‘The Great I Am’ by Joyce Ochelle featuring Meque Eunice Bako opens with a direct scriptural declaration drawn from Exodus 3 verse 14, immediately anchoring the song in divine identity. The reference to “I AM THAT I AM” is not treated as a dramatic opener, but as a foundation. Before any rhythm enters, the listener is invited to sit with the weight of God’s self revelation.

When the drums eventually come in, the sound moves into a groovy, celebratory space without losing its spiritual focus. The rhythm does not distract from the message but carries it forward. From the opening moments to the very end, the song maintains a steady sense of joy and confidence, framed by biblical imagery that points back to the mighty works God accomplished through Moses.

One of the noticeable strengths of the song lies in its arrangement. The beat is intentionally heavy, yet carefully controlled. The verses are given enough space to land clearly, allowing the listener to engage with the words without feeling rushed. When the chorus arrives, the instrumentation rises naturally, becoming fuller and more expressive. This shift feels deliberate and fitting for a song centred on proclamation.

There is also a thoughtful balance between the vocals and the production. Every line remains audible and meaningful. While the chorus leans into a stronger and more immersive sound, it feels appropriate for a declaration of ‘The Great I Am.’ The verses, however, remain restrained, creating room for reflection and understanding.

This level of intentionality in how the song is crafted is notable for an artist whose work has received recognition within the UK Christian music space, including chart performance and award consideration. The structure and restraint suggest a songwriter shaped by worship leadership, where sound is designed to serve meaning rather than compete with it. The inclusion of a pastoral voice through Meque Eunice Bako adds further weight to the song’s priestly posture, lending spiritual authority and credibility to its declarations.

Lyrically, the song stays rooted in scripture and divine identity, moving from clear declarations of who God is to reminders of what He has done. The writing leans heavily on biblical imagery drawn from the Exodus narrative, particularly the revelation of God as the self existing I AM. Rather than over explaining, repetition and simple affirmations are allowed to carry the message, making the lyrics both accessible and theologically grounded.

As the song draws towards its close, the repeated hallelujah chant lifts the atmosphere before the adlibs gently invite the listener into participation. Affirmations of God’s faithfulness and His ability to work all things together for good feel less like performance and more like spoken truth. It is a fitting ending for a song that began with declaration and concludes in confidence.

Overall, ‘The Great I Am‘ is a well structured studio worship song that blends scripture, celebration, and thoughtful production. It keeps its focus firmly on who God is from start to finish, offering listeners reassurance and a clear reason to respond in praise.