Psalms 139

The Psalm That Knows Your Name — a note on this chapter.

Which worship songs are based on Psalms 139?

Live for You — Rachael Lampa (2009) Psalms 139:1-4
The first verse closely echoes the psalm's description of God's comprehensive personal knowledge, then connects that knowledge with divine care before birth. This combination points specifically to Psalm 139 rather than merely expressing God's love in general.
Glorious — Newsboys (2009) Psalms 139:1
The description of God searching the singer and knowing their heart and anxious thoughts closely adapts the opening and closing prayers of Psalm 139.
Still You Love Me — Aaron Shust (2009) Psalms 139:1-4
The chorus's progression through God's knowledge of actions, speech, and the inner self closely follows the psalm's opening. The bridge reinforces the connection by denying that any destination could place the singer beyond God's presence.
Known and Loved — CityAlight (2022) Psalms 139:1-4
The opening verse closely follows the psalm's account of God knowing a person's inner life, forming them before birth, and ordaining their days.
None — Elevation Worship (2017) Psalms 139:1
The description of God searching the worshipper and examining the heart closely reflects the opening and closing petitions of Psalm 139.
You Know Everything (Psalm 139) - Live — Shane & Shane & Kingdom Kids (2022) Psalms 139:1-12
The song closely follows the psalm's descriptions of God searching and knowing a person, discerning thoughts and speech in advance, observing ordinary movements, and remaining present everywhere.
Slower I Go (Live) — SEU Worship, Chelsea Plank (2024) Psalms 139:1
The prayer asking God to search and know the speaker directly echoes the opening and closing petitions of Psalm 139.
You Call Me Beautiful - Live in Melbourne — Planetshakers (2017) Psalms 139:1-4
The opening describes God as having searched and fully known the singer, with that knowledge extending back before conscious life. This closely follows Psalm 139's account of God's complete knowledge and prenatal care.
Simple Truth — Between Thieves (2009) Psalms 139:1-8
The combination of God's intimate knowledge, His presence across upper and lower extremes, and the singer's inability to hide strongly echoes this psalm. The emphasis on being personally seen makes this a closer connection than passages concerned only with the reach of God's love.
Loved By Love — Zahriya Zachary (2025) Psalms 139:1-4
The song closely parallels the psalmist's conviction that God already knows every concealed thought and truth, while also presenting God as the one who formed the speaker's innermost being.
All My Ways Are Known to You — CityAlight (2016) Psalms 139:1-12
The song closely reflects the psalm's declaration that God knows every path a person takes. Its related images of divine guidance and darkness being unable to place someone beyond God's presence also correspond to this section of the psalm.
Imposter (If Only) — Aklesso (2025) Psalms 139:1-4
The song expresses a deep sense of being known by God, resonating with the themes found in Psalm 139, where the psalmist reflects on God's intimate knowledge of our thoughts and struggles.
Sonda-Me, Usa-Me — Thiago Grulha (2012) Psalms 139:1
The repeated prayer for God to search and know the speaker closely adapts the psalm's invitation to divine examination. The introduction also reflects its opening acknowledgment that God already knows the person praying.
You Know My Name (feat. Mariah Adigun) — Housefires (2023) Psalms 139:1-3
The description of God as familiar with all the singer's ways directly reproduces the distinctive wording of this psalm's account of God's complete personal knowledge.
Abandon Ship — Behold the Beloved (2022) Psalms 139:1-10
The song combines God's knowledge of hidden thoughts with the assurance that someone attempting to flee from him will still find him present. That distinctive pairing closely follows the opening movement of Psalm 139.
You already like me. — Citizens (2025) Psalms 139:1-4
The song's emphasis on being completely known by God and having no need to hide closely parallels David's meditation on God's intimate knowledge and inescapable presence.
Don’t You Give Up on Me — Brandon Lake (2022) Psalms 139:1-4
God’s knowledge of the believer’s thoughts before they are formed closely paraphrases the psalmist’s description of divine knowledge extending to thoughts and unspoken words.
Hold Me Fast (Psalm 139) — Aaron Shust (2023) Psalms 139:1-4
The song closely follows Psalm 139's progression from God's intimate knowledge and universal presence to his formation of human life, the vastness of his thoughts, and a concluding prayer for moral examination and guidance.
139 — Jonathan Ogden (2025) Psalms 139:1-4
The song reflects the themes of God's intimate knowledge of individuals, paralleling the sentiments expressed in Psalm 139, where the psalmist acknowledges that God knows their thoughts and actions even before they are expressed.
Wonderful, Wonderful Lord (Ps 139) — Tenielle Neda & Rothbury (2025) Psalms 139:1-4
The song directly quotes phrases from Psalm 139, emphasizing God's knowledge of the speaker's actions and thoughts.
Honesty — Elle Limebear (2020) Psalms 139:1-4
The opening verse closely reflects Psalm 139's portrayal of God as knowing a person completely, remaining present wherever that person has gone, perceiving what is concealed, and knowing the course of a life in advance.
139 — Kings Kaleidoscope (2014) Psalms 139:1-16
