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Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Sunday, 31 August 2025

Those who humble themselves will be exalted

Here's the sermon that I have shared at St Mary's Runwell and St Peter's Nevendon today: 

One of the things I did during my holiday was to watch a film about the life of the guitarist and rock star Eric Clapton. In part, this was because he experienced a conversion to Christ, about which he has written in some of his songs.

Clapton knew significant trauma in his life being brought up by his grandparents as his mother was unable to look after him as a child and did not bond with him later in life. Additionally, later in life, his four-year-old son, Conor, died in a tragic accident when he fell from a window in a high-rise apartment. The film was particularly interesting because of a radical difference in the way he responded to the painful issues he experienced in his life in his early and later years.

Clapton found fame, wealth and adulation as a young man because of his musical talents but finding those things, when combined with his early traumas did not bring joy and contentment. Instead, they led him into drug and alcohol addition which was focused on his own desires, needs and wants, including desiring a relationship with Patti Boyd, the wife of his best friend, the Beatle George Harrison. Once out of control, through excessive drinking, he also found himself making racist statements on stage that he later regretted because his career was actually based on discovering the blues, the music of Black America.

So, his selfish and self-centred behaviours, which derived in part from early experiences of pain and hurt as a child, had the effect of destroying his and other’s relationships while leading him to say and do many things that, when sober, he regretted. At a key moment in his attempts to kick his addictions, he cried out to God for help and felt that he was answered. Getting sober and finding faith meant that when the rebuilding of a new life was rocked by the tragic death of his young son, he didn’t revert to his former absorption in drink and drugs instead he committed to living in a way that honoured his son. The film ended with Clapton as a happy family man who has set up a charity providing support to those who could not otherwise afford the help needed to get free of their own addictions and using his talents and those of his friends to raise funds to support that vital work.

Our Gospel reading today (Luke 14: 1, 7-14) sets up similar contrasts to those we find in the life of Eric Clapton. The context is a party, something that would have been very familiar to Clapton in his hedonistic days, and the question Jesus poses is how should we enter. In his early years, Clapton would have become familiar with being the star, the one who turned heads when he walked in the room, and would have become used, as a result, to being given all he wanted and desired, even if it did him harm.

Jesus commends the reverse of entering as the star. He encourages us to be the one who takes the last and lowest place at the table. One of the problems, as Clapton discovered, with being at the head of the table is that the only way from there, at some stage, is down. But, as Jesus notes, if you are in the last and lowest place, the only way is up. Jesus is famous for prophesying that, in the final reckoning, the first shall be last and the last first. This is a part of what Clapton discovered in later life as he changes from a life centred on his own needs and wants to one centred on others – his family and those seeking to be free from addictions.

His understanding of this change shows up in his songs, particularly a song called ‘Broken Hearted’, where, in the context of looking forward to heaven, he writes:

‘there's a place where we can go
Where we will not be parted
And who alone will enter there?
Only the broken-hearted’

We live in a world where leaders are increasingly focused on self-promotion – constantly creating narratives about how wonderful they are and how awful their predecessors were – and are advocating policies based on selfishness, particularly by blaming the problems faced by nations on those who have or are migrating from issues and situations most of us can’t imagine and couldn’t cope with. Placing the blame for the issues we face on those travelling to different countries ignores all the other problems our countries face and seeks to portray those who are actually victims of violence or oppressions as invaders. The inherent selfishness that is at the heart of such policies is that of saying we must keep all our resources for those that we see as being the same as ourselves instead of being willing to share – ‘sharing is caring’, as my grandchildren are rightly taught at their school.

How should we respond to our changing and self-centred world, as those who are told by Jesus to take the last and lowest place at the table? The answer is to be found in today’s Epistle (Hebrews 13: 1-8, 15-16):

‘Let mutual love continue. Do not neglect to show hospitality to strangers, for by doing that some have entertained angels without knowing it. Remember those who are in prison, as though you were in prison with them; those who are being tortured, as though you yourselves were being tortured. Let marriage be held in honour by all, and let the marriage bed be kept undefiled; for God will judge fornicators and adulterers. Keep your lives free from the love of money, and be content with what you have; for he has said, ‘I will never leave you or forsake you.’

Christian love – taking the last or lowest place - involves showing hospitality to strangers, remembering those who are in most difficulty or distress as though we are experiencing the same ourselves, being faithful to those closest to us, and living contentedly with what we have, not chasing after material wealth, in order that we trust God for his presence which means more than all we might otherwise gain.

Jesus is clear that those who live self-centred lives are on the wrong path, as all who exalt themselves will be humbled. As we have seen from the story of Eric Clapton’s life that is also what he discovered as he came to see it was a path of destruction, both for himself and for those around him. He wrote in his autobiography: ‘From that day until this, I have never failed to pray in the morning, on my knees, asking for help, and at night, to express gratitude for life, and most of all, for my sobriety. I choose to kneel because I feel I need to humble myself when I pray, and with my ego, this is the most I can do.’

Each of us, however, has to come to that realisation for ourselves, if we are as individuals or as nations are to change tack and, as Clapton also did, learn the lesson of Jesus’ parable and the value in God’s eyes of taking the last or lowest place. All who exalt themselves will be humbled, and those who humble themselves will be exalted. May it be so for each one of us. Amen.

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Eric Clapton - Broken Hearted.

Sunday, 24 August 2025

Eric Clapton, Steve Winwood, Steve Turner

Presence of the Lord is the first song for which Eric Clapton wrote the lyrics and featured on the only album released by Blind Faith, the band generally reckoned to be rock's first supergroup. The song was sung by Steve Winwood, and the band also included Ginger Baker and Ric Grech.   

The song is a testimony of faith, a 'song of gratitude'. Clapton said the message of the song was to 'say ‘thank you’ to God, or whatever you choose to call Him, for whatever happens.' I first heard of the song through Conversations with Eric Clapton, a book of interviews by rock writer and poet, Steve Turner. In those interviews Clapton spoke about his coming to faith during Blind Faith's tour to promote the album.

The support band on the tour was Delaney & Bonnie and Clapton's "friendship with Delaney & Bonnie Bramlett in 1969 gave him a real encounter with God": "He said, “Delaney’s persona of a Southern Baptist preacher, delivering a fire and brimstone message … could have been off-putting, if it wasn’t for the fact that when he sang, he was … absolutely inspiring.” One night during the Blind Faith ’69 tour two Christians came to his dressing room and asked him to pray with them. he saw “a blinding light” and sensed God’s presence. Afterwards, he began telling people that he had become ‘a born-again Christian.’

