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Benjamin William Hastings has a way of writing worship songs that feels both expansive and deeply personal. His music can sound huge—filled with soaring melodies, layered production, and the kind of lyrics made for a room full of people singing together—while still carrying the intimacy of someone simply trying to put his faith into words.
Originally from Northern Ireland, Hastings first became widely known through his work with Hillsong UNITED, where his songwriting and vocals became part of some of the group’s most memorable recent music. His writing often explores the everyday side of faith: uncertainty, gratitude, surrender, hope, and the ongoing process of learning to trust God. There’s a thoughtful honesty to his songs that makes them feel less like declarations from a distance and more like conversations from within the journey.
As a solo artist, Hastings has continued developing that voice in his own distinctive direction. His music brings together modern worship, singer-songwriter storytelling, and an unmistakable sense of musical adventure. Whether he’s leading a congregation, collaborating with other artists, or simply singing about what he believes, Benjamin William Hastings has a gift for making worship feel both personal and wonderfully expansive.
For listeners discovering him through FishWorship, Hastings is an artist worth spending some time with. His songs aren’t always trying to give you a quick answer; sometimes they’re inviting you to sit with a question, a promise, or a moment of faith a little longer. And that’s part of what makes his music so compelling.
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🎤 See Benjamin William Hastings Live: Concert Tickets | Official Events Calendar
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🎬Featured Video: “Yahweh”
There’s something wonderfully expansive about “Yahweh.” Benjamin William Hastings brings together Aodhan King and Tiffany Hudson for a worship song that feels both intimate and enormous, building from a simple declaration into a sweeping expression of who God is. Rather than trying to overcomplicate the message, the song keeps returning to the name at its center: Yahweh.
The collaboration makes the song especially compelling. Hastings, King, and Hudson each bring their own vocal character to the recording, creating a sense of conversation and shared worship rather than simply three voices singing the same song. The result feels natural and communal—the kind of song that can work just as well in a personal moment of worship as it can with a room full of people singing along.
The official music video captures that same sense of scale and intimacy. It gives “Yahweh” room to breathe while keeping the focus on the worship itself. For anyone discovering Benjamin William Hastings for the first time, it’s a beautiful introduction to the combination of thoughtful songwriting, modern worship, and genuine musical collaboration that has become such a recognizable part of his work.
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🎵Essential Songs
“So Will I (100 Billion X)”
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“So Will I (100 Billion X)” is one of those worship songs that manages to make something enormous feel remarkably personal. Written by Joel Houston, Benjamin William Hastings, and Michael Fatkin, the song traces the wonder of creation—from the beginning of the universe to the smallest details of life—and turns that wonder into a simple response of surrender: if all of creation responds to God, so will I.
Recorded by Hillsong UNITED for their 2017 album Wonder, the song became one of the group’s most recognizable worship songs. Hastings’ involvement as a songwriter is especially significant, because the song reflects many of the qualities that would become familiar in his later work: thoughtful imagery, an expansive view of God, and lyrics that invite the listener to participate rather than simply observe.
There is a reason “So Will I” has continued to resonate with worship listeners. Its central idea is beautifully uncomplicated. The stars, the oceans, the mountains, and every living thing point toward their Creator—and the singer chooses to do the same. It turns the wonder of creation into a personal act of worship, making “So Will I (100 Billion X)” one of the defining songs in Benjamin William Hastings’ songwriting journey.
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“That’s the Thing About Praise”
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“That’s the Thing About Praise” captures something wonderfully simple about worship: sometimes you praise God because everything is going right, and sometimes you praise Him because you have decided to praise Him anyway. Benjamin William Hastings brings that idea to life with a song that feels honest about the ups and downs of faith without losing its sense of joy.
Featuring Blessing Offor, the song has an infectious, almost conversational quality. Hastings doesn’t present praise as something reserved for perfect moments; instead, he explores what happens when worship becomes a choice that remains steady through changing circumstances. The result is a song that feels encouraging without pretending that difficult seasons aren’t difficult.
That honesty is part of what makes “That’s the Thing About Praise” such a memorable entry in Hastings’ catalog. It doesn’t demand that we have everything figured out before we worship. Sometimes, praise is simply the response we choose in the middle of whatever life happens to be bringing our way.