The song closely adapts the psalm's descriptions of prenatal formation, knowledge of unspoken thoughts, and God's presence at the extremes of height and depth. Its treatment of darkness and God's guiding, sustaining hand also follows the psalm directly.
Seen — Tauren Wells, Katie Torwalt (2022) Psalms 139:1-4
The song closely follows Psalm 139's distinctive combination of God knowing a person inwardly, perceiving unspoken words, continually thinking of them, and remaining present in every distance and depth.
Just As I Am (Live) — Lakewood Music & Jeremiah Woods (2024) Psalms 139:1-12
The song emphasizes that God fully knows the worshiper's inner life, including what is concealed, while continuing to draw the person into his presence. This closely reflects the psalmist's awareness of being completely searched, known, and seen by God.
Anxious Heart — Jeremy Camp (2021) Psalms 139:1-5
The bridge joins God's complete knowledge of the singer with the image of being surrounded by his presence, closely reflecting the psalmist's account of being fully known and enclosed by God.
My Truest Praise — Jon Guerra (2020) Psalms 139:1-3
The singer's recognition that God knows his heart, habits, and painful moral condition closely reflects the psalm's account of divine searching and its request for examination and correction.
Rescue — Lauren Daigle (2018) Psalms 139:1-12
The song combines God's knowledge of an unspoken plea with the assurance that neither distance nor darkness can conceal a suffering person from him. This closely parallels the psalmist's description of God knowing human speech before it is expressed and remaining present in every location and in the deepest darkness.
Moyongcwele — Nontokozo Mkhize (2024) Psalms 139:1-3
The song describes God as knowing everything about the worshipers, including their rising and remaining. This closely follows the psalmist's account of God knowing his sitting, rising, and every path.
Underneath — Zahna (2018) Psalms 139:1-12
The song's repeated questions about whether God sees concealed thoughts, shame, and destructive impulses closely echo the psalmist's recognition that God searches the heart, knows every thought, and cannot be escaped through concealment.
Todos Os Meus Dias — Gabriel Guedes de Almeida (2021) Psalms 139:1-4
The verse closely follows the psalm's progression from God's complete knowledge of the speaker to his presence at the extremes of creation, his guiding hand, and his knowledge of every day of the speaker's life.
Surrounds Me — Hillsong Worship (2021) Psalms 139:1-3
The opening verse closely follows the psalm’s language of God searching and knowing a person’s heart, thoughts, conduct, and paths. Its appeal to divine knowledge combines the psalm’s opening description with its concluding request for examination.
Always There (Live) — The Belonging Co & Natalie Grant (2022) Psalms 139:1-18
The song closely follows the psalm's descriptions of God knowing a person's actions and days, enclosing them before and behind, valuing them in His thoughts, and remaining present across distance, sea, light, and darkness.
The Middle — Bebo Norman (2010) Psalms 139:1-2
The opening combines knowledge of concealed thoughts with the impossibility of going somewhere beyond the addressee's reach, closely paralleling this psalm. The connection is strongest when the intimate addressee is understood as God, though the song leaves that identity open.
To The End — Mack Brock & Amanda Cook (2018) Psalms 139:1-12
The question of whether one can hide beyond God's sight, together with the emphasis on being completely known, closely paraphrases the psalm's meditation on God's inescapable presence and knowledge.
God Only Knows — for KING & COUNTRY (2018) Psalms 139:1-12
The song’s assurance that God completely knows the hidden person, sees through secrecy, and can reach them wherever they are closely parallels this psalm’s account of divine knowledge and presence extending even into darkness.
Psalm 139 (LORD, You Have Searched Me) — Brian Sauvé (2021) Psalms 139:1-24
The entire song closely renders Psalm 139 in sequence, following its movement from divine knowledge and omnipresence through formation in the womb and opposition to the wicked, then concluding with a request for examination and guidance.
More — Crystal Lewis (2014) Psalms 139:2-4
The second verse closely adapts the psalm's account of God discerning thoughts and knowing words before they are spoken. The combined details identify this passage rather than merely expressing divine omniscience.
Comfort - Live — Mosaic MSC (2022) Psalms 139:2-4
The opening presents God as knowing a person’s thoughts and intended expression before they are communicated, closely reflecting the psalm’s account of divine foreknowledge.
Wait for You - Live — Leeland (2019) Psalms 139:2
The chorus closely follows the psalm's language about God knowing a person's ordinary movements and its rhetorical question about where anyone could flee from God's presence.
He Makes Me Well — Allie Paige (2018) Psalms 139:5
The description of God being both ahead of and behind the singer closely parallels the psalmist’s image of being enclosed by God behind and before.
May God Be Everywhere I Go - Live — Mosaic MSC (2016) Psalms 139:5-10
The song's prayer for God's presence in every place, together with its imagery of divine guidance, holding, and being before and beside the singer, closely parallels the psalmist's confession that nowhere lies beyond God's presence and sustaining hand.
I Lift My Eyes — Jesus Culture (2020) Psalms 139:5
The verse describing God surrounding the worshiper on every side and occupying the space ahead and behind mirrors the psalm's image of being hemmed in before and behind by God's hand.