But Eric again became addicted to alcohol during his successful solo years of the 1970’s. He eventually says he hit ‘rock bottom’ in 1987. Following rehab, he “surrendered to God” and his life eventually came together again. He writes, “In the privacy of my room, I begged for help. I had no notion who I thought I was talking to, I just knew that I had come to the end of my tether … and, getting down on my knees, I surrendered. Within a few days I realized that … I had found a place to turn to, a place I’d always known was there but never really wanted, or needed, to believe in. From that day until this, I have never failed to pray in the morning, on my knees, asking for help, and at night, to express gratitude for my life and, most of all, for my sobriety. I choose to kneel because I feel I need to humble myself when I pray, and with my ego, this is the most I can do. If you are asking why I do all this, I will tell you … because it works, as simple as that.”'

It was also Delaney Bramlett 'as much as anybody who coaxed [Clapton] to sing and explained the mechanics of phrasing and how to use his voice ... Delaney told Eric, “God has given you this gift, and if you don’t use it he will take it away.” In his autobiography, Clapton said, “I’ll never be able to repay Delaney for his belief in me.”'

Following Presence of the Lord, Clapton wrote and recorded a significant number of spiritually inspired songs, some original, some covers. These include: We've Been Told (Jesus Is Coming Soon); Give Me Strength; Heaven Is One Step Away; Tears In Heaven; Holy MotherMy Father's Eyes; and Prayer of a Child, among others.  

Steve Winwood joined Blind Faith on the back of success in the Spencer Davis Group and Traffic. He went on to enjoy a successful solo career with a string of hit singles and albums in the 1980’s. Many of his earliest musical influences came from the Anglican Church in Birmingham. He has said: 'I was brought up a Christian in the Church of England. As a young boy I was a choir boy and a server at St John’s Church, Perry Bar… and in fact many of my musical influences come from Hymnals, Psalters and organ music from the English church.' However, like many, he drifted away from the Church although always being 'interested in anything religious and spiritual'.

Ralph Burden writes that: 'Things changed for him in 1985 after meeting Eugenia Crafton. She was a dedicated Christian. Thoughts of a new marriage and starting a family directed Steve back to his Christian roots and brought a fresh zeal for music. He says, “It wasn’t until I met Eugenia in 1985 and began to think about a family that I became again interested in Christianity.”

With the 1986 album ‘Back in the High Life’ and the 1988 album ‘Roll With It’ came a new level of success. The renewal of his Christian faith and the positive, spiritual themes in these two particular albums are more than coincidental. Writing of the 1986 album, the music information contributor ’Rockportraits’ notes,

“The acoustic-based title track, ‘Back In The High Life’, seems filled with resolve and self-assurance. ‘My Love’s Leavin’ comes from this album as does the horn-infused neo-soul of ‘Freedom Overspill’. However, the most important track is ‘Higher Love’. Bolstered by backing vocals from funk diva Chaka Khan, this is a prayer of soulful aspiration:

“Think about it, there must be a higher love
Down in the heart or hidden in the stars above
Without it, life is wasted time…”

Lyricist Will Jennings (who also had a church background in the United States) seems to be tapping into Steve’s own renewed Christian faith. ‘Wake Me Up On Judgement Day’ has a deep spiritual overtone.”' (‘Rockportraits – Steve Winwood’ – 2014)

Other tracks of particular interest include Holding on, the second US chart topping single from the album 'Roll With It' and State of Grace. a track from Traffic’s 1994 reunion album ‘Far From Home’. Real Love from his 1997 solo album ‘Junction Seven’ is another song brimming with spirituality, while Someone Like You, also from ‘Junction Seven’, is a deeply reflective song with Christian imagery referring to answered prayer.

It is fascinating that two of those involved with Presence of the Lord later came to faith and wrote powerfully and movingly about that experience.

Steve Turner began writing for BEAT INSTRUMENTAL as features editor and has subsequently written for NME, ROLLING STONE, Q and countless newspapers. His books include Conversations with Eric Clapton (1976), Hungry for Heaven (1988), Cliff Richard: The Biography (1993), Van Morrison: It's Too Late to Stop Now (1993), A Hard Day's Write (1994), Jack Kerouac: Angelheaded Hipster (1996) and Trouble Man: The Life and Death of Marvin Gaye (1998). He is also a well-regarded poet.

Turner says that: 'Though I didn’t plan it this way, all the artists I’ve written about in depth – Johnny Cash, U2, the Who, the Beatles, Marvin Gaye, Van Morrison, Kerouac– have explored issues of faith.'

Hungry for Heaven: Rock and Roll and the Search for Redemption is his acclaimed account of the relationship between religion and popular music. In Turn! Turn! Turn!, Turner, takes an in-depth look at the lyrics and cultural context of 100 of the greatest songs from the 1930s to today to reveal an often overlooked or ignored strand of influence in popular music―the Bible. Indeed, some of the “greats”―including Bob Dylan, Leonard Cohen, Bono, Johnny Cash, Sting, and others―have repeatedly returned to the Bible for such sustenance, as well as musical inspiration and a framework with which they can better understand themselves. From The Byrds’ Turn! Turn! Turn! to Marvin Gaye’s Wholly Holy, some of the best loved and least likely songs reflect the Bible. Looking at the songs in the context of the time it was written, its influence on the culture, and the way that it incorporates or reflects the Bible will give a different perspective on many of the most loved songs of our time.

My co-authored book The Secret Chord explores aspects of a similar interplay between faith and music (and the Arts, more broadly). Posts related to the themes of The Secret Chord can be found here.

Check out the following too to explore further:
 
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Blind Faith - Presence Of The Lord.

Wednesday, 13 August 2025

Interviews update

Since my last Interview Update, I have had an interview published by Seen and Unseen with the sculptor Emily Young. As a result, I am updating this index of interviews.

I have carried out a large number of other interviews for Artlyst, ArtWay, Church Times, International Times, Seen and Unseen and Art+Christianity. They provide a wide range of fascinating insights into the approaches and practices of artists, arts professionals, clerics, curators, performers, poets and writers.

They can be found at:

Artlyst
ArtWay
Church Times
International Times
Seen and Unseen
Art+Christianity
Also see my interviews with artist Henry Shelton here and here and David Hawkins, former Bishop of Barking, here, here and here.

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Dominique Lawalree - New Heaven.

Tuesday, 12 August 2025

Damien Jurado and David Bazan

I've written a significant number of posts about different aspects of faith and popular music. The most recent post included mention of David Bazan. This post is about Damien Jurado, a friend of and collaborator with Bazan.