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“Take You at Your Word”
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“Take You at Your Word” is a beautiful expression of what it means to trust God when faith requires more than simply understanding what lies ahead. Recorded by Cody Carnes with Benjamin William Hastings, the song centers on a remarkably straightforward decision: to believe what God has said and build our lives around His promises.
There is something refreshing about the song’s simplicity. Rather than trying to explain away uncertainty, “Take You at Your Word” acknowledges that we don’t always know how things will unfold. Faith, in this song, is choosing to trust God’s character even when the circumstances around us don’t provide all the answers we’d like.
Hastings’ contribution fits naturally into that message. His songwriting frequently finds the intersection between big theological ideas and the very human experience of trying to live them out. “Take You at Your Word” turns that experience into a worship song that is easy to sing but carries a deeper invitation: to let trust become more than an idea and actually shape the way we live.
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“Homeward”
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“Homeward” is a deeply personal song from Benjamin William Hastings, built around the idea of moving through life with an awareness that we are ultimately headed home. There is a sense of both longing and hope throughout the song, as Hastings reflects on the journey of faith and the promise of something beyond the circumstances of the present moment.
What makes “Homeward” especially moving is the way it balances the ordinary and the eternal. The song doesn’t ignore the miles we’ve traveled or the things we’ve experienced along the way. Instead, it suggests that every step—joyful or difficult—is part of a larger journey toward home. Hastings’ conversational songwriting style makes that idea feel less like an abstract theological concept and more like something we can recognize in our own lives.
There is also a quiet confidence running underneath the song. “Homeward” isn’t simply about wanting to arrive somewhere; it’s about continuing the journey with hope. For listeners who have experienced seasons of change, uncertainty, or simply the passage of time, the song offers a beautiful reminder that faith gives the journey a destination.
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“Anyway”
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“Anyway” is one of those Benjamin William Hastings songs that feels particularly honest about the tension between faith and circumstances. At its heart is a decision to keep trusting and keep worshiping even when life doesn’t unfold the way we hoped it would. There is no attempt to pretend that disappointment isn’t real; instead, the song asks what it means to choose God in the middle of it.
That honesty is what gives “Anyway” its emotional weight. Hastings has a gift for taking an idea that might sound simple on paper and exploring the questions underneath it. What happens when the answer doesn’t come? What happens when the prayer seems unanswered? What does faith look like when we don’t get to see the outcome we wanted? “Anyway” doesn’t rush past those questions—it turns them into an expression of continued trust.
The result is a worship song that feels less like a triumphant declaration and more like a personal conversation with God. Sometimes faith isn’t about having everything make sense. Sometimes it’s simply saying, “I will still choose You anyway.” That quiet determination makes “Anyway” a particularly meaningful part of Hastings’ solo catalog.
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“Abandoned”
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“Abandoned” captures one of the most familiar themes in Christian worship: surrendering ourselves completely to God. Benjamin William Hastings approaches that idea not as a dramatic one-time decision, but as an ongoing willingness to let go of our own plans, expectations, and need for control.
There is a vulnerability to the song that makes its message especially compelling. To live with an “abandoned” heart means trusting God enough to follow even when the destination isn’t clear. Hastings’ songwriting often finds that space between certainty and faith, and here he turns it into a heartfelt expression of willingness: whatever comes next, God can be trusted with it.
Rather than feeling heavy or restrictive, “Abandoned” carries a sense of freedom. There is something liberating about realizing that we don’t have to control every outcome ourselves. The song invites listeners to loosen their grip, trust the One they’re following, and discover what wholehearted surrender can look like in everyday life.
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“Gratitude”
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“Gratitude” is a song about discovering that sometimes the most appropriate response to God isn’t another request, but simply saying thank You. Benjamin William Hastings co-wrote the song with Brandon Lake, and together they create a worship moment that feels remarkably uncomplicated: looking at what God has already done and responding with genuine thankfulness.