Love Note (feat. Abbie Gamboa) — UPPERROOM & Abbie Gamboa (2021) Psalms 139:5-10
The repeated spatial directions portray God as surrounding the beloved and present wherever they might go, closely matching Psalm 139's account of being enclosed by God and unable to escape His presence.
Wait — Phil Wickham (2023) Psalms 139:5-10
The song closely follows the psalm's depiction of God enclosing the worshiper from behind and before and remaining present across the heights and the farthest reaches of the sea.
God of My Everything — Bebo Norman (2010) Psalms 139:5
The opening request for God to enclose the singer closely adapts this verse's description of God's encompassing presence, turning the psalmist's declaration into a prayer.
Your Wings — Lauren Daigle (2018) Psalms 139:5
The description of God surrounding the singer from both directions closely reflects the psalmist’s recognition that God hems him in behind and before.
You Will Be There — Jeremy Camp (2008) Psalms 139:7-18
The song closely adapts the psalm's descriptions of God's inescapable presence, guiding and sustaining hand, formation in the womb, and ordaining of life's days. Its portrayal of divine thoughts as innumerable as sand and its assurance of God's presence upon waking specifically reproduce the progression of verses 17-18.
Tethered — Jason Gray (2020) Psalms 139:7-12
The recurring question about escaping God's presence directly echoes the psalmist's rhetorical question, while the bridge develops the same passage's imagery of dwelling in the depths and discovering that darkness is as light to God.
Altogether Good — Citizens & Sandra McCracken (2020) Psalms 139:7-12
The pairing of darkness with the assurance that God remains present closely reflects the psalm's meditation on darkness being unable to conceal anyone from God.
Can't Hide From Your Love — Aaron Shust (2007) Psalms 139:7-12
The chorus links God's presence in every location with the impossibility of hiding from Him, closely echoing the psalm's questions about escaping God's presence. The song presents that inescapability specifically as reassurance of divine love.
Always There — Chris and Conrad (2009) Psalms 139:7-10
The repeated inability to escape God or travel anywhere without his presence closely adapts the psalmist's questions about fleeing God's presence. The accompanying assurance of being held also corresponds to God's sustaining hand in this passage.
Canyons (live) — Cory Asbury (2020) Psalms 139:7-12
The question about where one could run from God, together with imagery of height, depth, distance, and darkness, closely follows the psalmist’s declaration that no location can escape God’s presence.
Your Love Is Everywhere — Hannah Kerr (2024) Psalms 139:7-12
The song combines God's presence everywhere with the conviction that even profound darkness cannot conceal or exclude that presence, closely reflecting this psalm's meditation on divine omnipresence.
Future / Past — John Mark McMillan (2014) Psalms 139:7
The second verse's paired questions about escaping and hiding from God closely adapt the psalmist's questions about fleeing God's presence. The song reframes that inescapable presence as God's intense desire for relationship.
Boundary Line — Elevation Church Kids (2020) Psalms 139:7-12
The opening questions closely parallel David's reflection that neither flight nor any destination can place a person beyond God's presence. The song's treatment of hiding and being continually found further reinforces this specific connection.
Love After Hurt — Trevor Jackson & ONE HOUSE & Annatoria (2024) Psalms 139:7-10
The singer's inability to escape God's presence closely reflects the psalmist's recognition that God remains present wherever he goes.
Chase Me Down — Chris Tomlin (2020) Psalms 139:7-12
The attempt to run somewhere beyond God's knowledge or presence closely reflects the psalmist's recognition that no place, including the darkest depths, is beyond God's reach.
Jesus Loves Me — Chris Tomlin (2014) Psalms 139:7
The pre-chorus closely adapts the psalmist’s question about fleeing from God’s presence, presenting that inescapable presence as a loving pursuit.
My Father's Arms — Jeremy Camp (2017) Psalms 139:7-10
The combination of attempted flight, seashore imagery, and God's continuing hold closely parallels the psalmist's realization that no distance or journey across the sea can escape God's presence and hand.
Find Me — Hilary Weeks (2018) Psalms 139:7-12
The combined imagery of fleeing, hiding in darkness, and remaining visible to God closely evokes the psalmist's recognition that no concealed place lies beyond God's presence or sight.
My Promised Land — Josiah Queen (2024) Psalms 139:7-8
The bridge directly follows the psalm’s question about escaping God’s Spirit and its declaration that God remains present even in Sheol.
Can't Get Away — Rush of Fools (2007) Psalms 139:7-12
The chorus and bridge adapt the psalmist's declaration that fleeing or hiding cannot put him beyond God's presence. The repeated discovery of God wherever the singer goes closely parallels the passage's descriptions of finding God in every possible refuge.
No Far Away — Chris August (2010) Psalms 139:7-12
The repeated impossibility of fleeing or hiding from God closely adapts this passage. The bridge's contrasting movement downward and upward also echoes the psalm's depiction of God's presence in both the heights and the depths.
Everywhere — Todd Galberth & Naomi Raine (2025) Psalms 139:7-12