'Damien Jurado and Pedro the Lion’s David Bazan have much in common, from their shared conservative Christian upbringing to their refusal to conform to the expectations of their growing fan-bases—either the college radio kids in their Weezer t-shirts or the cool church kids, squirming uneasily as Pedro breaks into “Rapture” a vividly descriptive song about adultery.

Before Bazan had college students poring over his lyric sheets, he was drumming for Jurado in a series of local Seattle bands—The Guilty, Linus and Coolidge. They’ve collaborated on most of Jurado’s records and bounced ideas off each other throughout their respective careers.'

'While this artist [Jurado] is known as a sort of darling in the indie folk scene, his roots are in the Christian punk/emo scene of the Pacific NW in the 90s. With connections to Pedro the Lion, Roadside Monument, Poor Old Lu, etc. Jurado released some 7″ singles on the then-fledgling Christian label Tooth and Nail Records. Even his debut was a co-release with Tooth and Nail and SubPop, the latter a connection that came through his friend Jeremy Enigk of Sunny Day Real Estate.'

'Jurado originally signed with “Sub-Pop” records in 1997 releasing Water Ave S., (1997), Rehearsals for Departure (1999) and Ghost of David (2000), all of which share a standard folk flavour. In 2002, Jurado worked alongside David Bazan to produce I Break Chairs, which took a rock-influenced turn, before signing with “Secretly Canadian” records in 2005 to produce five more albums which garnered popularity and a sizable following. But in 2012, Jurado released Maraqopa, immediately noticed for its shift in style and storytelling method, sonically transporting listeners to a dream-like world.'

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.'

'Jurado had a dream about a musician on a journey of personal and spiritual discovery, and that dream catalyzed the songs that would become 2012’s Maraqopa. And then he realized he had more of the dream left to tell, and those songs became 2014’s Brothers And Sisters Of The Eternal Son. And now comes Visions Of Us On The Land, the third installment and a conscious post-script to the original dream.

“The first two are really connected in the fact that they follow this story of this musician who sort of disappears from life and just goes out to seek and find himself,” says Jurado. “And while he’s trying to find himself, he sees the deep need for God and love, and wonders, ‘What does all that mean, and if love overtakes me, what will I become? Am I willing to let go of me for this thing called love? What if it transforms me? What is this thing called God? What if it takes over my life? What am I risking here?’ There’s all sorts of levels. The third record is really about him and his life companion going and seeking out whatever that is on what is pretty much Earth, but it’s barren and no longer inhabited by anyone. It’s pretty much an Adam and Eve scenario, I guess. This new album is sort of about experiencing a journey of the mind. What is all that you are?”'

Jurado also says: 'I’ve been a Christian since I was 17. For a long time it didn’t play a role in my music, though in some ways I can’t say that entirely because I’m under the belief that God is in everything I do, whether it is making dinner for my family, driving a car, or writing a song. God is in everything, as is creation. But where does it play in Maraqopa and the new album? It plays into the story in a big way only because the main character doesn’t know whether he’s dead or alive. When he goes back to Maraqopa there are certain things that are revealed to him that he didn’t know before. One is that they are awaiting the second coming of Christ, and it turns out that for them it’s by way of a spaceship. After his car accident the main character undergoes an inner change. He becomes a beacon, or radio tower, between heaven and earth, and the people of Maraqopa realize that they need him.

I think for me, the spiritual side of my faith opened up my music in a giant way. Looking back it’s not that strange. You have so many musical artists, from Johnny Cash to John Coltrane, who were immersed in spirituality. If you are in some ways open to letting God move through you, I guarantee you that you’re going to come up with some of the most creative music you’ve ever heard.'

'Jurado uses science fiction and mystery to open up himself, his faith, his understanding of God to speak in visions and images that are potentially uncomfortable and strange in order to better understand his own struggles with doubt and depression.'

I wrote an article on these themes for Seen and Unseen entitled 'Rock ‘n’ roll’s long dance with religion'. The article explores how popular music conjures sacred space through a survey of inter-connections between faith and music. The article includes a link to my Spotify playlist 'Closer to the light' which includes a wide selection of the music I mentioned in this article. 

My co-authored book The Secret Chord explores aspects of a similar interplay between faith and music (and the Arts, more broadly). Posts related to the themes of The Secret Chord can be found here.

Check out the following too to explore further:
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Damien Jurado - A.M. A.M.

Saturday, 9 August 2025

'In Other Worlds: Acts of Translation', 'The Scene by the Sea', and 'Nubia'

An amazing array of art can be seen in Southend this summer, including works by Michael Armitage, Frank Auerbach, Louise Bourgeois, Billy Bragg, George Condo, Ian Dury,  Wilko Johnson, Phill Jupitus,  Anselm Kiefer, Haroon Mirza, Humphrey Ocean RA, Alan Sorrell, Vivian Stanshall​​​​​​​, Antoni Tàpies, Danh Vo, and Ai Weiwei.

Click on the artist names to read my pieces on Michael Armitage, George Condo, Anselm Kiefer, Danh Vo, and Ai Weiwei. My poem inspired by Anselm Kiefer's 'Palm Sunday' installation can be read here. My review of an earlier exhibition drawn from the Roberts Institute of Art can be read here.


In Other Worlds: Acts of Translation, Wed 25 Jun to Sat 13 Sep 2025 - Big Screen Southend
Focal Point Gallery


This summer, Focal Point Gallery presents a major exhibition developed in collaboration with the Roberts Institute of Art. This exhibition brings together over 25 works, some of which have never been shown in a public gallery before, from the David and Indrė Roberts Collection, one of the UK’s foremost private collections. The exhibition engages with the theme of translation – through storytelling and myth, history and memory, language and materiality – and features a newly commissioned installation and performance by Haroon Mirza.

With works by Horst Ademeit, Michael Armitage, Frank Auerbach, Charles Avery, Jonathan Baldock, Fiona Banner aka The Vanity Press, Neïl Beloufa, David Birkin, Louise Bourgeois, Mark Bradford, Ulla von Brandenburg, Miriam Cahn, George Condo, Martyn Cross, Romany Eveleigh, Simon Fujiwara, Ellen Gallagher, Jim Goldberg, Pierre Huyghe, Anselm Kiefer, Haroon Mirza, Francesca Mollett, Nika Neelova, Antoni Tàpies, Danh Vo, Ai Weiwei.

In Other Worlds: Acts of Translation considers translation as an act of movement and transformation. At a time when anything can seem open to interpretation, yet nothing appears to hold the exhibition asks: how do we engage with multiple perspectives without collapsing into relativism? How can we communicate across distances while still recognising differences? How do we engage with others – people, histories, ideas – without assuming full knowledge or easy equivalence?