The song doesn’t require a perfect life in order to find reasons for gratitude. Instead, it encourages the listener to recognize God’s goodness in the middle of an imperfect and unfinished story. That makes the message feel particularly accessible. We don’t have to wait until everything is resolved before we can stop and appreciate the blessings, faithfulness, and grace we’ve already experienced.
There’s a warmth to “Gratitude” that makes it work beautifully as a worship song. Hastings’ thoughtful songwriting and Lake’s expressive delivery come together naturally, creating something that feels less like a performance and more like a personal prayer of thanks. At its heart, the song is a reminder that gratitude can change the way we look at the journey we’re already on.
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“Highlands (Song of Ascent)”
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“Highlands (Song of Ascent)” is a beautiful reflection on finding God not only in the mountaintop moments, but also in the valleys along the way. Recorded by Hillsong UNITED, the song was written by Joel Houston and Benjamin William Hastings, and its central message is one of trust: wherever the journey leads, God is there.
The imagery of mountains and valleys gives the song much of its emotional power. We naturally associate the high places with moments of joy, victory, and spiritual clarity, while the valleys can represent seasons of struggle, uncertainty, or waiting. “Highlands” turns that expectation around, reminding us that God’s presence isn’t limited to the places where life feels easy. The God we encounter on the mountain is also present in the valley.
That idea makes “Highlands” feel especially personal. Faith isn’t simply about reaching the next mountaintop; sometimes the journey itself becomes an act of worship. Hastings and Houston give that journey a memorable musical voice, creating a song that has resonated with worshipers who have experienced both the highs and lows of following God.
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“Waiting to See What God Does”
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“Waiting to See What God Does” captures one of the harder parts of faith: trusting God when the story hasn’t unfolded yet. Benjamin William Hastings and Aodhán King turn that familiar experience of waiting into a song filled with anticipation, choosing to look ahead with expectation rather than allowing uncertainty to become discouragement.
There is something wonderfully honest about the song’s perspective. Waiting can be uncomfortable precisely because we don’t know what is coming. We can pray, hope, and make plans, but ultimately there are things we cannot control. Instead of pretending to have all the answers, the song embraces that uncertainty and finds a reason for hope in the simple belief that God is still working.
The result is a song that feels less like a declaration that everything will happen exactly as we expect and more like an expression of trust in the One who knows what comes next. Hastings and King give that waiting a sense of movement and anticipation, turning an uncertain season into an opportunity to watch, listen, and see what God might do.
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“Yahweh”
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“Yahweh” is a worship song centered on the name of God and the awe that comes from simply being in His presence. Benjamin William Hastings joins Aodhán King, Tiffany Hudson, and Bella Taylor Smith for a song that feels expansive without losing its intimacy. Rather than trying to explain everything about God, “Yahweh” pauses to focus on who He is.
The collaboration gives the song a beautiful sense of shared worship. Hastings, King, Hudson, and Taylor Smith each bring their own voice to the recording, creating something that feels larger than any one performer. The arrangement gradually opens up, allowing the repeated declaration of God’s name to become the heart of the song.
There is a simplicity to “Yahweh” that is part of its appeal. In a world where worship songs can sometimes try to say everything at once, this one is content to linger on a single truth. The result is a song that feels both reverent and inviting—a reminder that sometimes worship doesn’t require many words at all. Sometimes simply speaking the name of God is enough.
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💿Essential Albums
Benjamin William Hastings
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Benjamin William Hastings’ self-titled debut is an ambitious introduction to an artist who had already spent years helping shape modern worship music through his songwriting and work with Hillsong UNITED. Released in 2022, Benjamin William Hastings gives him the space to step out from behind individual songs and collaborations and let listeners hear the breadth of his own musical voice.
The album is remarkably expansive, moving between intimate singer-songwriter moments, contemporary worship, and larger, more atmospheric productions. Hastings isn’t afraid to take his time with an idea, and many of the songs feel like chapters in a much larger conversation about faith, doubt, surrender, hope, and the ordinary experiences that shape a life of following God.
What makes the album particularly interesting is that it doesn’t feel like Hastings simply trying to reproduce the sound of the worship music that made him known. Instead, Benjamin William Hastings reveals the songwriter behind those songs. There is room for questions, vulnerability, humor, reflection, and even a little musical unpredictability alongside the more familiar worship moments.
