruction to give God's kingdom first priority. Its surrounding emphasis on confidence amid uncertain circumstances also fits the passage's teaching about anxiety and provision.
First Things First — Consumed by Fire (2023) Matthew 6:33
The song’s central priority of seeking God’s kingdom before personal desires directly reflects Jesus’ command to place the kingdom and God’s righteousness first.
Este Es El Reino (This Is the Kingdom) — Elevation Worship, Elevation Español (2022) Matthew 6:33
The instruction to prioritize God's kingdom and trust him for provision directly condenses Jesus' teaching about seeking the kingdom first.
Make Room — Jonathan McReynolds (2018) Matthew 6:33
The repeated desire to seek Jesus first directly echoes Christ’s instruction to seek God’s kingdom and righteousness before competing priorities.
POV — Forrest Frank (2025) Matthew 6:33
The song references the idea of seeking and finding fulfillment, which aligns with the biblical principle of prioritizing God's kingdom, as expressed in Matthew 6:33.
Never Quit — Sam Purpose (2017) Matthew 6:33
The instruction to prioritize God’s kingdom closely echoes Jesus’ teaching about seeking the kingdom before material concerns.
No Quiero Fama — Alex Zurdo & Jonny L (2007) Matthew 6:33
The repeated insistence on putting God's kingdom first closely adapts Jesus' instruction to seek the kingdom before material concerns. The surrounding rejection of money as the governing priority reinforces this specific connection.
You Have My Surrender (Live) — Lauren Daigle (2014) Matthew 6:33
The chorus closely adapts Jesus’ instruction to seek God's kingdom first, expressing that priority as seeking God before personal desires.
First — Lauren Daigle (2015) Matthew 6:33
The repeated commitment to seek God first closely adapts Jesus’ instruction to prioritize seeking God’s kingdom and righteousness. The verses reinforce this connection by placing devotion before requests for material or personal needs.
Comfort Zone — Evan Craft (2017) Matthew 6:33
The chorus directly invokes Jesus’ command in the Sermon on the Mount to prioritize God’s kingdom above material and personal concerns.
F.O.I.L. — OBED (2025) Matthew 6:33
The pre-chorus closely restates Jesus’ instruction to prioritize God’s kingdom, with confidence that other needs will then be provided.
This Is the Kingdom (flow) — Elevation Worship (2022) Matthew 6:33
The bridge closely paraphrases Jesus’ command to prioritize God’s kingdom and His promise that necessary provisions will consequently be supplied.
Seek Your Kingdom — Kings Kaleidoscope (2014) Matthew 6:33
The chorus directly adapts Jesus’ instruction to pursue God’s kingdom and righteousness. Its placement amid anxiety about provision reinforces the connection to this specific teaching.
Here Is Love — Bethel Music (2010) Matthew 6:33
The third verse turns Jesus' instruction to prioritize God's kingdom into a personal prayer for exclusive devotion to that kingdom.
ONLY WHAT GOD CAN GIVE — Sondae (2025) Matthew 6:33
The lyrics emphasize focusing on God and His provision, which aligns with Matthew 6:33's instruction to seek first the kingdom of God.
When the Time Comes — Jason Upton (2008) Matthew 6:34
The refrain directly adapts Jesus’ instruction against worrying about tomorrow. The speaker acknowledges that command while admitting difficulty following it and asking Jesus for help.
Good Morning Mercy — Jason Crabb (2022) Matthew 6:34
The singer's refusal to worry about what tomorrow will bring closely paraphrases Jesus’ instruction not to be anxious about tomorrow.
Every Little Thing (Reimagined) — Hillsong Young & Free (2018) Matthew 6:34
The first verse directly challenges anxiety about the coming day and answers it with trust in God, specifically echoing Jesus' instruction not to worry about tomorrow.
Today Is the Day — Lincoln Brewster (2010) Matthew 6:34
The chorus directly adapts Jesus' instruction not to worry about tomorrow. Its emphasis on embracing the present day reinforces this specific connection rather than merely expressing general trust.
Paradoxology — Elevation Worship (2019) Matthew 6:34
The second verse closely follows Jesus’ instruction not to be anxious about tomorrow, redirecting attention away from future concerns that cannot be controlled.
Scandal of Grace — Hillsong UNITED (2013) Matthew 6:34
The second pre-chorus adapts Jesus's teaching that each day has its own trouble. Its acknowledgment of daily difficulty preserves that specific teaching rather than suggesting that faith eliminates hardship.
Keep Your Light On — John Schlitt (2008) Matthew 6:34
The chorus closely paraphrases Jesus’ instruction not to worry about tomorrow, pairing that instruction with an emphasis on attending to the present day.
Hold Me Still — Forever Jones (2012) Matthew 6:34
The opening instruction against worrying about the future closely paraphrases Jesus’ command not to worry about tomorrow. Its redirection of attention toward the Father reinforces the connection to Jesus’ teaching about anxiety.
8:28 — Lecrae (2017) Matthew 6:34
The chorus closely restates Jesus’ instruction not to be anxious about the coming day, using it to reassure listeners facing uncertain circumstances.
Contigo (With You) — Elevation Worship, Elevation Español (2019) Matthew 6:34
The decision not to be anxious about tomorrow directly paraphrases Jesus' instruction in the Sermon on the Mount to leave tomorrow's concerns to tomorrow.
One Day At A Time — Jason Crabb (2009) Matthew 6:34
The rejection of anxiety about tomorrow, paired with the repeated commitment to daily trust, closely adapts Jesus’ instruction to avoid worrying about tomorrow and attend to the present day.
Let It Happen — Switchfoot (2019) Matthew 6:34
The chorus treats tomorrow as belonging to itself rather than to present human control, closely echoing Jesus’ instruction not to carry tomorrow’s concerns into today.
LIFE IS GOOD — Forrest Frank (2024) Matthew 6:34
The refusal to be anxious about future events closely parallels Jesus' instruction not to worry about tomorrow.
Call You Blessed — Bethany Barnard (2021) Matthew 6:34
Her refusal to take on future trouble paraphrases Jesus’ instruction to attend to today rather than becoming anxious about tomorrow.
it's you — gio. & DeAngelo (2024) Matthew 6:34
The pre-chorus closely restates Jesus’ instruction not to be anxious about the coming day, grounding freedom from future-oriented worry in trust in God.