The bridge directly adopts the psalmist's rhetorical questions about fleeing from God's Spirit and hiding from his presence. The later references to the realm of the dead and the depths of the earth further identify Psalm 139 as the source.
Wherever I Go — Ellie Holcomb (2025) Psalms 139:7-10
The lyrics convey the idea that there is nowhere one can go without God's presence, paralleling the message in Psalm 139 about God's omnipresence and guidance in all circumstances.
Nowhere Your Love Won't Go — Megan Woods (2025) Psalms 139:7-10
The song closely echoes the psalmist's conviction that no destination, height, depth, or darkness can escape God's presence and reaching hand.
Feels Like Home — Israel & New Breed (2021) Psalms 139:7-10
The admission of running from God while remaining unable to escape His presence closely parallels the psalmist's declaration that fleeing cannot place anyone beyond God's reach.
Rediscovery — Zahriya Zachary (2025) Psalms 139:7-10
The bridge closely follows the psalmist's rhetorical search for a place beyond God's presence, concluding that God is present everywhere.
Landslide — Rita Springer (2020) Psalms 139:7-12
The song's language of being unable to hide or travel beyond God's reach, together with divine light overcoming distance, closely parallels the psalmist's meditation on God's inescapable presence.
Distance — Dan Bremnes (2026) Psalms 139:7-12
The combined imagery of attempting to flee, crossing immense distance, and being found by God in darkness closely parallels the psalmist's realization that neither remoteness nor darkness can place anyone beyond God's presence.
MORE THAN A FEELING — Forrest Frank (2024) Psalms 139:7-10
The assurance that God remains present wherever the singer goes closely parallels the psalmist's declaration that no destination can place him beyond God's presence and guidance.
Call On Your Name — Elle Limebear (2019) Psalms 139:7-12
The song closely follows the psalm's claim that neither flight, extreme distance, nor darkness can place someone beyond God's Spirit and presence.
Love Goes On — Jon Guerra (2020) Psalms 139:7
The bridge closely reproduces the psalmist's paired rhetorical questions about the impossibility of escaping God's Spirit and presence.
Home — Rita Springer (2020) Psalms 139:7-12
The song closely follows this psalm's portrayal of God's presence in every place and its assertion that darkness is light to Him.
Never Setting Sun — Newsboys (2019) Psalms 139:7-12
The singer imagines traveling, fleeing, and hiding yet remaining within God's presence and care, closely following the psalmist's sequence of fleeing from God and discovering that even darkness cannot conceal him.
Looking For Me — ELEVATION RHYTHM (2022) Psalms 139:7-12
The assurance that no destination, height, depth, or darkness lies beyond God's knowledge and presence closely parallels the psalmist's meditation on the impossibility of escaping God.
Dying For Your Love — Fireflight (2012) Psalms 139:7-12
The song's descriptions of hiding, fleeing to the earth's farthest reaches, and still being found closely parallel the psalm's account of God's presence extending beyond every attempted escape. Its darkness imagery also reinforces the passage's insistence that darkness cannot conceal someone from God.
Mountains and Mundane — Gable Price and Friends (2024) Psalms 139:7-10
The repeated idea that the speaker cannot run beyond God's reach, together with God's presence across contrasting locations and circumstances, closely parallels the psalmist's recognition that there is nowhere he can flee from God.
Faithful Wounds (Spontaneous) (live) — Cory Asbury (2020) Psalms 139:7-10
The closing question about finding any place beyond God's presence directly echoes the psalmist's rhetorical question and its answer that no destination lies outside God's reach.
Irresponsible — J. Monty & JUDAH. (2021) Psalms 139:7-10
The song closely follows the psalm’s sequence of attempting to flee God, ascending to heaven, and descending to the realm of the dead, only to find God present and pursuing there as well.
Terrify the Dark — Skillet (2019) Psalms 139:7-12
The singer's questions about running and hiding closely echo the psalmist's recognition that no location, including darkness, lies beyond God's presence.
In The Room (feat. Tasha Cobbs Leonard) — Maverick City Music & Naomi Raine & Chandler Moore & Tasha Cobbs Leonard (2023) Psalms 139:7-8
The bridge closely follows the psalmist's questions about fleeing God's Spirit and presence, followed by the contrast between ascending to heaven and making one's bed in Sheol.
You Never Let Go — John Van Deusen (2025) Psalms 139:7-10
The bridge closely follows David's questions about fleeing God's presence and depicts God remaining present in both the heights and the depths, sustaining and holding the speaker.
Carry Me Home — TAYA (2022) Psalms 139:7-10
The song describes heaven, earth, and great distance as incapable of concealing the singer from God's pursuing presence. This closely parallels the psalmist's recognition that no destination lies beyond God's presence and guiding hand.
Never Been A Moment — Micah Tyler (2016) Psalms 139:7-10
The bridge closely follows the psalmist's rhetorical questions about whether any destination or flight could escape God's presence. It likewise answers that wandering cannot place a person beyond God's sight and sustaining care.
Don't Let Me Go — Fireflight (2020) Psalms 139:7-10
The assurance that neither flight nor descent can remove the speaker from God's accompanying and sustaining presence closely parallels the psalmist's confession that fleeing or dwelling in the depths cannot escape God.
