Top Ten 2025

This is the music, in no particular order, that I've most enjoyed listening to in 2025:

Rosalía - Lux: 'Rosalía’s Lux is a tour-de-force. Recorded with the London Symphony Orchestra and featuring Björk, Carminho, Estrella Morente, Silvia Pérez Cruz, Yahritza and the Escolania de Montserrat i Cor Cambra Palau de la Música Catalana, and Yves Tumor, the album has 18 songs exploring ‘feminine mystique, transformation, and spirituality,’ arranged in four movements with lyrics in 14 different languages.'

Mavis Staples - Sad and Beautiful World: 'If there’s a single album we should all be listening to right now, it’s Mavis Staples Sad and Beautiful World. A singer who’s been always at the forefront in struggles to transform our world through love and justice, whose weariness turns into doggedness, and whose happiness and joy shines through even life’s darkest moments, Mavis Staples draws passion for change from the depths of her soul, and her emotionally resonant vocals shimmer with tenderness in celebratory soul songs, even as the shiver with the grittiness in prowling blues numbers.'

Natalie Bergman - My Home Is Not In This World: 'If Mercy equates to the direct songs of praise and witness found on Bob Dylan’s Gospel albums, then her latest release, My Home Is Not In This World, equates to those later Dylan albums (like Infidels, Oh Mercy, Time Out of Mind and Rough and Rowdy Ways) where faith infuses songs exploring life and love. Bergman has quoted T Bone Burnett’s distinction between songs about the light and songs about what you can see from the light. Mercy is the former and My Home Is Not In This World, the latter.'

Damien Jurado - Brothers and Sisters of the Eternal Son: Jurado's 'eleventh full-length album, Brothers and Sisters of the Eternal Son (2014) stands out as visionary and a triumph of creativity. The album is a distinct stylistic change from his previous Seattle-born acoustic folk/Americana to Jurado’s new latin-inspired, sci-fi, psychedelic spiritual folk. Brothers and Sisters of the Eternal Son is a concept album along with Jurado’s previous Maraqopa (2012) and his newest Vision of Us on the Land (2016), forming a cohesive narrative-based sci-fi trilogy.'

John Davis - John Davis: 'The rest of the self-titled record arrived in 2005, and it did not disappoint. In fact, it may go down as the highwater mark of Davis’ songwriting: soulful, smart, aggressive, honest, and hooky as all get out. The musical palette was considerably broader than that of Superdrag. His Beach Boys obsession reached new heights on “I Hear Your Voice,” “Me and My Girl” hit all the right Rubber Soul notes (indeed, the very fact that he included a ‘secular’ love song on a Gospel record is worth noting), “Stained Glass Window” is the prettiest thing he’s ever done, and “Do You Know How Much You’ve Been Loved?” made a strong case for Davis as a country singer.'

The Lees of Memory - The Blinding White Of Nothing At All: 'For the most part, Blinding White trades the shoegazing layers for acoustic 12-strings, pedal steel, and sitar. Most songs are upbeat and push forward with a strong emphasis on melody. It’s power pop all grown up standing up shoulder to shoulder with the likes of Big Star and The Replacements. Especially tracks like “Find Yourself Walking” and “Hypothetical Shows”. There’s a general sense of hope and love running through each song. Even with the Fisher-lead tracks being the darkest, the album stays focused on its underlying theme of positivity ... It’s the sentimentality that makes The Blinding White Of Nothing At All work so well. A record about love created with love.'

Innocence Mission - Midwinter Swimmers: 'The long-running band’s 13th album surveys faith, longing, and middle age with the commonplace language of awe and a sense of unbarred earnestness ... Much like the way Sufjan Stevens’ most prevailing love songs double as hymns, the Innocence Mission have consistently turned to Catholicism to better understand the world and their place within it. “Oh I’m grateful for you/And oh I am afraid/of many things I should not fear if I believe,” Peris sings on “Orange of the Westering Sun.” Over plodding piano in “We Would Meet in Center City,” she coos, “Are you with me? Can you come? Can you reach me when you want, on any wave?” It’s an emotionally walloping chorus, and she answers those questions with a wordless, goosebump-inducing vocal refrain that, appropriately, feels like being brushed by a ghost. Midwinter Swimmers doles out discreet edification; Peris is no preacher or proselytizer. She’s instead like a solicitous follower who does her part by keeping the sacristy tidy or straightening bibles in hymnal racks: creating a welcoming space for those seeking comfort.'