Matthew 6 (King James Version)

¹ Take heed that ye do not your alms before men, to be seen of them: otherwise ye have no reward of your Father which is in heaven.

² Therefore when thou doest thine alms, do not sound a trumpet before thee, as the hypocrites do in the synagogues and in the streets, that they may have glory of men. Verily I say unto you, They have their reward.

³ But when thou doest alms, let not thy left hand know what thy right hand doeth:

⁴ That thine alms may be in secret: and thy Father which seeth in secret himself shall reward thee openly.

⁵ And when thou prayest, thou shalt not be as the hypocrites are: for they love to pray standing in the synagogues and in the corners of the streets, that they may be seen of men. Verily I say unto you, They have their reward.

⁶ But thou, when thou prayest, enter into thy closet, and when thou hast shut thy door, pray to thy Father which is in secret; and thy Father which seeth in secret shall reward thee openly.

⁷ But when ye pray, use not vain repetitions, as the heathen do: for they think that they shall be heard for their much speaking.

⁸ Be not ye therefore like unto them: for your Father knoweth what things ye have need of, before ye ask him.

⁹ After this manner therefore pray ye: Our Father which art in heaven, Hallowed be thy name.

¹⁰ Thy kingdom come. Thy will be done in earth, as it is in heaven.

¹¹ Give us this day our daily bread.

¹² And forgive us our debts, as we forgive our debtors.

¹³ And lead us not into temptation, but deliver us from evil: For thine is the kingdom, and the power, and the glory, for ever. Amen.

¹⁴ For if ye forgive men their trespasses, your heavenly Father will also forgive you:

¹⁵ But if ye forgive not men their trespasses, neither will your Father forgive your trespasses.

¹⁶ Moreover when ye fast, be not, as the hypocrites, of a sad countenance: for they disfigure their faces, that they may appear unto men to fast. Verily I say unto you, They have their reward.

¹⁷ But thou, when thou fastest, anoint thine head, and wash thy face;

¹⁸ That thou appear not unto men to fast, but unto thy Father which is in secret: and thy Father, which seeth in secret, shall reward thee openly.

¹⁹ Lay not up for yourselves treasures upon earth, where moth and rust doth corrupt, and where thieves break through and steal:

²⁰ But lay up for yourselves treasures in heaven, where neither moth nor rust doth corrupt, and where thieves do not break through nor steal:

²¹ For where your treasure is, there will your heart be also.

²² The light of the body is the eye: if therefore thine eye be single, thy whole body shall be full of light.

²³ But if thine eye be evil, thy whole body shall be full of darkness. If therefore the light that is in thee be darkness, how great is that darkness!

²⁴ No man can serve two masters: for either he will hate the one, and love the other; or else he will hold to the one, and despise the other. Ye cannot serve God and mammon.

²⁵ Therefore I say unto you, Take no thought for your life, what ye shall eat, or what ye shall drink; nor yet for your body, what ye shall put on. Is not the life more than meat, and the body than raiment?

²⁶ Behold the fowls of the air: for they sow not, neither do they reap, nor gather into barns; yet your heavenly Father feedeth them. Are ye not much better than they?

²⁷ Which of you by taking thought can add one cubit unto his stature?

²⁸ And why take ye thought for raiment? Consider the lilies of the field, how they grow; they toil not, neither do they spin:

²⁹ And yet I say unto you, That even Solomon in all his glory was not arrayed like one of these.

³⁰ Wherefore, if God so clothe the grass of the field, which to day is, and to morrow is cast into the oven, shall he not much more clothe you, O ye of little faith?

³¹ Therefore take no thought, saying, What shall we eat? or, What shall we drink? or, Wherewithal shall we be clothed?

³² (For after all these things do the Gentiles seek:) for your heavenly Father knoweth that ye have need of all these things.

³³ But seek ye first the kingdom of God, and his righteousness; and all these things shall be added unto you.

³⁴ Take therefore no thought for the morrow: for the morrow shall take thought for the things of itself. Sufficient unto the day is the evil thereof.