Contemporary Christian music and the spirit of the age.

Previous instalments of this series have looked at the spiritual power of music and its biblical significance, and have argued that popular trends in music always reflect the spirit of the age.

But should this be the case for music used inside the Church? Shouldn’t this be reflecting a different Spirit altogether?

Music at the Centre

Music has always been a strong feature of Judeo-Christian worship and culture. One only has to read the Psalms of Ascent (Ps 120-134) to see how important a role it has played in Jewish communal worship, as pilgrims sang on their way up to Jerusalem for festivals.¹ Since Jesus’ time, generations of Christians have learned of the Lord through song, and rightly so, for biblical songs are vital to the health of the Church (Eph 5:19; 1 Cor 14:26; Col 3:16).

It is good for believers to strengthen their theology through music; it is one of the wonderful gifts the Lord has given to bind the Church together through the ages, encourage her and keep her on a sound footing.
However, there is something different about this current generation. It is perhaps more concerned with musical worship than any previous generation – but it is also less concerned with Scripture.

For modern Christians, our musical intake includes both worship music used in church services and what has become known as ‘Contemporary Christian Music’ (CCM), an umbrella term for songs of any modern style that are intentionally Christian in their lyrics.² As long as songs are biblical, God-glorifying, and written in the right spirit, both of these musical avenues can be great for encouragement and edification.

This current generation is perhaps more concerned with musical worship than any previous generation – but it is also less concerned with Scripture.

But some problems have started to creep in in recent years as songs have become, for many, a substitute for scriptural learning. As biblical knowledge has generally been in decline, the way has been opened for modern Christian music to be permeated not by the Holy Spirit, but by the ‘spirit of the age’.

In this article I will outline four such ways this is occurring, focusing particularly on music popular in evangelical and charismatic circles. What follows is a largely critical remark – but please bear with me as next week’s conclusion to this short series will be much more positively focused on the hallmarks of good, solid, biblical music. For those interested in my own musical background and the position from which I am offering these comments, please see the Author Bio at the end of this page.

Four ways in which modern Christian music can channel the spirit of the age

1. Entertainment

Hillsong meeting in Sydney, Australia. See Photo Credits.According to secular theorists, Western culture has developed an obsession with entertainment. Key features of this culture include preferences of illusion over truth, appearance over reality and distraction over meaningful pursuit.³ When this comes to religion, it also means a preference for an appearance of spirituality without concern to live this out fully (i.e. 2 Tim 3:5).

Christian worship meetings that look and feel more like pop concerts have long been the chagrin of folk who prefer more traditional formats. Whatever your personal taste, there is no doubt that both Christian worship music and CCM have imbibed something of the contemporary spirit of ‘entertain me’: all the buzz of a spectacle and the enjoyment of (usually) an attractive set of faces, and all the sense of participating in something that ‘feels’ spiritual, but with very little personal challenge or follow-through.

The blending of Christian music with the secular world of entertainment – whether we are talking about borrowed styles and genres, or borrowed formats of mass gigs and music festivals - “changes it subtly, for the musical and emotional [is] exploited while the spiritual [is] denied or perverted.”⁴ It is obviously possible for God to work powerfully through such forms and events, but too often it’s equally possible for nominal Christians and unbelievers to partake, enjoy, adulate the performer and leave feeling good, but otherwise unchanged.

The blending of Christian music with the secular world of entertainment is not something to be taken lightly.

Meanwhile, Christian bands and artists face enormous commercial pressure to put out best-selling albums every year and to gig their way around the globe, winning Grammy awards as they go.⁵ Part of this pressure comes from record labels, which these days include secular conglomerates like Sony and EMI, who want songs that sell. This means that trends in music are more likely to be defined by what is popular and award-winning than by theological accuracy.

Edifying, doctrinally-sound songs still ‘make it big’ today. And many Christian artists take very seriously their opportunity to give the Gospel to a mass audience. However, the taking of inspiration from the secular realm is not something that should be done lightly, and has often also popularised a Christianity ‘lite’ based on thin doctrine and transient commitment.

2. Celebrity

Western culture’s obsession with entertainment goes hand-in-hand with a fascination with celebrity which has, sadly, also infiltrated the Church. The Gospel Coalition’s Mike Cosper notes that “Celebrity culture turns pastors and worship leaders into icons. Celebrity culture turns worship gatherings into rock concerts. Celebrity culture confuses flash and hype for substance.”⁶

Gigs, popular charts and social media all naturally draw the eye not to Jesus but to the artists, with more pressure on them to demonstrate charisma than a fear of the Lord. Being in the public eye obviously affords performers great opportunity to point people to Jesus but an obvious risk here, nonetheless, is idolatry and its attendant problems.