David Ackles - American Gothic: 'Ackles recorded four albums over a five-year period, garnering critical acclaim without achieving consequent sales, before losing his contract and choosing (pragmatically, though perhaps reluctantly) to use his creativity in fields other than popular music ... Ackles ‘lived a good life and made some great records’, yet they were records that overwhelmingly dealt with what is dark and difficult in life ... as Michael Baker has noted, Ackles and his vignettes of dispossessed personae: ‘set the stage for blurred epiphanies, an ironic fusion of baseless ritual and superficial decorum. These pockets of darkness contain paralysis, vagueness, and thwarted ambitions … Although … the characters are inarticulate carnage of that universe, Ackles retains dignity for himself, his characters, and their landscapes, by renouncing censure. We are all flawed; we have all fallen.’ ... Ackles’ storytelling songs demonstrate an incarnational ‘being with’ approach to his characters (‘We are all flawed; we have all fallen’), while the cumulative picture painted is of the bleakness of a world which has, as with the stunning ‘His Name is Andrew’, lost its connection with God.

After the Fire - Bright Lights: 'After the Fire live played a noisy, high speed new wave pop that never quite translated to record, although at times it came close. Clearly there was a desire for commercial success at play, courtesy CBS/Epic, Mack and some band members, but also room for a genuine place in the rock world, as evidenced by the positive response from Van Halen and their fans. If the sometimes questionable fashions the band at times adopted or the sustained interest in space travel as a metaphor reveals the music’s age, the songs on show here are quirky, energetic and inventive, keyboard or guitar led music that can proudly hold its head up alongside its musical neighbours from the time. The bright lights might have eluded the band, but now we can all hear what we missed out on at the time.'

Deacon Blue - The Great Western Road: '‘The Great Western Road’ itself is about the need for new challenges and experiences. Memories prove important on the journey, whether celebrating moments of exhilaration (‘Late ’88’) or awareness of the necessity of always moving on (‘How We Remember It’). The journey is always undertaken ‘Underneath The Stars’, which provide a consistent backdrop and point of orientation. ‘The Curve of the Line’ is what is followed for direction, with God, the Devil, and other people encountered. In all the confusion of change and movement ‘People Come First’, as the anthemic third track reminds us. Relationships are central to getting through and so awareness of death approaching and leaving one of a couple to cope on their own is the final challenge (‘If I Lived on My Own’). Much of life – it’s vicissitudes and joys – is compelling gathered up and explored here on what is a great, late album.'

My previous Top Ten's can be found here - 2024, 2023, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013 and 2012.

My co-authored book ‘The Secret Chord’ is an impassioned study of the role of music in cultural life written through the prism of Christian belief. Order a copy from here.

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John Davis - Stained Glass Window.

Home at last

Here's the sermon I shared this evening in our Commemoration of the Departed Service at St Andrew’s Wickford:

‘In 2019, Natalie Bergman was poised to step on to the stage at New York’s Radio City Music Hall with her brother Elliot and their band Wild Belle. It should’ve been a glorious night for the siblings, but before they could play even a single note, they received earth-shattering news: their father and stepmother had been killed by a drunk driver.

Bergman was especially close to her father, considering him her mentor and biggest fan, and his sudden death left her isolated and adrift. “We ended the tour immediately. It also seemed to kind of end my musical ambitions all at once,” she told NPR’s Simon Scott. “I felt as though I lost my identity with his death. I just didn’t really understand who I was.”

