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346. Wade in the Water

Hymn 346Traditional African American Spiritual

Lyrics

Verse 1

Wade in the water,
Wade in the water, children,
Wade in the water,
God's a-going to trouble the water.

Verse 2

See that host all dressed in white,
God's a-going to trouble the water.
The leader looks like the Israelite,
God's a-going to trouble the water.

Verse 3

See that band all dressed in red,
God's a-going to trouble the water.
Looks like the band that Moses led,
God's a-going to trouble the water.

Verse 4

Look over yonder, what do you see?
God's a-going to trouble the water.
The Holy Ghost a-coming on me,
God's a-going to trouble the water.

Verse 5

If you don't believe I've been redeemed,
God's a-going to trouble the water.
Just follow me down to the Jordan's stream,
God's a-going to trouble the water.

Public domain traditional spiritual, first published 1901, based on John 5:2-9 and Exodus 14.

The Story Behind the Hymn

"Wade in the Water" is an African American spiritual that originated among enslaved people in the American South in the mid-1800s. Its author is unknown, shaped instead through the same oral tradition that produced most spirituals — sung, altered, and passed from one community to the next long before it was ever written down. It was first published in 1901 by the brothers Frederick J. Work and John Wesley Work Jr. in New Jubilee Songs as Sung by the Fisk Jubilee Singers.

The song draws on two distinct biblical waters at once. Its central verses recall Exodus 14, where God parts the Red Sea to deliver Israel from Pharaoh's army — the "band all dressed in red" and "the band that Moses led." Its refrain, "God's a-going to trouble the water," echoes John 5:2-9, the pool of Bethesda, where the stirring of the water signaled a moment of healing.

Like a number of spirituals from this period, "Wade in the Water" is understood to have carried a double purpose. Sung in worship, it served as a baptismal song, its central instruction fitting literally as well as spiritually. Sung along escape routes, it is believed to have carried a practical warning as well: entering the water threw off the scent trail that pursuers' dogs relied on, making the song's repeated command a piece of real survival instruction folded into worship.

That double meaning — worship and warning, baptism and escape — is characteristic of the spirituals as a body of song: hymns that could be sung openly in a slaveholder's hearing while still carrying a second meaning fully understood by those who needed to hear it.

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