What "Think About His Love" means
The title is an instruction before it is a song. Stop. Think. Let the mind do what the culture has trained it not to do, which is dwell on something without needing to resolve it. Walt Harrah wrote a song that asks the congregation to practice meditation rather than perform a declaration, and the difference matters theologically. Romans 8:38-39 is the content given to the mind: nothing, not death or life or angels or powers or height or depth or anything in all creation, can separate the believer from the love of God. That is not a short list. The apostle Paul was covering every category of opposition that a first-century listener could imagine, and the song inherits that comprehensiveness. Key of Bb for male voices, Eb for female, at 80 BPM in 4/4. The tempo is the theology: unhurried, steady, not trying to impress. Zephaniah 3:17 adds the detail that should stop a room: God himself sings over his people with delight. His love is not mere toleration but an active, musical affection. The song is an invitation into the kind of love that rewards sustained attention, that does not exhaust itself under scrutiny but deepens.
What this song does in a room
Stillness, when it comes over a congregation, is usually earned. This song earns it. The room quiets not because it is told to but because the lyric creates a gravitational pull toward inward attention. Worshipers who arrived distracted find themselves stopping. The invitation to think rather than declare creates a different quality of engagement, one where the analytical mind is not asked to stand aside but is asked to participate in a specific direction. By the second or third time through a chorus, something has shifted from comprehension to encounter. The song does not manufacture emotion; it creates conditions where a genuine response becomes possible. The room that sings this song well often goes quiet when the music ends, which is a sign the meditation is continuing rather than concluding. That quietness is not failure; it is what the song was designed to produce.
What this song is saying about God
The song says the love of God is a subject worthy of sustained intellectual engagement, not just an emotional response. It says God's love is comprehensive in scope, reaching across every possible circumstance and opposition. Ephesians 3:18-19 names four dimensions: breadth, length, height, and depth. The song says those dimensions are real, not metaphorical padding, and that they reward repeated contemplation. It says God's love is not only immense but personal, which Zephaniah 3:17 carries: he rejoices over his people with singing, delighting in them with his love and quieting them with that delight. A God who sings over those he loves is not distant or administrative. The song holds both the cosmic scale and the intimate character of divine love in the same lyric, which is the pastoral achievement. Many songs accomplish one or the other; this one holds both.
Scriptural backbone
- Romans 8:38-39: nothing in all creation can separate us from the love of God in Christ Jesus
- 1 John 3:1: "see what great love the Father has lavished on us, that we should be called children of God"
- Ephesians 3:18-19: the breadth, length, height, and depth of Christ's love that surpasses knowledge
- Zephaniah 3:17: the Lord rejoices over his people with singing, quieting them with his love
- Psalm 8:4: what is mankind that God is mindful of them, the son of man that he cares for him
How to use it in a service
This song belongs in moments where receptivity is the goal rather than declaration. Healing services, prayer ministry sets, retreats, and pastoral care contexts are its natural home. In a regular Sunday service, place it at a moment where the congregation has already been warmed by teaching or earlier worship, so the invitation to meditate lands in prepared soil rather than cold ground. A brief spoken invitation before the first verse, something as simple as naming one specific expression of God's love and asking the congregation to bring their own, transforms the song from performance to participation. Do not rush out of it; follow it with silence, prayer, or an open moment for response. The song plants something; let the planting settle before moving on.
Things to watch for as the worship leader
The medium tempo is a trap for two different errors. The first is dragging, where reverence slows the song to a dirge and kills the meditative quality. The second is rushing, where energy covers absence of engagement. Lead at 80 BPM with enough conviction in the body to communicate that the meditation is real, not performed. Watch for the congregation to settle, and when they do, do not disturb that settledness with unnecessary vocal movement or ornamentation. Clarity in the lyric delivery matters more than any vocal technique. If the congregation begins to engage, follow them rather than leading them further; that is the whole point of a song structured around thinking rather than performing. Your job in this song is more about holding the space than filling it.
A note for the team behind you (techs, vocalists, band)
Vocalists, simplicity is the skill here. Ornamental runs during the chorus undermine the contemplative quality the song is building; resist the pull toward demonstration. Blend into the lead vocal and hold the harmonic foundation clearly so the congregation can find it and lean into it. Band members, the arrangement serves one purpose: keeping the room in the meditation without disturbing it. Piano with warm pads is the architecture; every other instrument should ask whether it is adding or cluttering. Techs, this is a mix where the room needs to feel intimate regardless of venue size. Watch that reverb and delay feel warm rather than distant, present rather than echoey. If post-song ministry happens, plan the transition carefully so the room does not lurch from contemplation to logistics.