Dichotomy — Becoming the Archetype (2008) Psalms 139:8
The description of making a bed in the grave closely adapts the psalm's image of making one's bed in Sheol. The song redirects that image toward humanity's deliberate embrace of destruction rather than the psalm's emphasis on God's presence even among the dead.
evergreen love — Strings and Heart (2024) Psalms 139:8-10
The opening verse closely follows the psalm's sequence of descending to the depths, rising with the dawn, settling beyond the sea, and still being reached and held by God.
Medley: You Have Me / You Hold My World — Israel & New Breed (2012) Psalms 139:8
The contrast between heaven and making a bed in hell closely adapts the psalmist's description of God's presence in both heaven and Sheol. The song applies that imagery to experiences of spiritual and emotional collapse.
Why — Elevation Worship (2022) Psalms 139:8
The bridge uses Psalm 139's distinctive image of making one's bed in the realm of the dead. As in the psalm, the image emphasizes that even the deepest place of estrangement or misery cannot escape God's presence.
Wings in the Morning — Johnny Cash (2012) Psalms 139:9
The recurring image of winged flight at dawn closely echoes this psalm's distinctive imagery. The song adapts an image of God's presence everywhere into an expectation of departure for heaven.
Where Your Heart Is — AWAKE84 (2024) Psalms 139:9-10
The combined imagery of traveling to the sea's farthest depths while remaining guided by God's hand closely reflects the psalmist's assurance that God's hand leads him even beyond the sea.
The King is Alive — American Arson (2020) Psalms 139:11-12
The climactic recognition that darkness cannot obscure anything from God directly paraphrases the psalmist's affirmation that darkness and light are alike to him.
Same God — Hannah Kerr (2021) Psalms 139:11-12
The claim that darkness is light to God closely paraphrases the psalm's assertion that darkness cannot conceal anyone from him and is as bright as light in his sight.
The Time Bender — Becoming the Archetype (2012) Psalms 139:12
The collapsing distinctions between day and night, darkness and light closely resemble the psalm’s description of darkness being no barrier to God. The song similarly presents these human limitations as powerless before the divine speaker.
Afraid To Say (feat. Lauren Walters) — Justin Bieber & Lauren Walters (2021) Psalms 139:13-16
The outro closely paraphrases this passage's account of God forming a person in the womb, knowing the person before birth, and recording all their days. The lyrics also explicitly identify the passage.
Made — Hawk Nelson (2013) Psalms 139:13-14
The chorus associates personal wonder with God's purposeful formation of a person, closely adapting the psalm's affirmation of being wonderfully made. The bridge's emphasis on God forming the inward person reinforces the connection, though the song's language of perfection goes beyond the passage.
Beautiful — Micah Tyler (2017) Psalms 139:13-14
The song's assurance that God intentionally assembled the listener without error strongly echoes the psalmist's praise for being personally formed by God and wonderfully made.
Always Mine — Claire Leslie (2025) Psalms 139:13-16
The song's lyrics about being fashioned and set apart before taking a breath resonate with the themes of Psalm 139, which speaks to God's intricate involvement in our creation and inherent worth.
Run To The Father — Cody Carnes (2019) Psalms 139:13-16
The bridge describes God knowing and watching over the singer before birth, closely reflecting the psalmist's account of being seen and formed by God in the womb.
Canvas And Clay (Radio Version) — Pat Barrett (2020) Psalms 139:13-14
The opening directly invokes God's formation of the singer in the womb and the psalmist's declaration that human beings are wonderfully made.
Grace That Is Greater — Building 429 (2008) Psalms 139:13-16
The second verse closely adapts the psalm's account of God's hidden formation of the body, the wonder of being made, and the recording of one's days before they began.
Shweet — Trip Lee (2014) Psalms 139:13
Trip's address to God as the one who knitted his body invokes the psalm's distinctive image of God forming a person in the womb. The contrast with footwear redirects admiration from manufactured products to God's personal creative work.
Just Can't Stop My Hallelujahs — Avalon (2020) Psalms 139:13-16
The song closely reflects the psalm's account of God knowing a person before birth, forming that life, and recording its days in advance.
Intentionally Crafted — Kelsey Breedlove (2023) Psalms 139:13-14
The bridge directly reproduces Psalm 139:14's description of a person as God's marvelous workmanship. The surrounding emphasis on God forming the whole person also closely reflects the preceding verse.
Jesus, Friend of Little Children / Jesus Loves Me — Keith & Kristyn Getty & The Getty Girls (2021) Psalms 139:13-14
The spoken interlude directly recites the psalmist’s description of God forming a person in the womb and the resulting praise for God’s wonderful craftsmanship.
Finish What He Started — Steven Curtis Chapman (2013) Psalms 139:13
The description of God forming a person through knitting directly invokes this psalm's distinctive image of divine creation in the womb. The song develops that image into its extended textile metaphor.
Only One and Only You — Steven Curtis Chapman (2013) Psalms 139:13-15
The final pre-chorus closely adapts the psalm's description of God's wonderful and intricate formation of a person. Its combination of divine craftsmanship and weaving imagery specifically recalls these verses.