High-profile Christian musicians also wield huge influence, especially over young people. This can be a force for good, but it can also be used to promote heresy. Consider the following examples:

Pro-LGBT

Example: song-writer and worship leader Vicky Beeching, who came out as a lesbian in 2014 and now works to further the LGBT agenda in the British Church.

Universalism/Multi-faith

With universalism and multi-faith agendas gaining currency in mainstream evangelical and charismatic circles as well as in the ‘emerging church’, several Christian musicians are endorsing this, directly or indirectly. Examples include:

• Well-known Christian artists contributing to the soundtrack of the universalist film The Shack.
  
• Hillsong’s worship pastor Carl Lentz downplaying Jesus as the only way to God when interviewed by Oprah.⁷
  

Edifying, doctrinally-sound songs still ‘make it big’ today – but so do songs promoting a Christianity ‘lite’ based on thin doctrine and transient commitment.

Contemplative Prayer

Various Christian song-writers are allying themselves with the contemplative prayer movement, which utilises prayer methods advocated by the so-called ‘desert fathers’. This movement is drawing extensive criticism for often amounting to a new age counterfeit of the true Gospel of Jesus Christ.

Examples: David Crowder, Michael W Smith, Michael Card.⁸

Dominionism

One of the main ways in which the highly influential ‘New Apostolic Reformation’ group of teachers and ministries in the USA has managed to export and mainstream Latter Rain/dominionist teachings⁹ worldwide is through music.

Example: Bethel Church in Redding has an extensive music scene, producing songs that promote its own brand of theology and exporting them worldwide via groups such as Jesus Culture and Bethel Music. These songs are being given further credence by endorsements from big names such as Chris Tomlin and Michael W Smith, and from major conferences such as Passion in the USA (click here for a critical review).

3. Emotionalism

An important feature of postmodern Western culture is the triumph of heart over head. These days, reason and hard facts matter less than feelings. This also means an over-emphasis on experience (or, in Christian jargon, ‘encounter’).

Such a culture within the Church developed initially as a reaction against lifeless Christianity, and arguably has encouraged an honesty in music about lived, felt aspects of the Christian walk. However, it has often gone too far, with doctrine giving way to emotion. The way has therefore been opened for other spirits to counterfeit the work of the Holy Spirit, while true faith is side-lined.

Two extreme but nonetheless influential examples in Christian worship and CCM are hyper-charismatic music associated with the NAR group in America, and music used in the contemplative prayer movement (both mentioned previously). Both of these rely on repetitive rhythms and phrases, atmospheric mood music (referred to as music for ‘soaking’ or ‘meditation’, respectively) and intentionally vague lyrics.

High-profile Christian musicians wield huge influence, which can be a force for good, but can also be used to promote heresy.

The net result, in both camps, is music which draws the listener to switch off their mind to prepare the way for a spiritual encounter,¹⁰ rather than biblical music which should involve our minds as well as our spirits (1 Cor 14:15).

A brief excursion into the Bethel Music website provides some example lyrics:

• “Face to face, falling in / I surrender all again / I fall back into Your arms / I feel Your heart beating against me / Face to face, there’s no space between us”¹¹
  
• “I’m standing on the edge again / I feel Your breath coming on the wind… / It only gets stronger / It only goes deeper / My head’s underwater / but somehow I can finally breathe… / My heart is on fire / and this love is setting me free”¹²
  
• “It all starts with breathing You in / breathing You in / deeply / I’ve been drowning under my skin / no one but You can save me”¹³
  
• “Let the Holy Ghost come so close our hearts explode with your love / Let healing power come like fire and burn in the marrow of my bones… / Open the sky / Come and ride on the songs we sing…”¹⁴
  
• “The waves of your affection keep washing over me… / All those angels / they are swimming in this ocean and they still can find no shore / Day and night / night and day / They keep seeing new sides of your face”¹⁵
  

These are potted examples from one (albeit influential) source, but they show how songs utilising experiential, emotive language and lacking in clear doctrine could (at a push!) be interpreted in the light of Scripture, but could also be interpreted in all sorts of other ways.¹⁶

4. Self

The previous three points are united by a recurring focus on self. While time spent worshipping God undoubtedly leads to great personal blessing, there is a danger that this becomes imbalanced and fleshly, such that times of worship are approached primarily because of what I might receive from God. Contemporary worship music and CCM have, sadly, both imbibed this inward-looking focus on personal blessing and gratification.

