This Song Made Me Cry — Mitch Wong’s The Name Above All Names
Music has a way of touching places words can’t reach. The Name Above All Names by Mitch Wong did exactly that for me — it made me cry. This review is part of my new Music Reviews & Reactions series, where I explore songs that move my soul and remind me why I got into music in the first place.
About The Song
Mitch Wong’s The Name Above All Names is a modern worship anthem that carries both reverence and intimacy. The arrangement builds gently — beginning with an electronic droning and a haunting vocal with sparse instrumentation before unfolding into a powerful, soaring chorus (and multiple ebbs and flows) that centers on the holiness of Jesus’ name.
The harmonies and backup vocals are haunting, electric and powerful and there’s a space between each line that allows the listener to breathe.
My Honest Reaction
The first time I heard it, I actually teared up, and wept a little. There’s something about the conviction in Mitch’s voice that feels unfiltered — like a direct line between heart and heaven. I wasn’t analyzing or reviewing at that moment; I was simply listening as a music lover.
I think that’s what makes music so powerful — you forget you’re listening to a song and realize you’re in a moment.
The Musician’s Ear — Instruments & Arrangement
The references I've made to timestamps are with regards to the Lyric Video on YouTube.
From a musician’s perspective, the production choices are masterful.
Before anything else can I just say that I'm in love with the bass and the drums. Oh my lord (pun not intended). There was this one part where the bass does a little run and just stops, giving some time before the next chorus and rise hits. I loved the playing and production on that.
I think it's commendable how Mitch (and perhaps his team or collaborators if he has some?), have blended modern production and sound, with an ageless and timeless orchestral-ish/big band-ish/stadium rock-ish performance which just builds and builds till the end.
It starts off with a rather laid back power pop ballad half-time (or less to be honest, barely heard any snare hits) feel, and then slowly builds into a hard rock, punk pop, driving drumming style, the type you hear when powerful drummers pull out all the stops on a song in performances and are allowed to not follow any strict beat for a certain set of bars. It spoke to me because I used to do similar in my time during my music degree, and the rather stuck-minded musicians (there were some), kept going, "Stop changing the beat!" LOL. This is music my friends, not a prison! LET THERE BE CHANGE AND FLOWING WHEN IT HAPPENS!
The blending of electronic elements and acoustic instrument sounds is also very smoothly done.
The guitar sound at 0:32 or so when it first comes in as a teaser, has a bit of that old school flavour, and sonically it's modern production but retains an amazingly warm vibe, with the saturation coming through strongly.
The percussion in the second verse (or second part of the first verse, however you want to view it), builds gently, but very richly. The choice to put shakers (or a similar effect you hear panned right) there over the cymbals wouldn't have occurred to me recently, but reminds me of my time when I played in percussion groups and the only logical conclusion I can come to is that Mitch is around music. Often. When you're playing music daily, all these things come to mind. I think most musicians would identify with what I'm saying here.
The large reverb on the cymbals and drums adds to the atmosphere magnificently. You feel like you're right inside the drum set, or at least, playing the drums yourself (to non-drummers, this is how it sounds when you're seated at the drum set). The other time I heard drums panned and mixed this way was with the bands Breaking Benjamin and The Pretty Reckless. Both have stunning drum mixes and performances which stop you in your tracks.
When Mitch breaks into the line "the name that only he deserves" at around 1:44 ( oh, ascension number associated with Christ Consciousness, who would have guessed it ;) ), I feel goosebumps all over my body.
The chorus after that which begins around 1:49, 1:50, which leads with "You're the name above all names," is so grand, just so grand, thanks to the guitar, bass and cymbals, without any heavy instrumentation yet, and is an effect I've seen few achieve in all my years listening to music. In short, the sound and mixing is amazing. Kick drum, cymbals, tom(s), guitar, bass, vocals. It's a real hollow, but huge, and sweet, container in that chorus before the buildup, where Mitch is really taking his time. It's almost like a rally and a war cry. I say that because I've heard what comes next, in and after the buildup which starts around 2:15. You know something's coming. Something powerful.
I also liked how at 2:32, the voice just fuses into that high-pitched instrument / electronic effect behind. I'm quite sure that wasn't a coincidence. 2:17 sees the entry of a 4 on the floor driving kick leading into the next section of this masterpiece. Every single line of lyrics here is powerful. There are no filler words. They're all powerful statements. Just sentence after sentence after sentence. Those combined with the driving kick just hit you in the chest and mind. And spirit. It's almost like a force engulfing you. Around 3:19 and 3:20, the kick intensifies into 8th notes (or double the initial pattern), and then cuts into the last break suddenly before the final buildup.
3:32 - It sounds like there are a few harmonies going on there with the backup vocalists which really accentuate the emotion and bliss.
3:43 - Final buildup. In layers. Drums on full throttle. Vocals and backup vocals complementing each other well. 4:25 - Drums end, but voice continues over the climax. Never really heard this type of arrangement before, but it works! 4:30 - Masterful vocals: melody, texture, rhythm and volume, and Mitch uses it to paint the ending almost like somebody finishing putting a bow on a present, deftly. A light vocal line or two, but then that swerve downwards at "all names", is like, "Yup, I'm ending it right here." I get the sense Mitch knows he's good. Perfect control.
Turn the volume up to 10. You are welcome.
The Message Behind the Melody
Beyond its musicality, the song carries a message of humility and devotion. There’s a recurring simplicity in the lyrics that pulls you inward — you’re not distracted by clever lines or production tricks. You’re reminded that reverence itself can be music.
Final Reflection
For me, The Name Above All Names reaffirmed what I love most about music — its ability to strip away ego and connect us with something larger.
If you’ve ever had a song make you stop, breathe, and feel the sacredness of sound — this is one of those songs.
Links to Mitch's Music
The Name Above All Names on Spotify:
► Check Out The Name Above All Names On Spotify by clicking here
► Browse Mitch Wong's Music Website by clicking here
If this review resonates with you, explore more songs that move the soul in my new YouTube playlist:
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