The works in this exhibition show that to translate is not only to carry something across (the root meaning of the word), but also to expose its limits, its gaps and its generative possibilities. Translation is always partial, always unfinished, and in never being complete, it offers an ongoing commitment to the world and to others.

Haroon Mirza’s sound commission explores translation through sound, rhythm, performance and communal participation. His work translates binary code into the infinite variety of the human voice, revealing how even the most structured systems remain open to interpretation. By weaving together voices from the local community, Mirza’s installation makes translation a live and participatory process, one that engages difference rather than erasing it.

Translation shapes how we engage with the past, how we navigate inherited narratives and how we attempt to understand one another. Anselm Kiefer, Michael Armitage, George Condo and Ellen Gallagher, amongst others, explore how myths and stories shift with each retelling. Their works invite us to reconsider how stories, from oral traditions to the Bible, are continually reshaped, revealing that meaning is never fixed but always in flux. Here, translation is not about preserving a singular meaning but about keeping stories alive, expanding their possibilities rather than resolving them.

Other artists, including Nika Neelova, Jonathan Baldock and Louise Bourgeois, consider translation as a way of engaging with history, memory and loss. Their work examines how histories are fragmented, buried and resurfaced, where what is lost in one form might reappear in another. These works remind us that history is not simply a fixed narrative but an ongoing act of responsible interpretation, shaped by what is remembered and what remains untranslated.

Beyond stories and history, the exhibition questions the limits of language itself, looking at how experiences can never be fully captured. Pierre Huyghe, Antoni Tàpies, Simon Fujiwara and others explore moments where gaps in understanding become spaces for invention. Artists including Romany Eveleigh and David Birkin extend this beyond words, revealing how meaning moves through gesture, rhythm and touch – forms of communication that exist outside dominant linguistic structures. Their works suggest that what remains untranslated is not necessarily lost but becomes another way of carrying experience across cultures, generations and histories.

In a time of misinformation, contested histories and unstable narratives, this exhibition reminds us that translation is never neutral. It is an active, interpretive process that shapes how we relate to the past, to others and to the world around us. Rather than dissolving meaning into infinite perspectives, the artists in this exhibition show that translation, whether of a text, an image, a sound or a memory, is always an act of making, of bringing something into a different form where new possibilities emerge. Translation is not a way of making everything the same, but of making differences communicable – however imperfectly, however incompletely. As the artists in this exhibition show, to translate is to commit to the world and to one another, even and especially in the face of uncertainty.


The Thames Group of Artists Present 'The Scene by the Sea'
Beecroft Art Gallery
24/5/25 to 26/10/25


To mark the tenth anniversary of the Thames Group, the Beecroft Gallery is hosting The Scene by the Sea—an exhibition that celebrates Southend’s rich and rebellious pop cultural heritage. Inspired by the fold-out map conceived by Will Birch, Kosmo Vinyl and Jules Balme, this show charts the clubs, record shops, fashion boutiques and music venues that once made the town a creative epicentre by the estuary. 

The Thames Group artists respond with new work that is both playful and poignant, capturing the spirit of a scene that continues to echo along the seafront and through the generations. 31 artists and 9 guest artists including Billy Bragg, Ian Dury, Wilko Johnson, Phill Jupitus, Humphrey Ocean RA and Vivian Stanshall​​​​​​​ have created a body of mixed media work inspired and informed by some of Southend-on-Sea's iconic pop culture locations.


Alan Sorrell 'Nubia'
Beecroft Art Gallery
From 1st February 2025

This exhibition features Sorrell's 1962 commission for The Illustrated London News, documenting archaeological treasures from Nubia, a region in southern Egypt and northern Sudan. These works captured iconic sites like Abu Simbel at a time when many were at risk of being submerged during the construction of the Aswan High Dam. This is the first major display of his rare Nubian works in over 25 years.

Sorrell's artistic journey began locally at the Southend Municipal School of Art, where he developed the skills that earned him a scholarship to the Royal College of Art. During World War II, he served as an official war artist, producing works that recorded the human and physical landscapes of the conflict. After the war, Sorrell became renowned for his historical reconstructions, illustrating sites such as Stonehenge and Hadrian's Wall in exquisite detail. His ability to bring history to life has left a lasting impact on both art and archaeology.

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Billy Bragg - A13.

Monday, 28 July 2025

Body Piercing Saved My Life

I've recently read Body Piercing Saved My Life, Andrew Beaujon's journalistic investigation into a subculture so large that it's erroneous to even call it a subculture: Christian rock. 

At the time his book was written (2006) Christian rock culture was booming, not only with bands but with extreme teen Bibles, skateboarding ministries, Christian tattoo parlors, paintball parks, coffeehouses, and nightclubs,encouraging kids to form their own communities apart from the mainstream. Profiling such successful Christian rock bands as P. O. D. , Switchfoot, Creed, Evanescence, and Sixpence None the Richer, as well as the phenomenally successful Seattle Christian record label Tooth & Nail, enormous Christian rock festivals, and more. 

Spin journalist Andrew Beaujon lifted the veil on a thriving scene that operated beneath the secular world's radar. Revealing, sympathetic, and groundbreaking, Body Piercing Saved My Life (named for a popular Christian rock T-shirt depicting Christ's wounds) is a fascinating look into the hearts and minds of then enormous, and growing, youth culture.

Matt Fink notes that the book is 'Part autobiographical travelogue, part journalistic investigation' and that 'what Beaujon finds consistently challenges his expectations'. After an effective potted history of Christian Rock or Contemporary Christian Music (CCM), his experiences enable him to explore the difference between Christian rockers and rockers who are Christians, the move CCM made from an outward focus on evangelism to an inward focus on worship, and the conservatism of mainstream CCM. 

He works with a distinction found in Jay Howard and John Streck's book Apostles of Rock: The Splintered World of Contemporary Christian Music: Separationist; Integrationist; and Transformational. Seperationist artists 'create Christian music primarily for other Christians', Integrationist artists 'try to translate their faith into mainstream music or, at the very least, offer a wholesome alternative to what's in stores and on the radio', and Transformational artists are those 'who struggle with their faith but still attempt to bring "salt and light" to the world'. Although he explores all three expressions of CCM, Beaujon's interest tends towards the latter category. 

