Paul Wesley Chilcote is highly equipped for writing a book on this theme. His career as a Professor of Historical Theology and Wesleyan Studies has furnished his passion for and knowledge of this area of work. Chilcote is currently Interim Director of Global Wesleyan Theology at Wesley House theological college in Cambridge, UK, and the global reach of his current work has been present throughout his working life. This global reach is a welcome presence in the text under review.This book adds a significant contribution to the field of Wesleyan hymnody, providing valuable insight into key hymn and song writers in the Methodist tradition since the inception of Methodism in the eighteenth century. The work is substantially a historical presentation of fifty-two significant lyricists within this Methodist world, yet Chilcote also offers his readers an identification of key theological themes and a ‘signature text’ for each of these hymnologists. These signature texts are gathered in the sizeable appendix to the work. Furthermore, Chilcote lays out a taxonomy of five streams of Methodist lyrical theology: classic hymns, gospel and holiness songs, black gospel music, social gospel hymns, and global song, which shape the progression of the text (15).The book starts by establishing the purpose and methodology, with a discussion of lyrical theology and Methodist tradition. Thereafter the book is arranged broadly chronologically and follows this pattern for chapters 2 to 8. In chapters 9 and 10 the text changes direction and moves beyond Britain and America to examine a broader context, the ‘worldwide chorus of voices’ (131). Chapters 1 and 2 begin on familiar territory with an examination of Charles Wesley’s texts and John Wesley’s translations. The text soon expands into lesser-known terrain, examining successors within the tradition in the nineteenth, twentieth, and twenty-first centuries. The global contexts explored in the final chapters consider hymnologists in Europe, Africa, Asia, Latin America, and the Caribbean. Chilcote’s work, introducing the reader to these hymnologists, is informative and enlightening, as is his identification of the theological themes of different time periods and places. This contextualization of lyrical theology offers tantalizing glimpses into the response of faith to the lived environment and prompted for me further questions of how the interplay of political, social, and geographical contexts contributes to the sung theology of their time and place.In the introduction Chilcote identifies just four of the Methodist lyricists presented in this volume as ‘lyrical theologians’: Charles Wesley, Fanny Crosby, Charles A. Tindley, and Fred Pratt Green, though all the authors, he says, ‘engage in what I have described as lyrical theology’ (13). While Chilcote’s rationale for allocating the accolade ‘lyrical theologian’ is explained, drawing partly on S T Kimbrough’s work (large enough corpus to make a judgement; continued use of their hymns; discernible theological trajectories, 13–14), the allocation of the term seemed to be somewhat restricted. I agree with Chilcote that all the lyricists who appear in the volume engage in lyrical theology—so are not all lyrical theologians, given that their work shapes the faith and theology of the singers? It would have been interesting to see an engagement with the question of whether these hymnologists can be classed as poets or not: perhaps there is a distinction to be made there.Finally, one of Chilcote’s initial questions asks, ‘How has this sung theology changed over the years?’(vii). It was sobering, therefore, to read the first stage of Asian lyricist I-to Loh’s five-stage paradigm for the contextualization of church music, which is ‘Imitation of Western gospel hymn style’ (154). This seeming legacy from a colonial past needs to be renounced to allow songs to break free from this stricture. The hymns referenced in the book indicate that in style and structure things have changed very little. One exception is Patrick Matsikenyiri’s ‘Jesu tawa pano’, which Chilcote quotes as an example of the indigenization of Christian song. It is to be hoped that the next generation of lyrical theologians in the Methodist tradition can embrace new styles and structures for this sung theology and plant their work firmly in their current context and time.This volume is a stimulating and informative work that will particularly appeal to readers interested in Methodist historical and contemporary lyrical theologians who carry on the crucial role of enabling people to sing their faith, and thereby learn their theology.