George Askins or Atkins

Hymn History: Brethren We Have Met to Worship & Author: George Askins or Atkins

“He was a man of small stature, and a cripple, one of his legs being withered up to the hip; yet he was more active on foot than any cripple I ever saw. Notwithstanding his bodily infirmity, he was full of spirit, and a stranger to fear. No threats could deter him from speaking his sentiments.”
(Rev. John Stamper)

The Origin of the Hymn “Brethren, We Have Met to Worship”

Among the oldest and most beloved hymns written by an American author, “Brethren, We Have Met to Worship” stands as a classic of early 19th-century revival hymnody. Its earnest call to worship, heartfelt appeal for revival, and community-centered spirit have made it a staple in camp meetings, rural churches, and hymnals for more than two centuries. Written by George Askins and later set to the familiar tune HOLY MANNA, this hymn remains one of the most enduring expressions of unity and devotion in American Protestant worship.

The Hymnwriter: George Askins

George Askins (1793–1827) was a Methodist minister and hymnwriter from Tennessee. While not much is known about his life, historical records identify him as an early circuit-riding preacher who served in the frontier regions of the American South. Like many ministers of his time, Askins’ work was shaped by the fervor of the Second Great Awakening, a period of spiritual revival that swept across America during the early 1800s.

Askins’ ministry brought him into the heart of the camp meeting movement—a form of outdoor revival where hundreds, sometimes thousands, of believers would gather for days of preaching, prayer, and song. These meetings emphasized heartfelt faith, personal repentance, and the power of the Holy Spirit. In that setting, spontaneous songs of praise and simple, memorable hymns flourished. It was in this context that George Askins wrote “Brethren, We Have Met to Worship.”

The Writing and Purpose of the Hymn

The hymn first appeared in the Baptist Harmony (1819), a songbook compiled by William Walker and used widely throughout the southern and western United States. Its appearance in this collection helped spread it quickly among churches and camp meetings.

Askins’ text captures the spirit of communal worship—simple, earnest, and full of Scriptural truth. The opening lines are an invitation not only to gather for worship but to come with hearts prepared for the presence of God:

Brethren, we have met to worship
And adore the Lord our God;
Will you pray with all your power,
While we try to preach the Word?

From the start, Askins places prayer and preaching at the center of the worship gathering. The hymn calls on believers to actively participate—not as spectators but as prayerful partners in the ministry of the Word. It reflects the cooperative spirit of early American worship, where all were expected to join in prayer, song, and testimony.

The second stanza adds a sense of urgency and compassion for the lost:

See our fathers and our mothers,
And our children sinking down;
Brethren, pray, and holy manna
Will be showered all around.

Here, the “holy manna” symbolizes the spiritual nourishment and blessing that come when God’s people unite in fervent prayer. The language evokes both the Old Testament story of manna from heaven and the New Testament outpouring of the Holy Spirit. The hymn is both a call to worship and a prayer for revival.

Later verses deepen this appeal, reminding worshipers of the brevity of life and the eternal significance of salvation. The closing stanza turns the focus toward heaven:

Then He’ll call us home to heaven,
At His table we’ll sit down;
Christ will gird Himself and serve us
With sweet manna all around.

This vision of the heavenly feast ties the earthly gathering of believers to the eternal fellowship of the redeemed—a theme common in revival hymnody, where the joys of heaven were seen as the ultimate fulfillment of worship on earth.

The Tune: HOLY MANNA

While George Askins wrote the text, the tune most commonly associated with it—HOLY MANNA—was composed by William Moore, a singing-school teacher from Tennessee. The tune first appeared in Columbian Harmony (1829). Written in a pentatonic (five-note) scale and arranged in the simple, robust style of early American folk hymnody, HOLY MANNA is ideally suited to congregational singing, even without musical accompaniment.

The pairing of Askins’ text with Moore’s tune was natural and enduring. The melody’s lively, rhythmic character reflects the energy and joy of early American worship, while its straightforward structure made it easy for worshipers of all musical abilities to join in. Together, text and tune create a hymn that is both heartfelt and powerful.

A Hymn of Revival and Fellowship

“Brethren, We Have Met to Worship” became especially popular in the camp meeting and shape-note singing traditions of the 19th century. Its strong communal focus—“brethren,” “sisters,” “fathers and mothers,” and “children”—mirrored the close-knit, family-like nature of frontier faith communities. The hymn served as both a call to worship and a reminder of the church’s shared mission.

It also captured the democratic spirit of early American Christianity. In an age before professional choirs or organs were common in rural churches, everyone participated in song. The emphasis was not on musical perfection but on sincerity of heart and unity in purpose.

Enduring Legacy

Over 200 years after its composition, “Brethren, We Have Met to Worship” remains a favorite hymn across denominations. It appears in dozens of modern hymnals and continues to be sung in churches, revival services, and shape-note singings. Contemporary arrangements have introduced it to new audiences while preserving its folk character and timeless message.

Its appeal lies in its simplicity and sincerity. It is a hymn that brings believers together—not only in song, but in spirit. Whether sung under a revival tent, in a rural chapel, or in a modern sanctuary, its words still ring true: that genuine worship begins with humble hearts, united prayer, and a shared longing for God’s presence.

Conclusion

“Brethren, We Have Met to Worship” is more than a hymn—it is a living link to America’s early spiritual heritage. Written by a humble Methodist preacher amid the fervor of the frontier revivals, it continues to call the church to gather in unity, prayer, and praise. Its message remains as relevant today as it was in 1819: that when believers meet to worship sincerely, God Himself meets them there—and the “holy manna” of His grace is showered all around.