Page 56 - Song Maps - A New System to Write Your Best Lyrics - Simon Hawkins

God's presence ("My heart becomes free," "My shame is undone") followed by the Chorus, which logically moves to an invitation ("Holy Spirit, You are welcome here"). While there is no real V2, which is often the case in this genre, the Bridge continues the prayer ("Let us become more aware of Your presence"), which intensifies the emotion of the whole lyric. I wasn't surprised it got the Grammy as this song stuck out to me from the first moment I heard it.
Other examples of Tension/Response in Worship include "Lord I Need You" by Matt Maher and Hillsong's "Mighty to Save."
Musical
"I See The Light" from Tangled–great tension set up in V1 ("All those days / years watching / outside looking in") followed by the response in the Chorus ("At last I see the light"). V2 is also a new person, a lyric that's reflective of V1 but from a different point of view that still delivers how the solution is sensed. The song ends on a lovely Refrain ("All at once everything is different now that I see you"). Great crafting.
Another example of Tension/Response from a musical is Frank Sinatra's theme from New York, New York, moving from the tension of leaving to go to NY followed by the response of imagining what it's actually like there.
Jazz
"Just One of Those Things" by Ella Fitzgerald (from the musical Lullaby of Broadway)–brilliant crafting by one of the masters, Cole Porter. The tension is set up in V1 with a series of mini-vignettes, all of which match the response about to come but we don't yet know what that response is. That's how he sets the tension. The Chorus simply sums up the response: accepting that it was just one of those things ("Too hot not to cool down"). V2 responds to the Chorus ("So good-bye dear and amen") before sensing it ("here's hoping we meet..."). There's no Bridge but it's still a genius lyric.
Exercise
If you have a copy of the Song Maps Workbook, this would be a good time to complete Exercise #2 – Tension/Response.