For listeners discovering Hastings through his better-known collaborations, the self-titled album is an important place to spend some time. It shows why his songwriting has connected with so many listeners while making it clear that Benjamin William Hastings is more than simply a name in the credits of someone else’s worship song. This is his story, his voice, and his invitation to listen.
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Sold out, sincerely
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Sold out, sincerely finds Benjamin William Hastings continuing to explore what faith looks like when it gets lived out in the real world. Released in 2024, the album builds on the musical and lyrical foundation of his self-titled debut while feeling more focused and confident in its own identity. Hastings remains willing to explore big questions, but he does so with the conversational honesty that has become one of his defining characteristics.
The album’s title itself hints at its central theme: what does it mean to give yourself completely to something? Hastings explores surrender, commitment, trust, and the cost of following God without turning those ideas into abstract concepts. His songs often feel like someone thinking out loud—sometimes certain, sometimes questioning, but consistently willing to be honest about the journey.
Musically, Sold out, sincerely continues Hastings’ tendency to move beyond the boundaries of conventional contemporary worship. There are expansive worship moments alongside more personal and experimental songwriting, giving the album a sense of variety while maintaining a common thread. His distinctive voice and lyrical style remain at the center, making the record feel unmistakably his.
For anyone who discovered Benjamin William Hastings through songs like “So Will I (100 Billion X)” or “Highlands,” Sold out, sincerely offers a deeper look at the songwriter behind those familiar credits. It’s an album about wholehearted faith, but it doesn’t pretend that wholehearted faith means having everything figured out. Instead, Hastings invites the listener into the process of becoming increasingly willing to trust, follow, and give everything over to God.
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How I’d Sing It on a Sunday
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How I’d Sing It on a Sunday feels like Benjamin William Hastings stripping worship back to something deeply personal. Released in 2025, the album presents songs with a sense of intimacy and reflection, allowing the songwriting itself to take center stage. The title suggests exactly the kind of perspective Hastings brings to the project: not simply how a song should sound on a recording, but how he might sing it when gathered with other people to worship.
The album reflects Hastings’ gift for taking familiar themes—faith, surrender, God’s presence, gratitude, uncertainty—and approaching them from a personal angle. There is a conversational quality throughout, as though the listener has been invited into a room where Hastings is working through what these songs mean to him rather than simply delivering polished worship performances.
That sense of authenticity is particularly fitting for an artist whose songwriting has always balanced the personal with the congregational. Hastings understands how to write songs that can fill a large room, but How I’d Sing It on a Sunday reminds us that worship begins somewhere much smaller: one person, one voice, and a desire to turn toward God.
For longtime listeners, the album offers another glimpse into Hastings’ evolving musical identity. For someone encountering him for the first time, it provides a quieter and more intimate doorway into his work—one that puts the heart of the songwriter and the heart of worship remarkably close together.
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Happy To Be Here
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Happy To Be Here finds Benjamin William Hastings embracing a title that says quite a lot with very few words. Released in 2026, the album carries a sense of gratitude and contentment, while still reflecting the honesty that has become such an important part of Hastings’ songwriting. Rather than presenting faith as a destination where every question has been answered, the record finds beauty in simply being present for the journey.
The album continues Hastings’ willingness to move comfortably between contemporary worship and more personal singer-songwriter territory. His music has always had room for big, expansive ideas, but Happy To Be Here brings those ideas back to everyday life—relationships, experiences, faith, uncertainty, and the simple realization that there is plenty for which to be thankful.
There’s also a sense of maturity in the album’s perspective. Being “happy to be here” isn’t necessarily about having an easy life or having everything go according to plan. It can be an expression of gratitude for where you are right now, even while you’re still becoming the person you’re meant to be. That makes the album’s title feel less like a slogan and more like a posture toward life.
For listeners who have followed Hastings from his Hillsong UNITED songwriting days through his solo work, Happy To Be Here represents another step in an ongoing musical journey. It’s an album that leaves room for worship, reflection, and simply enjoying the gift of being here—and that combination feels very much at home in Hastings’ evolving voice.
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