Trevor Hall's "my god" is a five-minute spiritual music video that uses sacred imagery, cosmic Earth photography, and lyrical invocation to explore the divine feminine as both transcendent principle and immanent life force. The song frames God not as abstract doctrine but as the alive presence coursing through body, nature, and consciousness—particularly through the feminine principle and Earth itself. Hall's approach mirrors contemporary spiritual music that honors non-dual consciousness, feminine spirituality, and the body as a site of direct divine encounter.
What Is the Central Vision of "my god"?
Trevor Hall's "my god" is structured as a spiritual invocation rather than a narrative song. The lyrics and music work together to call attention to divine presence already within and around the listener. The video, directed by Natasha Ali, uses Earth Observatory imagery—shots of planetary beauty, atmospheric phenomena, and cosmic scale—to visually anchor the song's spiritual claims: that the divine moves through the material world itself, not beyond it.
The song's opening line—"I can hear it calling through the thunder back to my god"—establishes sound as the primary pathway to divine awareness. Thunder, typically a symbol of power or warning, becomes here a transmitter of sacred calling. This reframes how we listen: not to interpret language, but to perceive presence moving through natural phenomena.
How Does the Divine Feminine Function in This Spiritual Vision?
The song repeatedly refers to the divine as "she" and "her," positioning the feminine principle as the primary expression of God. Hall sings: "the sound the healer i can feel her this is my god." This is not deity as paternal authority but as healing presence, vibrational medicine accessible through feeling.
The lyrics "she told me within the man another man this is my god" suggests a nondual understanding: within individual consciousness dwells infinite consciousness. The divine feminine is not separate from or above masculine expression—she is the underlying unity within all being. She is the principle that reveals sameness beneath apparent distinction.
A later passage deepens this imagery: "she's running she's running through / but her beauty is so / that the whole earth and the sky / is with her beauty / she's like the moon." The moon, traditionally associated with feminine cycles and inward reflection, becomes the visual metaphor for how the divine feminine moves through creation. She is not localized but distributed—her beauty saturates earth and sky simultaneously. This echoes traditional Shakti cosmology where divine feminine energy is the active creative force animating all manifestation.
What Is the Role of the Body and Embodiment?
The album title In and Through the Body signals that Hall treats the physical form not as an obstacle to spirituality but as its primary stage. The refrain "don't be sleeping" paired with "the rhythm speaking" calls for embodied consciousness—awareness attuned to the rhythmic, somatic dimension of reality rather than mental abstraction.
The instruction "don't put your guns upon my way" introduces a protective boundary: the song defends the body and its rhythms against violence, control, and violation. In this spiritual framework, to harm the body or silence its natural rhythms is to obscure access to the divine. Embodied spirituality and non-violence are inseparable.
What Is the Significance of the "Calling" and "Forever Falling"?
The phrase "forever falling to the calling that is my god" uses paradox: falling and calling occur simultaneously. Rather than depicting a transcendent ascent away from the world, the song describes continuous descent into the present moment, continuously responding to the sacred call that emanates from here, now, through the body and the Earth.
"Falling" here may echo the language of surrender or letting go of resistance. One does not climb toward God but falls toward her, releasing effortful seeking and yielding to presence already calling. This aligns with contemplative traditions that locate realization not in achievement but in stopping, listening, and allowing.
How Does Cosmic Imagery Serve the Song's Spiritual Message?
The use of NASA Earth Observatory imagery is not decorative. By showing the planet from space—its weather systems, cloud formations, oceans, and atmospheric beauty—the video literalizes the song's claim that divine presence moves through the material world. There is no separation between sacred and earthly. The cosmic scale of Earth's beauty becomes an argument for the presence Hall is invoking.
This visual strategy also positions the listener as participant in a vastly larger consciousness. We are not separate observers of nature but embedded within the living systems the video displays. The beauty we witness is also witnessing us; we are part of the "she" that moves through all things.
What Spiritual Tradition Does This Song Draw From?
While Trevor Hall has drawn from various spiritual lineages (including yoga, bhakti, and contemporary spirituality), "my god" sits most naturally within a non-dual, goddess-centered framework. The emphasis on the feminine principle, the body as sacred, the divine as immanent and present rather than transcendent and distant, and the use of invocation rather than petition—all suggest influence from Hindu Tantra, Shakti traditions, and contemporary spiritual feminism.
The song avoids sectarian language. It does not require belief in a specific doctrine or deity. Instead, it functions as a universal invocation: whatever you know as divine, sacred, or true—listen through the thunder, feel her presence, awaken through your body, and recognize her running through all things.
Why Does the Song Repeat "This Is My God"?
The repetition is incantatory—designed to shift consciousness through rhythm rather than argument. Each invocation of "this is my god" points to something present in that moment: the sound, the rhythm, the fire, the Earth, the body, the breath. The repetition trains attention to recognize the sacred not as exceptional but as the baseline truth of existence.
By contrast, the variations—"this is my guide," "this is my guy"—introduce playfulness and intimacy. The divine is not distant or formal but accessible, companionable, immediate. The slight shifts in phrasing keep the listener from settling into rote recitation and demand fresh attention to each moment of invocation.
What Is the Meaning of "From Mother Back to Mother"?
The closing refrain "from Mother back to Mother this is my god" creates a cyclical rather than linear vision of spirituality. We emerge from the Mother (both literal birth and cosmic origin), live within her creation, and return to her. The apparent journey outward is always, simultaneously, a movement through her. There is no moment of separation; all existence is a circulation within divine feminine consciousness.
This echoes non-dual philosophy: there is no separate self that must journey to find God. Instead, one awakens to the fact that the self, the world, and the divine are already undivided—already moving in the circulation from Mother to Mother, from depth to surface and back again.
Where to Go From Here
If "my god" resonates with you, consider exploring Trevor Hall's broader work on embodied spirituality and sacred sound. The album In and Through the Body develops these themes with greater lyrical specificity. You might also investigate non-dual Shakti traditions through texts like the Bhagavad Gita (particularly Krishna's revelations of the divine feminine Shakti) or contemporary teachers working with divine feminine spirituality. For a practice-oriented entry point, simple listening meditation—playing the song and allowing attention to follow the rhythm and melody through your body—embodies the spiritual approach Hall recommends. The song is itself an invitation to begin: listen through the thunder, feel the presence moving through you, and recognize her everywhere.