Among the performers he mentions that were new (or newish) to me are:

David BazanDanielle Dietze writes that 'For thirty years, David Bazan has been writing about what it means to believe in something-and what it means when those beliefs fray. When Pedro the Lion released It’s Hard to Find a Friend in 1998, Bazan was already a keen observer of moral and existential conflict, capturing minor human disappointments with devastating attention. By the time Control came out, his writing had sharpened, slicing through suburban politeness and the American dream with pinpoint precision. For over a decade, he built Pedro the Lion into one of indie rock’s most quietly radical projects, chronicling doubt, faith, guilt, and the messy pursuit of grace in a way that felt both deeply personal and universally resonant. Then, in 2006, he retired the Pedro the Lion moniker, as if setting down an old burden. Bazan kept writing, releasing the synth project Headphones and five solo albums that were blunt and revelatory in their own right, but the decision to retire the name felt definitive. Until, suddenly, it wasn’t. In 2017, after being dormant for more than a decade, Pedro the Lion was back. The deeply autobiographical albums to follow, Phoenix, Havasu and Santa Cruz, marked a return to the places that shaped him literally and metaphorically, tracing the lines of the past to understand the shape of the present.'

John Davis: John Davis has been in a constant state of record production since 1994. He is founding member of Superdrag, The Lees Of Memory, The Rectangle Shades & Epic Ditch. He is also 1/4 of astronaut pushers. He walked away from Superdrag in 2003 but has remained prolific across myriad Bandcamp-abetted projects, including his shoegaze-oriented outfit the Lees Of Memory, the psych-country combo Rectangle Shades, and a handful of Christian-themed releases under his own name. David Zahl writes that 'John Davis found in the Gospel the permission to go deeper, rock harder, sing prettier – freedom in other words – and we’re all the better for it'. Astronaut Pushers, the one-time Nashville supergroup, consists of Sam Ashworth (Grammy and Academy Award-nominated songwriter), John Davis (Superdrag, The Lees Of Memory), Lindsay Jamieson (Ben Folds, Departure Lounge) and Matt Slocum (Sixpence None the Richer). Their four-song EP, originally self-released as a CD on a limited basis, showcases a wide diversity of styles performed by musicians at the top of their creative game. It was reissued on vinyl by Lost In Ohio in 2022.

The Ocean Blue: Getting their start as teenagers in the late ‘80s in Hershey, PA, The Ocean Blue released their self-titled debut on the famed Sire Records label that launched many of their most beloved bands in the U.S., including the Smiths, Echo & the Bunnymen, and the Pretenders. Embraced by alternative radio and MTV, the band quickly made their mark with early singles “Between Something And Nothing,” “Drifting, Falling” and “Ballerina Out of Control,” each Top Ten hits on U.S. college and Billboard’s Modern Rock Radio charts. Early success set in motion a run of four major label albums— The Ocean Blue (1989 Sire), Cerulean (1991 Sire), Beneath the Rhythm and Sound (1993 Sire), and See The Ocean Blue (1996 Mercury). The band continued with string of independent releases in the 2000s, including Davy Jones Locker (2000 March), Waterworks (2003 W.A.R.), Ultramarine (2013 Korda) and Kings and Queens/Knaves and Thieves (2019 Korda). With eight albums and several EPs under their belt, the band continues to perform and record around the world, with work underway on a new album, and shows in cities throughout the U.S. in 2025.

Poor Old Lu: Poor Old Lu was a pioneering alternative Christian band based in the Pacific Northwest of the United States. Their name was taken out of the first book in C.S.Lewis' Chronicles of Narnia: The Lion, the Witch, & the Wardrobe. The band experimented with a variety of sounds and genres, particularly grunge, funk and psychedelic rock. Poor Old Lu put out four full-length records and an EP before breaking up in 1996; they reunited for a well-received comeback album, The Waiting Room, in 2002; since that time, they have released only a single song, “The Great Unwound,” in 2013. The band evolved from a funky/jangly alternative sound early on into a much moodier, refined indie rock powerhouse fully realized on their magnum opus Picture of the Eighth Wonder. They hit at the height of the Christian indie scene in the 1990s, and formed a core unit of alternative rock bands that included The Prayer Chain, Plankeye, Starflyer 59 and a handful of others. Hailing from the Seattle area, the band also had close ties with others in the scene like Pedro the Lion, Damien Jurado, Blenderhead, and even Sunny Day Real Estate (vocalist Jeremy Enigk provided guest vocals on one POL track).

The Psalters:The Psalters are a genre unto themselves, defying easy categorization. A Philadelphia Weekly writer describes them thus: 'I’m…watching the Psalters celebrate rootlessness and internationalism, mixing radical Christian propaganda with multiethnic polyrhythms and neo-Dickensian refugee ragamuffin chic. The woman next to me wears a full-on Middle Eastern burka, from which protrude long, electric green dreadlocks…The tall dude at the sound desk in the leather pants and the crazy pirate-looking mother in the front row are all members of the…Psalters–the crusty-punk, multiethnic, radical Christian equivalent of the anarchist Chumbawamba: part traveling circus, part live-by-example anti-patriotic slap in the face to the ticky-tacky Christianity peddled by millionaire preachers obsessed with their congregation’s genitalia.' The Atlantic says “Psalters mounts an ululating, multi-drum offensive against the capitalist hegemony. They dress the part, too—if you saw this lot coming on a dark night, you’d run.” They’re a communal NGO, partnering with refugee populations and indigenous groups in the work of radical justice through the art of worship. Vocalist Scott Krueger’s view is that “our Christian walk is supposed to affect every aspect of our lives. So as artists, we want to have that shape our art.”

Marsha Stevens: 'If Larry Norman is to be called the father of Christian Rock, then Marsha Stevens certainly deserves to be known as the mother of contemporary Christian music, a title that Christian Century and others have bestowed upon her. She was the leader of what is considered to be the world's first contemporary Christian music group, Children of the Day, and she has continued as a solo artist to produce albums of worship-oriented and edifying adult contemporary pop. As such, she remains the progenitor of what, by 2002, would become the single most popular genre in the contemporary Christian music market… Stevens became the first (and as of 2002, the only) major singer in the contemporary Christian music subculture to identify herself publicly as a lesbian…Christian Century Magazine has said that Stevens became “conservative Christianity's worst nightmare - a Jesus-loving, Bible-believing, God-fearing lesbian Christian.' - Excerpt from "The Encyclopedia of Contemporary Christian Music", Sept. 2002. Marsha, alongside her spouse, Cindy, are working between tours to continue their music ministry training school for those in Christian outreach to the GLBT community. An outreach of Balm Ministries (Born Again Lesbian Music), the program is called upBeat!. They have produced a Praise and Worship album with 14 singers and 10 songwriters.