After months of grieving, Bergman decided to embrace her sense of isolation even more fully and visited a monastery in the remote California wilderness. During that time of silence, prayer, and reflection spent observing the monastery’s rituals and listening to the monks’ chants, music slowly began easing its way back into her life. Thus were sown the seeds for what would become Bergman’s first solo album, titled simply Mercy’, from which we have just heard the song ‘Home At Last’.

Natalie has explained simply and clearly how it happened: “When I began writing, I had already lost the greatest love I’ve ever had, so I had nothing else to lose. I went for it. I sang from the depths of my sorrow and I witnessed a little light while doing so.”

On the album, she finds different sources of hope and help. ‘Talk To The Lord’ quotes Psalm 23 – ‘Though I walk in shadows, I won't be afraid / I will fear no evil / For You walk with me’ – in order to state that:

‘When you are scared, reach out your hand
Talk to the Lord, talk to the Lord
If you are sad, He'll dry your tears
Talk to the Lord, talk to the Lord’

In ‘I Will Praise You’, she says ‘When I'm broken, I will sing Your name’, while ‘Shine Your Light On Me’ also quotes Psalm 23 in a prayer for light as she cries like a ‘mourning dove’ for her ‘greatest love’. ‘Paint The Rain’ documents difficult days but discovers that:

‘In this pain, you make me sing
When I am blue, you take me in
My little ways, they feel strange
You give me a little bit, and you take it away
You paint the rain’

In these ways, she has been enabled to live again and to find joy particularly in family life. These can all be significant helps for us in our journeys through grief as well. There is one more specific help that Natalie Bergman received from her time at the Chama Valley Monastery:

‘one of the most important answers that I got from the heavenly father is that heaven is a realm that exists and we have no idea what it is. I did a lot of reading there, and one of the scriptures I read was that, “Everything the eye has seen, and the mouth has tasted, and the heart has felt, that is not what heaven is.” Heaven is such a different realm than anything we’re even capable of experiencing, and it’s this great mystery, which is why it’s so hard and challenging to have such a strong faith because no one is promised this. I really needed to know that it existed because I need my father to be there and I need my mother to be there, whether it’s a physical place or a spiritual one. Whatever this place is, I learned that it indeed exists and that was the greatest comfort to me. That was the biggest thing I took from the monastery.’

It is this understanding that she explores in ‘Home At Last’. The song begins:

‘I come to You to answer my prayer
I long to know about Heaven
After the body dies
Where does the soul begin?
Where have all the good people gone?
The people that I love
Have they gone to the Garden
Where the tree of life grows tall
And the weeping is no more?’

In the song she asks specifically of her father, ‘Is he home at last?’, and ends the song with the repeated assurance that ‘Yes’, ‘He is home at last’.

This is the assurance that Jesus gave to his disciples in the teaching he gave them at the Last Supper before his own death on the cross (John 14.1-7). He said then that he was going from them into death to prepare a place for them among the many dwelling places in his Father’s house and that if he was going away from them for that task, he will come again and will take them and us to himself, so that where he is, there we may be also.

This is the promise that Natalie Bergman came to realise was true for her father, as it is also for us and for those we have lost. This is why at the end of every funeral I take I pray these words: ‘Lead us to a place of peace and refreshment; guide us to springs of life-giving water; wipe away the tears from our eyes and bring us to heaven where there is no more death, no more grief or crying or pain in your presence, Father, Son and Holy Spirit.’ Heaven is the place where ‘Where the tree of life grows tall / And the weeping is no more’.

Jesus describes being with God in homely terms that we can all understand. He says it is like being in God’s house with a special room already prepared for us. Our homes are usually where we feel most secure – we feel “at home” there – and our rooms tend to reflect our unique personalities as we fill them with things that we like and which interest us. So, Jesus is talking here about the way in which God knows each of us, knows what we need and is actively preparing for when we go to be with him.

So, God is prepared to welcome us but have we prepared ourselves to meet with God? Often, we are like Thomas in this reading and like Natalie Bergman before the death of her father, we don’t know where we are going or who we will meet when we get there and so we can be afraid of death and of dying.

