Who Is on the Lord’s Side?
Lyrics
Who will be His helpers, other lives to bring?
Who will leave the world’s side? Who will face the foe?
Who is on the Lord’s side? Who for Him will go?
By Thy call of mercy, by Thy grace divine,
We are on the Lord’s side—Savior, we are Thine!
Enter we the army, raise the warrior psalm;
But for love that claimeth lives for whom He died:
He whom Jesus saveth marches on His side.
By Thy love constraining, by Thy grace divine,
We are on the Lord’s side—Savior, we are Thine!
But with Thine own lifeblood, for Thy diadem;
With Thy blessing filling each who comes to Thee,
Thou hast made us willing, Thou hast made us free.
By Thy grand redemption, by Thy grace divine,
We are on the Lord’s side—Savior, we are Thine!
But the King’s own army none can overthrow;
’Round His standard ranging, vict’ry is secure,
For His truth unchanging makes the triumph sure.
Joyfully enlisting, by Thy grace divine,
We are on the Lord’s side—Savior, we are Thine!
Chosen, called, and faithful, for our Captain’s band;
In the service royal, let us not grow cold,
Let us be right loyal, noble, true and bold.
Master, wilt Thou keep us, by Thy grace divine,
Always on the Lord’s side—Savior, always Thine!
Bible Reference
Exodus 32:26
About This Hymn
"Who Is on the Lord's Side?" is a stirring hymn of consecration and allegiance, written by Frances Ridley Havergal in 1877. Drawing directly from the dramatic scene in Exodus 32:26, where Moses calls the Israelites to make a decisive choice after the golden calf incident, this hymn challenges believers to declare their loyalty to God. It is both a call to action and a spiritual enlistment song for the Christian life.
Frances Havergal was known for her deeply devotional hymns that often reflected a personal sense of surrender, holiness, and commitment. In this hymn, she combines bold, martial imagery with heartfelt devotion, urging Christians to take their stand publicly and without shame. The repeated refrain, “Who is on the Lord’s side?” resonates like a trumpet call, demanding an answer from every soul. She contrasts the allegiance to the Lord with the opposition of the world and the flesh, and reminds the singer that service to Christ, while demanding, is a high and holy privilege.
The music most commonly associated with this hymn was composed by William H. Jude. The hymn is set in a strong 4/4 meter, matching its martial tone and making it suitable for congregational singing, particularly in times of dedication, ordination, or spiritual rally. The rhythm and structure support the confident and resolute message of the lyrics.
What sets this hymn apart is its focus on personal choice and responsibility. Rather than being passive observers, believers are called to enlist in the Lord's army, to be “by Thy grace divine, on the Lord’s side.” It echoes the New Testament teaching found in Romans 12:1–2 and 2 Timothy 2:3, which call Christians to be living sacrifices and good soldiers of Jesus Christ. Frances Havergal’s own life was marked by disciplined devotion, and this hymn captures the essence of her spiritual message: wholehearted, joyful service to the Lord.
"Who Is on the Lord’s Side?" continues to be used in church services, Christian conferences, and missionary meetings where commitment and spiritual decision are emphasized. Its message remains timeless, reminding every believer that loyalty to Christ requires boldness, conviction, and a willing heart.
From the Dictionary of Hymnology
Related terms and concepts automatically matched to this hymn.
Abba, gentle Jesus prayed Hymnology
John Samuel Bewley Monsell's devotional hymn exploring Christ's intimate prayer to the Father, published in 1866 and later included in Snepp's collection.
Read moreAddiscott, Henry History
Biographical entry for Henry Addiscott (1806–1860), English Congregational minister and author of the hymn "And is there, Lord, a cross for me."
Read moreAccepted, Perfect, and Complete Hymnology
A structural and publication chronicle of Frances Ridley Havergal's devotional hymn, tracing its specific scriptural foundations and its subsequent appearance in Victorian poetic collections.
Read more
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