Canvas and Clay — Building 429 (2020) Psalms 139:13-16
The opening describes God personally forming the narrator in the womb, knowing him before birth, and making him wonderfully. These combined details unmistakably draw from the psalmist's meditation on prenatal formation and divine knowledge.
dad song — UPPERROOM & Abbie Gamboa (2023) Psalms 139:13-16
The song portrays the child as intentionally and delightfully fashioned in every detail, with the child's life known and considered in advance. This closely reflects the psalmist's account of God's personal formation and foreknowledge of a person before birth.
Knowing — John Van Deusen (2025) Psalms 139:13-14
The lyrics reference being known in the womb, which directly echoes the Psalmist's declaration of God's intimate knowledge of us from the moment of conception.
Dopamine — Rachel DeLong (2026) Psalms 139:13-16
The description of God deliberately weaving together the singer's biological makeup closely adapts the psalm's depiction of God forming and intricately making a person in the womb. The song also reflects the passage's emphasis on being thoroughly known by God.
Masterpiece — Sandi Patty (2008) Psalms 139:13-16
The opening and closing closely reproduce this passage's descriptions of formation in the womb, hidden bodily development, wonder at God's creative work, and days recorded before birth. The intervening parental address applies that same account of divine care to the child.
I See You — Forever Jones (2012) Psalms 139:13-14
The bridge combines God's formation of the individual in the womb with praise for the wonder of that creation. These adjoining details unmistakably adapt Psalm 139:13-14 into God's direct address to the listener.
Shining Clouds — Corey Mills (2018) Psalms 139:14
The introduction directly uses Psalm 139's distinctive description of a person as wondrously made by God.
All Fall Down — MercyMe (2008) Psalms 139:14
The bridge directly reproduces the verse's central affirmation about being wonderfully formed by God and makes that affirmation the reason for praise.
17 — Chris Renzema (2020) Psalms 139:14
God's response directly uses the psalmist's description of being made with awe-inspiring wonder, grounding the singer's worth in divine creation.
Meant to Be — Steven Curtis Chapman (2011) Psalms 139:14-16
The chorus adapts the psalm's affirmation of being wonderfully made. The surrounding emphasis on God's intention before birth and his ordering of a person's life reinforces the connection to the same passage.
Praise To The Lord — Emu Music (2019) Psalms 139:14
The description of human beings as fearfully and wondrously made closely reproduces the distinctive language of this verse.
Politicking — Lecrae (2025) Psalms 139:14
The phrase about being 'fearfully and wonderfully made' directly echoes Psalm 139:14, which celebrates the unique creation and value of each individual.
Love Has Been Spoken — Building 429 (2011) Psalms 139:14
The repeated description of human beings directly reproduces Psalm 139:14's distinctive language about God's wondrous workmanship. The song applies this declaration to counter shame and affirm that human existence is intentional rather than accidental.
Good — Karen Clark Sheard (2010) Psalms 139:14
The first verse closely reproduces the psalm's description of God's wondrous formation of the speaker and the marvelous character of God's works.
Royalty — Tasha Cobbs Leonard (2020) Psalms 139:14
The song directly adopts Psalm 139's distinctive description of a person as made with awe-inspiring wonder, grounding personal worth in God's creative work.
LORD JESUS — Trendsetter Sense & 1k Phew & Young Dro & ZAYTOVEN (2026) Psalms 139:14
The mention of being 'fearfully, wonderfully made' echoes the sentiment of Psalm 139:14, which celebrates the uniqueness and intentionality of God's creation.
You Belong — Francesca Battistelli (2018) Psalms 139:14
The bridge directly adopts Psalm 139's distinctive description of a person as wondrously made, grounding individual worth and uniqueness in God's craftsmanship.
True Beauty — Mandisa (2007) Psalms 139:14
The chorus's description of people as wonderfully and marvelously made closely adapts the psalm's praise for God's wonderful workmanship in forming a person.
You’re Making Something Beautiful (Spontaneous/Live) — Pat Barrett (2019) Psalms 139:14
The outro directly adopts the psalmist's description of being made in a wonderful manner.
All Creatures — Josh Garrels (2009) Psalms 139:14
Garrels directly adapts the psalmist's description of his own marvelous formation, applying it to the intricacy of a centipede.
Learning How To Love Myself — Katy Nichole (2025) Psalms 139:14
The song explicitly references being 'fearfully and wonderfully made,' which directly quotes Psalm 139:14, emphasizing the inherent beauty and value of the individual as a creation of God.
Sing — Ellie Holcomb (2018) Psalms 139:14
The declaration that the listener is wonderfully made directly uses the distinctive language of Psalm 139:14, applying the psalmist's praise of God's creative craftsmanship to each child.
You — Apollo LTD (2021) Psalms 139:14
The chorus adapts Psalm 139's distinctive declaration that a person is fearfully and wonderfully made, applying it directly to the listener's God-given identity and worth.
Keep Me — Patrick Dopson (2012) Psalms 139:15
The description of God crafting the speaker in secrecy closely adapts the psalmist's account of being formed in secret under God's observation.