Derek Webb: Musician Derek Webb, who started out with the band Caedmon’s Call in the 1990s, has “spent a career gnawing on the hand that feeds me in the evangelical Christian world,” as he told Sojourners. Caedmon's Call was a contemporary Christian band which fused traditional folk with world music and alternative rock. From his time in Caedmon’s Call to his work as a solo artist for the past 20 years, Webb has outlined a winding and vulnerable journey of doubt, love, grief, and freedom. Most recently, Webb has been reckoning with his evangelical past, writing what he calls his “first Christian and Gospel album in a decade.” In his April [2023] album, The Jesus Hypothesis, Webb demonstrates his ever introspective and thoughtfully provocative lyricism with lines like, “Maybe black sheep are not lost oh, they’re just pioneers / Just brave enough to wander off and find what’s past our fears.”

Brian Welch: When Brian "Head" Welch stepped away from Korn in 2005, he began a solo career, releasing Save Me From Myself in 2008. His autobiography, also titled Save Me From Myself, tells the incredible story of a controversial rock star, his secret addiction to methamphetamines, and his miraculous salvation through Jesus Christ. In 2013 he re-branded his solo project as Love and Death and released Between Here and Lost. Love and Death harness soaring melodies and crushing riffs, weaponizing them like a supernaturaldagger to strike at the blackened heart of disillusionment from both within and without. With an instantly recognizable relatability, for anyone who has felt discarded or without value, the band crafts invigorating anthems filled with earnest pleas for mercy and certainty amidst the chaos of an uncertain world. This is heavy music to vigorously confront depression, heartbreak, and pain. Their latest album Perfectly Preserved, is driven by the spiritual resilience inherent in the first record, combined with an even starker depiction of real-life struggle. Welch is featured on the song "Fall On Your Knees" by HolyName, a metal worship project fronted by Tommy Green. Welch also performed live with HolyName during their "Initiation" live recording in Chicago, which was released in 2023. HolyName’s most recent album is essentially a love letter to Christ and a tribute to the history of eastern orthodoxy. 

Denison Whitmer
:Denison Witmer is an American singer-songwriter who has been crafting introspective folk music for over two decades. Born and raised in Lancaster, Pennsylvania, he began his journey in recorded music at the age of 19 with his first album, My Luck, My Love - recorded originally as a high school English project and released on 250 cassettes. His official debut album, Safe Away, followed in 1998, setting the foundation for a prolific career. Over the years, Witmer has released a series of acclaimed albums, including Of Joy and Sorrow (2001), Philadelphia Songs (2002), and Are You a Dreamer? (2005), with the latter, produced by Don Peris and featuring Sufjan Stevens, earning critical praise from outlets such as Pitchfork and Entertainment Weekly. Witmer's discography continued to expand with Carry the Weight in 2008, followed by his first release on Sufjan Stevens' Asthmatic Kitty Records, The Ones Who Wait (2012). His subsequent albums, the self-titled Denison Witmer (2013) and American Foursquare (2020), also released on Asthmatic Kitty, continued to showcase his evolving artistry.

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

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HolyName - Fall On Your Knees (feat. Brian Head Welch & Brook Reeves).

The Ocean Blue, Denison Whitmer, Innocence Mission and Sufjan Stevens

Having just discovered The Ocean Blue and Denison Whitmer, I've also been interested to find out about their connections to the very wonderful Innocence Mission, connections which for Whitmer and Innocence Mission have also led to links with Sufjan Stevens.

Getting their start as teenagers in the late ‘80s in Hershey, PA, The Ocean Blue released their self-titled debut on the famed Sire Records label that launched many of their most beloved bands in the U.S., including the Smiths, Echo & the Bunnymen, and the Pretenders. Embraced by alternative radio and MTV, the band quickly made their mark with early singles “Between Something And Nothing,” “Drifting, Falling” and “Ballerina Out of Control,” each Top Ten hits on U.S. college and Billboard’s Modern Rock Radio charts. Early success set in motion a run of four major label albums— The Ocean Blue (1989 Sire), Cerulean (1991 Sire), Beneath the Rhythm and Sound (1993 Sire), and See The Ocean Blue (1996 Mercury). The band continued with string of independent releases in the 2000s, including Davy Jones Locker (2000 March), Waterworks (2003 W.A.R.), Ultramarine (2013 Korda) and Kings and Queens/Knaves and Thieves (2019 Korda). With eight albums and several EPs under their belt, the band continues to perform and record around the world, with work underway on a new album, and shows in cities throughout the U.S. in 2025.

Denison Witmer is an American singer-songwriter who has been crafting introspective folk music for over two decades. Born and raised in Lancaster, Pennsylvania, he began his journey in recorded music at the age of 19 with his first album, My Luck, My Love - recorded originally as a high school English project and released on 250 cassettes. His official debut album, Safe Away, followed in 1998, setting the foundation for a prolific career. Over the years, Witmer has released a series of acclaimed albums, including Of Joy and Sorrow (2001), Philadelphia Songs (2002), and Are You a Dreamer? (2005), with the latter, produced by Don Peris and featuring Sufjan Stevens, earning critical praise from outlets such as Pitchfork and Entertainment Weekly. Witmer's discography continued to expand with Carry the Weight in 2008, followed by his first release on Sufjan Stevens' Asthmatic Kitty Records, The Ones Who Wait (2012). His subsequent albums, the self-titled Denison Witmer (2013) and American Foursquare (2020), also released on Asthmatic Kitty, continued to showcase his evolving artistry.

For listeners of the innocence mission, the Lancaster, Pennsylvania trio are beyond a favourite band, more like a beloved companion, such is their intensity and fragility of their sound and vision, spearheaded by Karen Peris’ heartbreaking, breathtaking voice. Those fans include Sufjan Stevens and Sam Beam (Iron & Wine), who have both covered innocence mission songs, and in whose company the trio deserve to be bracketed.1999’s Birds Of My Neighborhood kickstarted the innocence mission as we know them today, following three albums as a quartet that drew comparisons to The Sundays and 10,000 Maniacs. But when drummer Steve Brown left to become a chef, Karen Peris (guitars, piano, pump organ, accordion, voice), husband Don (guitars, drums, voice) and Mike Bitts (upright bass) forged ahead with an orchestral, at times cinematic, folk pop sound which they felt was truer to their real nature in any case, a sound rich in atmosphere, innately sad, but ultimately hopeful. 

