What this song does in a room
Most worship songs ask the congregation to feel something. This one asks them to look at something. There is a difference, and rooms respond to it differently.
"With All Of Heaven" pulls the gaze of the room upward. By the second verse, you can usually sense the shift. The people who walked in carrying the week start to forget the week, not because the song distracted them, but because the song widened the camera. Suddenly the room is not the only room. There are other voices in the rafters.
This is not a song for adrenaline. It is a song for awe. If you try to lead it like a stadium anthem, you will flatten what it is actually doing. The song works when the room gets quieter the longer it plays, because quietness is the appropriate response to actually seeing God.
What this song is saying about God
The theological backbone is Isaiah 6:1-3. The seraphim cover their faces, cover their feet, and cry "Holy, holy, holy is the Lord of hosts. The whole earth is full of his glory." The triple repetition is the Hebrew superlative. Not just holy. Not just very holy. The most holy a thing can be.
Revelation 4:8-11 picks up the same scene and extends it into the eternal present. The four living creatures "day and night never cease to say, Holy, holy, holy." The song is asking your congregation to join a worship service that has been in progress since before the world began. You are not starting the song. You are joining the song.
Colossians 1:15-20 grounds the worthiness in the person of Christ. "He is the image of the invisible God, the firstborn of all creation. For by him all things were created." The one being worshiped is the one through whom everything exists. The song is not flattering a distant deity. It is naming the Creator who holds atoms together while your congregation sings.
Psalm 29:2 gives the practical instruction. "Ascribe to the Lord the glory due his name. Worship the Lord in the splendor of holiness." Notice the word ascribe. To ascribe is to assign credit. The song is teaching your room to assign glory to the only one it actually belongs to.
When the chorus declares that all of heaven sings, your congregation is not making a claim about themselves. They are joining a claim that heaven has been making forever.
Where to place this song in your set
In the Gospel Ark framework, this is Adoration material. It belongs in the part of the set where the church beholds God before God's character is applied to anything. Do not rush past it to confession or response. Let it sit.
In the Isaiah 6 framework, this is the entry point. Verses 1-3. The vision before the conviction. Before "woe is me" there is "holy, holy, holy." The song trains your congregation in the seeing that has to come first.
In the Tabernacle framework, this is Holy Place leaning toward Holy of Holies. Not Outer Court energy. The song wants the curtain to be thin.
A strong placement is second in a set, after an opener that has gathered the room. Avoid using it as a closer unless you want the room to leave hushed. It works beautifully near communion, because communion already trains the room in the kind of looking the song requires.
Practical notes for leading this song
The default male key is B and the default female key is Db. The tempo sits at 72.5 BPM in a 2/4 time signature. That 2/4 feel is part of what makes the song feel weighty. Do not let your drummer treat it like 4/4 cut in half. The pulse should feel like a heartbeat, not a beat.
Key choice matters more here than usual. B is a low key for most congregations, so consider moving up to C if your room sits in a slightly higher tessitura. The chorus needs to be singable without straining, because strained voices cannot hold a posture of reverence.
For the production side. Lighting: this is a haze and slow-wash song. Avoid color movement on the chorus. The song wants the room to feel like a sanctuary, not a concert. Audio: pad the verses heavily and let the band enter gradually. The first chorus should still feel restrained. ProPresenter: keep the slide background simple. If your operator has a tendency to choose ornate motion backgrounds, ask for a still or very subtle motion for this song. The lyric needs to be the only thing competing for attention.
The techs are worship leaders too. Brief them on the posture you want the room to take, not just the cues to hit.
Songs that pair well
Going in. "Holy Forever" (Chris Tomlin). "Agnus Dei" (Michael W. Smith). "Revelation Song" (Kari Jobe). Any of these primes the room for the heavenly worship language.
Going out. "Goodness of God" (Bethel), if you want to pivot from God's worth to God's character. "King Of Kings" (Hillsong Worship). "Behold Him" (Paul Baloche).
Avoid pairing with a high-energy declarative song immediately after, because the room needs time to integrate the awe before being moved to celebration.
Before you lead this song
Your congregation came in distracted. This song is not asking them to feel more. It is asking them to see more. Lead it slowly enough that the seeing can happen. Let the bridge land without filling it. The room does not need your voice in those moments. They need the silence that follows the seraphim's cry.