Trevor Hall's song and meditation video "My God" uses visual and sonic poetry to locate divinity not in the distant heavens but within the body, through the voice of the sacred feminine, and in the rhythmic aliveness of breath and presence. The piece invites listeners to recognize the divine as an active force moving through ordinary consciousness—calling through thunder, speaking in rhythm, burning like fire—and to understand that returning to the Mother (source, earth, the body) is returning to God.
Where Does the Divine Call From?
Hall's opening line—"I can hear it calling through the thunder back to my god"—establishes a fundamental premise: divinity is not abstract or inaccessible but audible, reaching the listener through elemental forces. Thunder, traditionally a symbol of divine power in many spiritual traditions, here serves as a vehicle for a calling. This is not a distant God demanding obedience but an inviting presence beckoning the listener back. The word "back" suggests return, as if the listener has always been in relationship with this divine presence and is being reminded of that original connection.
The second line deepens this: "The sound the healer I can feel her this is my god." Hall uses the feminine pronoun deliberately. By naming the divine as "her," he invokes the sacred feminine—Mother, Shakti, the creative force that births and sustains all life. She is described as both sound and healer, qualities that align with Hindu and Buddhist understandings of divine energy as vibrational, alive, capable of restoration. She is not contained in scripture or institution; she is palpable, something that can be felt.
What Does It Mean That God Lives Within Another Man?
The third verse introduces one of the song's most profound assertions: "She told me within the man another man this is my god." This layered image suggests that divinity is not only transcendent but nested within the human—consciousness within consciousness, being within being. It echoes Advaita Vedanta's teaching that Brahman (ultimate reality) dwells within Atman (the individual self), that the microcosm mirrors the macrocosm. Hall is not speaking of personal ego but of the deeper human nature, the divine essence that persists beneath personality and conditioning.
The repetition of "this is my god" after each affirmation acts as both anchor and incantation. By declaring these truths as personal revelation—"my god"—Hall shifts from theological abstraction to lived experience. God is not doctrine but discovery.
Why Does the Song Emphasize Wakefulness and Rhythm?
The chorus moves into imperative territory: "Don't put your guns upon my way this is my god / The rhythm speaking don't be sleeping this is my god." Here, Hall contrasts violence and slumber with awakeness and rhythm. The "guns" can be read literally as weapons or metaphorically as rigid beliefs, aggression, and force—obstacles to recognizing the sacred. The divine speaks through rhythm, not domination. And the call is urgent: don't be sleeping. Spiritual traditions from Buddhism to Sufism to Christianity use the metaphor of sleep to describe ignorance, the default state of unconsciousness. Hall is invoking an alchemical awakening where the practitioner moves from mechanical existence into resonance with the living pulse of divinity.
"A fire burn watch it turn this is my god" introduces transformation. Fire in mystical poetry signals purification, the dissolution of the false self. The listener is invited to witness—not to control or manipulate, but to observe—how this fire works its work. The turning suggests cyclical time, the eternal renewal of existence, seasons, breath, the turning of the earth.
How Does the Video's Meditation Element Deepen the Message?
The YouTube description notes this is a "meditation visual," and the sparse, poetic transcript fragments reveal an intentional aesthetic. The music becomes the primary teaching tool. Meditation practices rooted in Hindu tantra and Kashmir Shaivism focus on the felt-sense of presence in the body—how divine energy, or Shakti, moves through channels (nadis) and energy centers (chakras). By setting lyrics about the sacred feminine and divine embodiment over sustained musical meditation, Hall creates a container for listeners to experience rather than merely understand the concepts.
The video description emphasizes the project's title: "IN AND THROUGH THE BODY." This is the conceptual keystone. Not reaching God by transcending the body or abandoning the earth, but by moving inward, into the tissues, the breath, the nervous system. This reverses a common Western spiritual misunderstanding—the false dichotomy between spiritual and material. Hall's vision is nondual: matter and spirit are not opposed but continuous.
What Is the Significance of the Running Woman and the Moon?
In the meditative spoken passage, Hall paints an image: "She's running she's running through warfield and saying but her beauty is so that the whole earth and the sky is with her beauty she's like the moon." The woman running through a field embodies the sacred feminine in motion, alive, not contained. Her beauty is not ornamental; it is cosmically significant—it includes the whole earth and sky. The comparison to the moon evokes countless mythological and spiritual traditions where the moon represents the feminine, the intuitive, the reflecting consciousness that receives and distributes light.
This moment in the song suggests that recognizing the divine feminine is not personal piety but ecological awareness. When we perceive the sacred in the feminine principle, we perceive it in nature, in creation, in the body of the earth itself.
Where to Go From Here
Trevor Hall's "My God" functions as both song and practice. For those interested in exploring the ideas further, consider studying nondual Shaivism or Kashmir Shaivism, which locates divinity as the dynamic consciousness continuously creating and pervading the universe. Investigate the role of the sacred feminine (Shakti) in Hindu tantra and how Western seekers have often overlooked this dimension. Experimentally, listen to the song in a dedicated meditation session—allow the rhythm to anchor you in the body rather than trying to think about the lyrics. Notice where you feel the music resonating. Explore embodied spiritual practices such as yoga, qigong, or breathwork that emphasize inhabiting rather than transcending the body. Finally, consider how recognizing divinity "in and through the body" might shift your relationship to the earth, to other beings, and to your own physical existence.