God Is It True (Trust Me) — Steven Curtis Chapman (2009) Psalms 139:16
The question about God planning every day of the singer's life closely reflects the psalm's description of days ordained and recorded before they occur.
Not Lucky, I'm Loved (Live) — Jonathan McReynolds (2018) Psalms 139:16
The song describes the singer's life as intentionally written and included in God's plan from its beginning, closely reflecting the psalm's image of a person's days being recorded by God before they unfold.
Never Be the Same — Danny Gokey (2017) Psalms 139:16
The song describes God as having authored the singer's life before his personal existence, closely reflecting the psalmist's image of his days already recorded by God.
1,000 Promises — Building 429 (2018) Psalms 139:16
The opening verse reflects the psalmist's conviction that God knew and recorded the days of his life before they occurred.
Bigger Story — Cade Thompson (2021) Psalms 139:16
The recurring image of God writing a person's life in pages and chapters closely resembles the psalmist's depiction of every day being recorded in God's book. Both use authorship imagery to express God's complete knowledge and providential oversight of a life.
Ele Me Amou Primeiro - Ao Vivo — MORADA (2017) Psalms 139:16
The description of God seeing the singer as an unformed substance closely follows the psalm's account of God seeing a person before bodily formation was complete.
For the King — Paul Baloche (2020) Psalms 139:16
The assertion that God knows the complete number of a person's days closely reflects the psalmist's declaration that every ordained day was known and recorded by God.
Let My Life Overflow — John Pape (2022) Psalms 139:17-18
The singer describes God's thoughts as precious and beyond counting, closely paraphrasing the psalmist's wonder at their immeasurable number.
Pride & Prejudice — Jackie Hill Perry (2025) Psalms 139:17
The outro explicitly identifies Psalm 139:17 and invokes its assurance that God's thoughts concerning a person are precious.
Lover of My Soul — Sandra McCracken (2018) Psalms 139:18
The song adapts the psalmist's assurance that consciousness and sleep do not interrupt one's presence with God. Its wording closely echoes the verse while shifting the moment from waking to sleeping.
When Our Hearts Sing — Rush of Fools (2009) Psalms 139:23
The first verse adapts the psalmist's request for God to examine and know his inner life, changing the individual prayer into a communal appeal.
Let Go — Elevation Worship (2013) Psalms 139:23
The opening closely adapts the psalmist's prayer for God to examine and know the heart. Its paired requests for divine searching and personal knowledge make the reference specific.
Your Will — Barren Cross (2012) Psalms 139:23-24
The request for God to examine the singer's heart and reveal anything spiritually obstructive closely adapts the psalm's closing prayer for inward examination, identification of wrongdoing, and divine guidance.
Have My Heart (feat. Chris Brown & Chandler Moore) — Maverick City Music & Chandler Moore & Chris Brown (2020) Psalms 139:23-24
The request for God to search the inner life and uncover everything concealed closely echoes the psalmist's invitation for God to examine his heart and lead him rightly.
Live in the Light — Rita Springer (2020) Psalms 139:23-24
The bridge deliberately echoes the psalmist's request for God to examine the inner life, reveal what is wrong, and lead the worshiper forward.
Shine, Jesus, Shine — Crystal Lewis (2014) Psalms 139:23
The paired requests for divine searching and testing closely reproduce the psalmist's concluding invitation for God to examine his inner life.
Trouble — David Phelps (2024) Psalms 139:23-24
The speaker asks for divine examination of his inner life after confessing a wayward heart, closely reflecting the psalmist's closing prayer for God to examine and redirect him.
You Know Me — David Leonard (2019) Psalms 139:23-24
The chorus closely reproduces the psalmist's closing request for God to examine his heart and test his inner life.
All to You — Chris Quilala (2016) Psalms 139:23-24
The opening invitation for God to examine the speaker's heart and every hidden part closely parallels the psalmist's concluding request for divine searching and testing.
Honestly, We Just Need Jesus — Terrian (2024) Psalms 139:23-24
The request for God to examine the singer’s inner life and bring clarity closely parallels David’s concluding prayer for God to search him and expose anything corrupt.
Hidden Places — Vertical Worship (2020) Psalms 139:23-24
The opening prayer closely restates the psalmist's request for God to examine the inner life and know the heart. The song's later appeal for divine leading further reflects the passage's concluding petition.
Search My Heart — Hillsong UNITED (2011) Psalms 139:23-24
The opening and closing requests for God to examine the worshipper's inner life closely adapt the psalm's concluding prayer for examination of the heart and guidance in God's way.
Search Me, Lord — Donnie McClurkin (2016) Psalms 139:23-24
The central prayer asks God to examine the singer's heart, expose hidden faults, and lead him into righteousness, closely following the psalm's concluding petition.
Cradle Me (Patsy’s Lullaby) — Mandisa (2013) Psalms 139:24
The chorus's closing petition closely adapts the psalm's final request for God to direct the speaker along an eternal path.
Don't Ever Stop — Passion, Chris Tomlin (2014) Psalms 139:24
The chorus directly reproduces the closing petition of Psalm 139 for God's guidance along an enduring righteous path.