God has given us a way of getting to know him before we die and that is by coming to know Jesus Christ for ourselves. As Jesus says in his reading, he is the way we can come to know God for ourselves because he is God himself. He is the truth about God because when we look at Jesus, we see what God is actually like, someone who is prepared to sacrifice everything in order to show his love for us. And he is the life of God, the one who can take us by the hand and lead us into everlasting life together with God.

So, as Natalie Bergman discovered and as she sings in ‘Talk To The Lord’:

‘When you are scared, reach out your hand
Talk to the Lord, talk to the Lord
If you are sad, He'll dry your tears
Talk to the Lord, talk to the Lord’

See also my review for Seen and Unseen of Natalie Bergman's recent gig at Union Chapel 

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Natalie Bergman - Home At Last.

Seen and Unseen: Natalie Bergman brings grief and joy to Union Chapel

My latest article for Seen and Unseen is a concert review of Natalie Bergman at Union Chapel - a soul-soaked set turned personal tragedy into communal celebration:

'In any other context, they would call this revival! A wild belle singing songs of worship and wonder in a chapel packed to the rafters with a diverse crowd of beautiful people in rapture at songs such as ‘Talk To The Lord’ and ‘I Will Praise You’. This is Natalie Bergman at Union Chapel.

Who? If you don’t already know, you need to know. Following three albums with Wild Belle, her debut solo album, Mercy, was a Gospel album written and recorded in response to the tragic death of her father and stepmother in a road traffic accident. Begun on retreat at a monastery, its lithe, light, luscious rhythms lift the listener from the valley of the shadow of death to the goodness and mercy found in the house of the Lord forever. 

If Mercy equates to the direct songs of praise and witness found on Bob Dylan’s Gospel albums, then her latest release, My Home Is Not In This World, equates to those later Dylan albums (like Infidels, Oh Mercy, Time Out of Mind and Rough and Rowdy Ways) where faith infuses songs exploring life and love. '

For more on faith and music, see my co-authored book 'The Secret Chord'. 

My first article for Seen and Unseen was 'Life is more important than art' which reviews the themes of recent art exhibitions that tackle life’s big questions and the roles creators take.

My second article 'Corinne Bailey Rae’s energised and anguished creative journey' explores inspirations in Detroit, Leeds and Ethiopia for Corinne Bailey Rae’s latest album, Black Rainbows, which is an atlas of capacious faith.

My third article was an interview with musician and priest Rev Simpkins in which we discussed how music is an expression of humanity and his faith.

My fourth article was a guide to the Christmas season’s art, past and present. Traditionally at this time of year “great art comes tumbling through your letterbox” so, in this article, I explore the historic and contemporary art of Christmas.

My fifth article was 'Finding the human amid the wreckage of migration'. In this article I interviewed Shezad Dawood about his multimedia Leviathan exhibition at Salisbury Cathedral where personal objects recovered from ocean depths tell a story of modern and ancient migrations.

My sixth article was 'The visionary artists finding heaven down here' in which I explored a tradition of visionary artists whose works shed light on the material and spiritual worlds.

My seventh article was 'How the incomer’s eye sees identity' in which I explain how curating an exhibition for Ben Uri Online gave me the chance to highlight synergies between ancient texts and current issues.

My eighth article was 'Infernal rebellion and the questions it asks' in which I interview the author Nicholas Papadopulos about his book The Infernal Word: Notes from a Rebel Angel.

My ninth article was 'A day, night and dawn with Nick Cave’s lyrics' in which I review Adam Steiner’s Darker With The Dawn — Nick Cave’s Songs Of Love And Death and explore whether Steiner's rappel into Cave’s art helps us understand its purpose.

My 10th article was 'Theresa Lola's poetical hope' about the death-haunted yet lyrical, joyful and moving poet for a new generation.