Sufjan Stevens is a singer, songwriter and composer currently living in New York. His preoccupation with epic concepts has motivated two state records (Michigan and Illinois), a collection of sacred and biblical songs (Seven Swans), an electronic album for the animals of the Chinese zodiac (Enjoy Your Rabbit), a full length partly inspired by the outsider artist Royal Robertson (The Age of Adz), a masterwork memorializing and investigating his relationship with his late mother (Carrie & Lowell), and two Christmas box sets (Songs for Christmas, vol. 1-5 and Silver & Gold, vol. 6-10). In 2020 he shared Aporia, a collaborative new age album made with his stepfather Lowell Brams, and his eighth studio album The Ascension, a reflection on the state of humanity in freefall and a call for total transformation of consciousness. In early 2021 he released Convocations, a five-volume, two and a half hour requiem mass for present times, and then A Beginner’s Mind, a collaboration with singer-songwriter Angelo De Augustine featuring songs inspired in part by popular films. In October 2023, Stevens released his tenth solo studio project, Javelin, which pairs musical sweep with emotional breadth in a way only Stevens can, weaving an entire lifetime of feeling into 42-minutes. 

The members of the Ocean Blue first met in junior high school. They cut a series of demos while in high school, with Scott Stouffer sitting in on drums. They managed to get two of these earliest recordings, "On Growing Up" and "Wounds of a Friend", included on a local radio station compilation in late 1986. The compilation also included very early work from noted local artists the Innocence Mission, who were friends and mentors of the Ocean Blue.

"Do You Still Remember" on Davy Jones' Locker (1999) by The Ocean Blue (song recorded by Don Peris; entire album mastered by Don). Don was credited as the mastering engineer for two EPs released by The Ocean Blue: Denmark (2000) and Ayn (2001).

Korda Records is a Minneapolis based record label cooperative launched in late 2012 by a number of artists including David Schelzel of The Ocean Blue. The label say of The Innocence Mission: "We are proud to have our friends The Innocence Mission a part of Korda and their 2015 release Hello I Feel the Same (Korda 014) on the label. The guys in The Ocean Blue have a long and deep friendship with Don & Karen of The Innocence Mission that goes back to some of each band’s first shows in Pennsylvania and their major label debut records on Sire and A&M."

Don Peris has worked extensively with Lancaster-based singer-songwriter Denison Witmer, and was first credited as an engineer on his debut release, 1995's My Luck, My Love. After buying his first guitar, Denison sought the teachings of Don Peris. Peris, however, ended up playing a much bigger role in Witmer's career later in life. Peris has gone on to produce several of Witmer's albums, including Safe Away (1998) and Are You a Dreamer? (2005), 'Carry The Weight' (2008), as well as the 1999 EP River Bends. He also engineered the LPs Of Sorrow and Joy (2001) and Recovered (2003), and mixed The '80s EP (2000) and Philadelphia Songs (2004). The latter album additionally features background vocals from Karen, on the song "Rock Run". Karen also assisted with production of Are You A Dreamer? The album also featured Sufjan Stevens.

2011's 'The Ones Who Wait' was originally released under the Mono vs Stereo label but was re-released in 2012 by Asthmatic Kitty, the label owned by renowned singer/songwriter Sufjan Stevens. Denison's 10th album was self-titled and was again released under the Asthmatic Kitty banner (2013). It was produced by Don and Karen Peris, who also feature on the album. American Foursquare (2020) included “Birds of Virginia” which features Karen and Don Peris. Witmer’s latest album, Anything At All, was released on Asthmatic Kitty Records on February 14 2025 and showcases his enduring collaboration with Sufjan Stevens, who produced the record.

Speaking of his cover of The Innocence Mission's "Lakes of Canada", Stevens said:“I’m in awe of big songs, national anthems, rock opera, the Broadway musical, but what I always come back to, after the din and drum roll, is the small song that makes careful observations about everyday life. This is what makes the music by The Innocence Mission so moving and profound. ‘Lakes of Canada’ creates an environment both terrifying and familiar using sensory language: incandescent bulbs and rowboats are made palpable by careful rhythms, unobtrusive rhyme schemes, and specificity of language.”

When speaking of Karen Peris, it’s clear to see the admiration Stevens holds for her: “What is so remarkable about Karen Peris’ lyrics are the economy of words, concrete nouns - fish, flashlight, laughing man - which come to life with melodies that dance around the scale like sea creatures. Panic and joy, a terrible sense of awe, the dark indentations of memory all come together at once, accompanied by the joyful strum of an acoustic guitar. This is a song in which everyday objects begin to have tremendous meaning.”

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

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Denison Whitmer - Birds Of Virginia.

Sunday, 27 July 2025

God will not let us be tested beyond our strength

Here's the reflection that I shared this evening during Evensong at St Catherine's Wickford:

Like many in the 1970’s, my family had an LP of the songs from Joseph and his Amazing Technicolour Dreamcoat. I remember listening to it frequently and, at some stage, seeing the stage show when it visited Oxford.

The show makes Joseph’s test of brother’s integrity central to the second Act. We can retell the story by quoting lyrics from the show (Genesis 42: 1-25). Back in Canaan the future looked rough and Jacob's family were finding it tough. So, they finally decided to go off to Egypt to see brother Jo. They all lay before Joseph's feet. Mighty prince, give us something to eat. Joseph found it a strain not to laugh because not a brother among them knew who he was. I shall now take them all for a ride, after all they have tried fratricide. Joseph handed them sack loads of food and they grovelled with base gratitude. Then, unseen, Joseph crept out around the back and planted a cup in young Benjamin's sack.

When the brothers were ready to go, Jospeh turned to them all with a terrible stare and said, No. Stop, you robbers - your little number's up, one of you has stolen my precious golden cup. But the brothers said, Benjamin is an innocent man. Show him some mercy, oh mighty one please. He would not do this. He must have been framed. Jail us and beat us, we should be blamed, we are the criminal guilty ones, save him, take me. Joseph knew by this his brothers now were honest men. The time had come at last to reunite them all again.

Joseph’s test is worrying and hard for his brothers but serves to help him see that they have changed and become trustworthy. As a result, he reveals himself to them and they are reunited once more. Joseph’s earlier experiences in Egypt were also testing but he came through with flying colours and was rewarded with high office that then provided him with the opportunity to save his family and to reunite them.

In 1 Corinthians 10, we read that, although we will experience tests and challenges as we go through life, no testing will overtake us that is not common to everyone. God is faithful, and he will not let us be tested beyond our strength, but with the testing he will also provide the way out so that we may be able to endure it. That is also what we see happening in the story of Joseph and his brothers.