Let me illustrate this briefly. The annual worship compilation albums ‘WOW’ collect together each year’s most popular contemporary Christian music. On their 2017 album of 39 tracks, just 7 songs mention the name of Jesus, 5 mention the cross and only 4 mention sin. This same pattern is repeated historically - in fact, the WOW 2015 album, also 39 songs long, boasts just 4 songs that include the name of Jesus, 5 that mention the cross and only one that includes the word ‘sin’.

While time spent worshipping God undoubtedly leads to great personal blessing, there is a danger that this becomes imbalanced and ‘me-orientated’.

Of course, not every Christian song needs to mention the name of Jesus in order to be acceptable (the original lyrics of ‘Amazing Grace’ do not mention any of the above three words either!). But there’s a broader point here: the majority of contemporary Christian music, with its positive messages of personal victory, blessing, revival and overcoming, is in danger of obscuring vital parts of the Gospel. One could easily ingest the majority of modern Christian tunes and conclude that the Good News is simply a matter of accepting that God loves you.

Christian music should rightly make space for songs about the personal and individual. But great discernment is needed to stop this going too far – especially when Western culture is infamous for its inward focus on ‘me, myself and I’.

Conclusion

In writing this study, I have not wanted to ride roughshod over the many good, solid worship songs that are being written today, nor toss away the very idea of CCM. Personally, I think there’s a place for both – and next week I hope to unpack features of good quality Christian music.

But sadly, we live in a culture that is resorting to spectacle in order to distract itself from its own deep spiritual crisis – a culture that has turned inwards to personal feelings and experiences in order to avoid confronting the One True God. Is CCM and even Christian worship music unwittingly aligning itself with this?

I am left with a number of questions, which I will list here as prompts for further discussion:

1. Has the Christian worship and CCM industry imbibed too much of the ‘spirit of the age’ to be redeemable? Should we be looking to other sources of musical inspiration for our worship (e.g. Messianic congregations in Israel)?
   
2. Is there a place for the public testing of Christian songs and/or the public holding of the Christian music industry to account? How might this look?
   
3. How can we be wise with our own consumption of contemporary Christian music, personally and corporately?
   

Next Week: We will finish up the series by looking at what makes for good, biblical Christian music.

Author Bio

Frances is 28 years old and was introduced to both piano and clarinet from early ages. She was classically trained but has dabbled in (and loves) jazz, and sings folk and gospel music regularly with friends. She teaches music privately and has been leading worship in her home church for the past eight years, having played in worship bands since the age of 10. She has a love of music of many different genres and a passion to see the church of God led well in worship.

References

1 See also comments on the biblical role of music made in the first part of this series.

2 These genres overlap, but both stand relatively distinct from the liturgical music of established denominations. The CCM industry grew out of the Jesus Movement in the late 1960s/1970s and has since become a highly commercialised, near-billion-dollar industry that in the USA has outstripped the classical and jazz market combined. It has moved to overlap with ‘worship’ music (i.e. used in church services) much more since the millennium, after suffering something of a decline. Read a brief history here.

3 Read more here.

4 Wilson-Dickson, A, 1992. The Story of Christian Music. Oxford: Lion, p203.

5 Grammys for Best Contemporary Christian Music Song and Album were introduced in 2012.

6 Kill Your (Celebrity Culture) Worship. The Gospel Coalition, 29 January 2016.

7 See coverage here.

8 See here.

9 For more information, please see our ‘Blessing the Church?’ series.

10 I will not go into detail here, but there is considerable research elsewhere about how these two streams represent a deviation into the occult rather than biblical worship. One resource is the Lighthouse Trails Research website.

11 First Love by Jonathan David Helser, 2016.

12 It Only Gets Stronger by Jeremy Riddle and Ran Jackson, 2017.

13 Save Me by Steffany Gretzinger, Amanda Cook and John David Gravitt, 2017.

14 Wrecking Ball by Jonathan David Helser, 2010.

15 Endless Ocean by Jonathan David Helser, 2009.

16 Bethel’s Brian Johnson has gone on record saying that “I honestly think that people freak out too much about whether [worship music] is biblical or not.” Do you agree? 

2016 saw an unusually large number of 'celebrity' deaths. Does God want us to take something from this?

