What began as an inspiration from an anonymous author, and from a time over two or three millennia ago, coalesced into something broader with the help of five 21st Century songwriters. The home of Keith and Kristyn Getty was the scene (see the map of County Londonderry made in 1837, with Portstewart, where the Gettys live, shown outlined in a blue circle) where this pair had invited three others – Ben Shive, Bryan Fowler, and Skye Peterson – to work out a new song they simply entitled “Rejoice”. It’s a theme that not only the original psalmist captured in six short verses of poetry, but which was also picked up by a 1st Century writer who knew all about this emotional context even if it stood in stark contrast to his own circumstances. Even the Creator Himself would say that praise and rejoicing must be heard, lest the rocks (stones) cry out instead (Luke 19:40).
Bryan Fowler first suggested the theme of rejoicing to the group assembled in Northern Ireland, and it quickly stirred the imaginations of the rest of the group (sometime either in, or in the months preceding 2022). Bryan had evidently been reading what the ancient and unknown psalmist had written, and which we now call Psalm 150, especially verse six that is the capstone of the psalms. Bryan’s spark had already allowed him to concoct a chorus based on Psalm 150:6, and the others, especially Kristyn, felt that this spirit of praise was not something based on one’s comfortable conditions, and in fact should ring out despite what someone was experiencing. The apostle Paul’s Philippians 4:4 message to ‘Rejoice!’ spoke to them collectively. These five could not have missed that Paul’s exclamation came though he was experiencing imprisonment at the time. They acknowledged amongst each other that ‘sing(ing) the bible’ meant that anxieties we humans endure, particularly among young people, cannot be ignored. Indeed, that’s where the Christian truths come into play, so that people look upward to recall Jesus’ promises, to pray for one another, to be thankful to Him in all things, and to offer praise as a sign of courage and trust. Their lyrics especially echo what the psalmist and Paul spoke so that others would follow, though difficulties intrude on one’s joy – ‘…be anxious for nothing’ (v.2), ‘the dark cannot destroy’ (v.3), and ‘…throughout every season’ (chorus), we all have reason to lift up a shout of rejoicing. Some might even call ‘Rejoice’ an anthem, something we use to re-center ourselves daily, to remind us that He is worthy and should be the focus of our beings.
The Gettys, Bryan Fowler, Ben Shive, and Skye Peterson would be the first to admit that they had recorded something in ‘Rejoice’ that was not new. And yet, the number of times that this refrain is repeated in the bible’s pages underscores that what they have produced musically is reflective of what God wants us to never forget. Run a search in your own bible app for forms of the words rejoice and praise…it should be constantly on our lips, if we recall His character and His actions for us. These five composers have not left those Godly character traits and the transport He gives as mysteries for us – ‘love’, ‘gentleness’, ‘goodness’ ‘grace’ (v.1); that He is ‘peace’, a ‘shepherd’, and ‘reigns eternal’ (v.2); that He gives us ‘hope’ and ‘joy yet to come’ (v.3) – those are what He possesses and translates as offerings to you and me. How could you turn down such an offer?
Read and hear the entire story of the song’s development here: The Story Behind:
Rejoice
Read some brief comments about the song’s purpose (from Keith Getty) here: Keith & Kristyn Getty & Rend Collective – Rejoice Lyrics | Genius Lyrics
See information on the map-graphic here: File:1837Londonderry.jpg - Wikimedia Commons…This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or fewer. {{PD-1996}} – public domain in its source country on January 1, 1996 and in the United States. This map-graphic may be found inside this article: County Londonderry - Wikipedia
