This paper aims to propose a lyrical theology methodological analysis for contemporary praise and worship music (CPWM) from within its own theological framework. Others have written on the history of CPWM as well as conducted analytical research ethnographic and quantitative research into worship experiences and songwriting. Still others have critiqued CWM for its continuationist or charismatic roots. However, this paper aims to branch the academic dialogue into a theological constructive conversation with CPWM on its own terms. To do so, it selects one particular “trending” topic in the current song literature: the presence or glory of God. This paper argues that theological foundation and genre trends have led to a nearly exclusive expression of the presence and glory of God as something localized. First, by engaging with the contemporary worship research work by Adam Perez, Shannan Baker, et. al., I collate a group of popular contemporary worship songs that sing about the glory or presence of God. Second, by engaging S. T. Kimbrough Jr.’s work in lyrical theology and Glenn Packiam’s Mixed Methods analysis of contemporary worship experiences, I expand beyond the printed lyrics of the songs and suggest a methodological analysis of the perceived encounters of the songs in question. The over-represented theme of the glory of God as only localized suggests that, whether intentionally or not, there has been a privatization or propretarization of the experience of the presence of God, linking it to such songs and the locations where these songs are experienced. Finally, I will both propose methods and areas for further research into the lyrical theology of worship songs sung currently and offer a recommendation for approaches in worship education.