For some reason, 2016 was characterised by an unusually large number of deaths of well-known people, whose lives were brought close to ours through the media. This is thought-provoking for a celebrity-conscious, media-driven generation, but in what way?

Suddenly many household names who seem so familiar and even dear to us, have gone – and many at relatively young ages. This in a world where terrorism and war are also constantly focussing our attention on lives cut short through death. Do we look on life and death as we ought, or is there something unreal in our perceptions of the world?

Distant Worlds Brought Near

On 30 December 2016, a summary was published by the BBC featuring 34 pictures of some of the most widely-known celebrities who died during the year, as well as a list of two to three hundred others. The list includes figures from the worlds of music, film, TV and theatre, comedy, writing and publishing, broadcasting, politics, society, science, sport and public service - all seemingly distant worlds brought close to us through modern electronic facilities.

In some ways this instantaneous digital world can be artificial, whether we immerse ourselves in music, sport, comedy or even politics. Its artificial nature suddenly becomes more palpable when so many people, whose lives impacted a generation, have been taken away.

In our somewhat artificial, media-driven culture, do we look on life and death as we ought?

The End of an Era?

Many of these deaths seemed to herald the end of an era, often bringing shock to ordinary members of the public. The deaths of popular musicians and singers including David Bowie and Prince, also Jimmy Young, brought a sense of deep loss for some and nostalgia for others. A few years ago, sportsmen like Muhammed Ali seemed invincible as he caught the attention of a generation in the boxing ring.

Familiar faces have suddenly disappeared forever from our TV and film screens, including Ronnie Corbett, Alan Rickman and Gene Wilder, also Terry Wogan – whose warmth of character made him a national treasure. World leaders and generation changers including Fidel Castro and Shimon Peres have gone. Some religious leaders whose thinking influenced their generation (sometimes controversially), such as Rabbi Lionel Blue and Bishop David Jenkins, are no longer with us.

Some of those who have passed away did so with particular poignancy. Among these was film star Debbie Reynolds, who died on 28 December - one day after her actress daughter Carrie Fisher (known for her role in Star Wars). Carrie had told "her Mom" of her love for her shortly before she died on 27 December.¹ Debbie told her son shortly before her stroke a day later, "I miss her so much. I want to be with Carrie". So mother and daughter died on consecutive days, expressing their desire to be close in this world or a world to come. So near to the end of a difficult year with many other losses, this news story seemed to have special resonance.

Many of these deaths seemed to herald the end of an era.

It is not my purpose here to comment on the contribution to our lives made by any of these people - although it must be said there were many of true faith on the list. The title 'celebrity' does not necessarily imply a life that is of itself a bad or a good influence on the rest of us.

Why not look over the entire BBC list and see what thoughts and emotions are inspired in you? It will be different for all of us, prompting memories of times of laughter or of serious thought, or stimulating respect, maybe nostalgia, or thankfulness.

Is God Speaking?

But why so many in one year? One answer lies in the fact that the 'baby boomer' generation has put more people in the public eye – as has more prolific and immediate media technology. So in human terms, we can rationalise the fact that so many well-known people have died in one year. Even though that is so, is God also saying something to us?

One danger in our media age is an element of unreality. The various presentations of celebrity, from huge music festivals and concerts to social media gossip, to the imaginary stories of TV or film, create a different sort of reality from that experienced by previous generations.

Even though these people have passed away they will continue to 'come back to life', in a way, when we see them again on the screen. Might this lead to an unrealistic view of death – even a denial of it - in our celebrity-conscious generation (have they really died? Are they actually immortal?)? Many people could not accept the sudden death of Elvis Presley in 1977, for example, and some people continue to think he is still alive now.

Does our celebrity-conscious culture lead to an unrealistic view of death – even a denial of it?

The large number of deaths this year prompts us to consider whether or not there is a growing attitude of unreality in our culture towards issues of life and death. This might especially be the case amongst young people, who increasingly live their lives immersed in different kinds of virtual reality through their phones and tablets.

Facing Up to Mortality

God's time came for so many well-known people this year, whatever their eternal destination. They were mortal just as we are, yet our artificial culture can blur this truth.

In all this, particularly at the turn of the year in a shaking and confused world, are we being reminded that all are mortal and that there is a serious side to life (and death) that media presentations do not always convey? Is God intending us to think on this mortality and the real priorities of life and death, which can often be masked by the more artificial aspects of our lives?

What do you think?

References

1 Wheat, A. Singin' in the Rain Star Debbie Reynolds Dies One Day After Daughter Carrie Fisher. People.com, 29 December 2016.