My 11th article was 'How to look at our world: Aaron Rosen interview', exploring themes from Rosen's book 'What Would Jesus See: Ways of Looking at a Disorienting World'.

My 12th article was 'Blake, imagination and the insight of God', exploring a new exhibition - 'William Blake's Universe at the Fitzwilliam Museum - which focuses on seekers of spiritual regeneration and national revival.

My 13th article 'Matthew Krishanu: painting childhood' was an interview with Matthew Krishanu on his exhibition 'The Bough Breaks' at Camden Art Centre.

My 14th article was entitled 'Art makes life worth living' and explored why society, and churches, need the Arts.

My 15th article was entitled 'The collective effervescence of sport's congregation' and explored some of the ways in which sport and religion have been intimately entwined throughout history

My 16th article was entitled 'Paradise cottage: Milton reimagin’d' and reviewed the ways in which artist Richard Kenton Webb is conversing with the blind poet in his former home (Milton's Cottage, Chalfont St Giles).

My 17th article was entitled 'Controversial art: how can the critic love their neighbour?'. It makes suggestions of what to do when confronted with contentious culture.

My 18th article was an interview entitled 'Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions'. In the interview the digital artist talks about the possibilities and challenges of artificial intelligence.

My 19th article was entitled 'Dark, sweet and subtle: recovered music orientates us'. In the article I highlight alt-folk music seeking inspiration from forgotten hymns.

My 20th article was entitled 'Revisiting Amazing Grace inspires new songs'. In the article I highlight folk musicians capturing both the barbaric and the beautiful in the hymn Amazing Grace and Christianity's entanglement with the transatlantic slave trade more generally.

My 21st article was entitled 'James MacMillan’s music of tranquility and discord'. In the article I noted that the composer’s music contends both the secular and sacred.

My 22nd article was a book review on Nobody's Empire by Stuart Murdoch. 'Nobody's Empire: A Novel is the fictionalised account of how ... Murdoch, lead singer of indie band Belle and Sebastian, transfigured his experience of Myalgic encephalomyelitis/chronic fatigue syndrome (ME) through faith and music.'

My 23rd article was entitled 'Rock ‘n’ roll’s long dance with religion'. The article explores how popular music conjures sacred space.

My 24th article was an interview with Alastair Gordon on the artist’s attention which explores why the overlooked and everyday capture the creative gaze.

My 25th article was about Stanley Spencer’s seen and unseen world and the artist’s child-like sense of wonder as he saw heaven everywhere.

My 26th article was entitled 'The biblical undercurrent that the Bob Dylan biopics missed' and in it I argue that the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey.

My 27th article was entitled 'Heading Home: a pilgrimage that breaks out beauty along the way' and focuses on a film called 'Heading Home' which explores how we can learn a new language together as we travel.

My 28th article was entitled 'Annie Caldwell: “My family is my band”' and showcased a force of nature voice that comes from the soul.

My 29th article was entitled 'Why sculpt the face of Christ?' and explored how, in Nic Fiddian Green’s work, we feel pain, strength, fear and wisdom.

My 30th article was entitled 'How Mumford and friends explore life's instability' and explored how Mumford and Sons, together with similar bands, commune on fallibility, fear, grace, and love.

My 31st article was entitled 'The late Pope Francis was right – Antoni Gaudi truly was God’s architect' and explored how sanctity can indeed be found amongst scaffolding, as Gaudi’s Barcelona beauties amply demonstrate.

My 32nd article was entitled 'This gallery refresh adds drama to the story of art' and explored how rehanging the Sainsbury Wing at the National Gallery revives the emotion of great art.

My 33rd article was an interview with Jonathan A. Anderson about the themes of his latest book 'The Invisibility of Religion in Contemporary Art'.

My 34th article was an interview with 'Emily Young: the sculptor listening as the still stones speak'.

My 35th article was a profile of New York's expressionist devotional artist, 'Genesis Tramaine: the painter whose faces catch the spirit'.

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Natalie Bergman - Keep Those Teardrops From Falling.