Psalms 139 (King James Version)

¹ O LORD, thou hast searched me, and known me.

² Thou knowest my downsitting and mine uprising, thou understandest my thought afar off.

³ Thou compassest my path and my lying down, and art acquainted with all my ways.

⁴ For there is not a word in my tongue, but, lo, O LORD, thou knowest it altogether.

⁵ Thou hast beset me behind and before, and laid thine hand upon me.

⁶ Such knowledge is too wonderful for me; it is high, I cannot attain unto it.

⁷ Whither shall I go from thy spirit? or whither shall I flee from thy presence?

⁸ If I ascend up into heaven, thou art there: if I make my bed in hell, behold, thou art there.

⁹ If I take the wings of the morning, and dwell in the uttermost parts of the sea;

¹⁰ Even there shall thy hand lead me, and thy right hand shall hold me.

¹¹ If I say, Surely the darkness shall cover me; even the night shall be light about me.

¹² Yea, the darkness hideth not from thee; but the night shineth as the day: the darkness and the light are both alike to thee.

¹³ For thou hast possessed my reins: thou hast covered me in my mother’s womb.

¹⁴ I will praise thee; for I am fearfully and wonderfully made: marvellous are thy works; and that my soul knoweth right well.

¹⁵ My substance was not hid from thee, when I was made in secret, and curiously wrought in the lowest parts of the earth.

¹⁶ Thine eyes did see my substance, yet being unperfect; and in thy book all my members were written, which in continuance were fashioned, when as yet there was none of them.

¹⁷ How precious also are thy thoughts unto me, O God! how great is the sum of them!

¹⁸ If I should count them, they are more in number than the sand: when I awake, I am still with thee.

¹⁹ Surely thou wilt slay the wicked, O God: depart from me therefore, ye bloody men.

²⁰ For they speak against thee wickedly, and thine enemies take thy name in vain.

²¹ Do not I hate them, O LORD, that hate thee? and am not I grieved with those that rise up against thee?

²² I hate them with perfect hatred: I count them mine enemies.

²³ Search me, O God, and know my heart: try me, and know my thoughts:

²⁴ And see if there be any wicked way in me, and lead me in the way everlasting.