It means that, whenever we are in difficulty or some kind of test, we need to look to God to see what it is we are to learn and where the way out that he has provided is located. This can be a core part of our prayer recognising that, as with Joseph, it took much of his life before he realised how God was using what had seemed bad for good, and, for his brothers, the test was to see whether they would act with integrity under pressure, having failed to do so earlier in the story.

Hebrews 12 also speaks of tests and challenges and encourages in the midst of such experiences to strengthen our feeble arms and weak knees and make level paths for our feet. James, the brother of Jesus, wrote: ‘My brothers and sisters, whenever you face trials of any kind, consider it nothing but joy, because you know that the testing of your faith produces endurance; and let endurance have its full effect, so that you may be mature and complete, lacking in nothing.’ (James 1. 2 - 4)

In a world of conflict and change is that difficulties, challenges and even opposition are inevitable. The key to coping is linked to attitude. Joseph’s integrity in the face of testing and that of his brother’s when Benjamin was accused are examples to us of viewing difficulties as a testing ground – an assault course – to build up our strength in order to go on; to look for the opportunities in our challenges. If we have a deficit mindset that is focused on all the difficulties we face, then we have lost before we have begun. If we have an abundance mindset that views God as providing resources, support and strength even in the most challenging of circumstances, then, like Joseph, we can have hope in the possibility of moving on and overcoming the challenges we face.

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Sunday, 20 July 2025

The Psalms - the bedrock for all music-making in the Church



Here's the talk I shared as part of today's Music Concert organised by Spring of Hope Church:

Rev Matt Simpkins is a former curate of this Parish and an amazing musician, who performs as Rev Simpkins. I interviewed him about his music a year or two ago and he had many insightful things to say about music:

“Music is just such a brilliant expression of our humanity and my faith is that all these things have something to do with grace. Christianity is music: the Psalms are the bedrock of Christian faith and worship. All is melded into one. I’m obsessed with the Psalms and the violent mood swings they contain. Their emotional honesty intertwines music and human life with grace. The richness of creation and human experience – for good and ill – mean that I’m not willing to believe that parts of that are somehow untouched by grace and redemption – even our own suffering and sorrow.”

“I came back to music because I got ill. After ordination I thought that music was something that formed me but was not part of my ministry. When I first got ill, I found it hard to pray, so I read those ancient songs - the Psalms - as I always have. I became especially interested in the bits people often leave out. We need to see the difficulties that underly the songs but also see the joy like the Psalmist. This is the darkness of grace. Shit happens but grace remains.

We know that Jesus prayed the Psalms and believe that he takes all human experience up on himself on the cross. So, if I’m having a scary experience like an MRI scan why not think what I might do creatively with that shuddering racket in a song? I take up my experiences in the faith that they have some connection to grace. Human experience and shared experience can result in emotionally dynamic and authentic songs.”

The music that he has made as a result, however, has been joyful: “I’m trying to give an authentic sense of joy in my music. I find that joy in making music with people I love. We just get together and make music. They know it’s authentic. It’s fun, really fun, and has been incredibly therapeutic. Music is bound up with identity and community and reconnecting with music has been good for my faith. Light and gathering together are part of the Holy Spirit’s personality.

This combination of joy and lament is what we find in Gospel music. It’s plenitude and plurality is composed of worship, lament, joy, word, breath, community, and improvisation. It celebrates using praise, breath, and community while exploring the innermost emotions that are shared through religion, aiding the prospect of surrender and ecstatic freedom and cultivating spaces where art thrives and expresses a unifying language for all. That’s because the Spirit, the Holy Spirit, is democratic, filling all and enabling all to prophesy, speak in tongues and create.

As Matt says, the Psalms are the bedrock for all music-making in the Church. The Psalms are the worship songs of the people of Israel as recorded in the Old Testament and are the first occasion in ancient literature where the voice of victims is heard and valued.

The Old Testament scholar Walter Brueggemann in his book Spirituality of the Psalms provides an insightful and structured overview of the Psalms using three categories: orientation, disorientation, and new orientation. Orientation is the establishment of structure and order. Disorientation is a place of imbalance and nonsense, which is potentially unjust. New orientation is moving forward away from what was and toward new possibilities. As a result, the Psalms provide us with expressions of suffering and hope in the seasons of everyday life. In his book, Brueggemann explains how Psalms of negativity, cries for vengeance, and profound penitence are foundational to a life of faith, and establishes that the reality of deep loss and amazing gifts are held together in a powerful tension.

That is what Matt has experienced personally and has expressed through his music. I want to end by reminding us of a musical family who have expressed and exemplified this understanding of what music is and can be in Church.

Gospel great, Mavis Staples, began singing with The Staples Singers in 1950, aged 11. From 1963, the group began supporting the civil rights movement with Pops Staples saying of the Rev Dr Martin Luther King Jr, ‘If he can preach it – we can sing it.’ From 1968, through Stax Records, they became soul stars known for their ‘message songs’; songs that were both politically and religiously charged. Since the last Staple Singers album in 1984, Mavis’ solo career has soared by mining the seam of R&B/Gospel developed by her father Pops and taken forward by Mavis through collaborations with the likes of Ry Cooder, Ben Harper and Jeff Tweedy. Through it all the deep resonance of Mavis’ voice drenched in the stylings of Pentecostal churches has been constant; a voice that as Renée Graham noted, ‘doesn’t so much sing a song as baptize it in truth’.

Mavis has spoken of bringing joy, happiness and positive vibrations. This is the transformation that she, and Gospel music generally, achieve; the transformation of struggle into salvation. ‘It’s more than just a feeling–it’s a philosophy’; a philosophy that Mavis Staples lives in concert with every fibre of her being.

The musical journey undertaken by The Staple Singers was an emotional tale and trip combining elation in the gospel with defiance of discrimination, as the group crossed boundaries — first, by combining blues, country, and gospel to create their unique sound, and then by merging spirituality and social comment at civil-rights marches and the Newport Folk Festival, before re-sacralising soul as Stax stars in the Black Power period characterised by the Wattstax Festival of 1972, a benefit after the Watts Riots in 1965.

The story of the Staples Singers is one of the strength that faith and family provide for the long walk to freedom. While the tale and its telling involve anger and loss, it is ultimately, as Mavis states emphatically at the beginning of her concerts, about joy, happiness, inspiration, and positive vibrations; and the tears that it inevitably evokes are tears of joy.

As we enjoy and create music for Church, may we, like Rev Simpkins and The Staple Singers, draw on The Psalms as the worship book for the Church and echo its mix of joy and lament in all we do. Amen.

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

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Ayo Ayo - High Praise dance