The blues, born from African American suffering, offers a profound lens for theological reflection, particularly as a form of lament. This paper explores how the blues, exemplified by Blind Willie Johnson’s 1927.00 recording “Dark Was the Night, Cold Was the Ground,” reimagines lament as a communal, improvisational act that both echoes and extends biblical traditions. Unlike the often individualistic cries of the Psalms, Johnson’s wordless moan invites listeners into a shared space of grief, resistance, and hope, evoking Christ’s passion in a visceral, participatory theology. As a blind preacher-bluesman, Johnson fused sacred and secular, crafting a lament that mirrors the Spirit’s “groans too deep for words” (Romans 8:26) while addressing systemic injustice. This study compares “Dark Was the Night” to Psalm 22, arguing that its non-verbal, collective nature offers a unique contribution underexplored in scholarship. Amid today’s racial and social fractures, Johnson’s blues suggest a liturgical model for communal lament, urging the church to moan together in solidarity. By analyzing this piece through historical, musical, and theological lenses, I propose that the blues enriches contemporary faith, bridging ancient lament with modern cries for justice.