More Communion, More Roots: David Crowder's Final Album and the Trajectory of Modern Worship

Worship Leader Magazine recently published an interview of David Crowder shortly after the release of their final album, Give Us Rest or (A Requiem Mass in C [The Happiest of All Keys]).  (Even the title carries with it our modern generation's characteristic mixture of reverence and irreverence, being a requiem with a not-so-subtle reference to Spinal Tap...I know that's not everyone's cup of tea, but it sure is mine.)

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Was Early Church Worship Reserved and Stoic?

Lunette with Orante. From early Christian fresco, second half of the third century. Catacomb of Priscilla, Rome, Italy. Photo credit: Scala/Art Resource, NY.Traditionalist critics of modern worship often point to the hyper-emotionalism associated with the movement as evidence of its imbalance toward expressiveness over and against theological depth, biblical accuracy, and historical connectivity.  Sometimes, these critics will point to "how the church has historically worshipped" to advocate for more reserved, "reverential" forms of worship expression.  They will admonish the church that, unless people reserved and somber in worship, they will be downplaying the fact that in worship we do indeed encounter a holy God who should inspire fear, silence, and meekness.  

Many, many folks have pointed out that the Psalms give us a bigger picture.  They don't necessarily subtract from the above, but add to it.  The Psalms give us a picture of reverence and jubilation, being reserved and being expressive, both physically and emotionally.  

So what about those arguments about "historic Christian worship?"  Perhaps when we look to post-Reformational Anglican, Lutheran, or Presbyterian worship we see a more stoic model of corporate worship expression.  But if we go back earlier...much earlier...we see a different picture which may surprise us.  If, in our minds, we picture the early church at worship in homes and church buildings engaging in liturgy in formal, reverential postures with solemn faces and expression-less bodies, our picture is wrong.

The above picture is taken from an early Christian fresco, painted in the late third century.  It depicts a worshiper in prayer.  Contrary to our postures of folded hands, closed eyes, and sitting or kneeling, this early Christian was standing, head covered, with eyes open and hands lifted toward heaven.  (It's interesting that modern worship hand-raising, especially when we realize that singing is a form of prayer, is actually a more ancient, historic worship-posture than the still-bodied, stoic-faced, hymnal holding that characterizes some of traditional worship today!)

If this reality of early church worship is as surprising to you as it was to me, perhaps you, too, should check out Walking Where Jesus Walked: Worship in Fourth-Century Jerusalem, by Lester Ruth, Carrie Steenwyk, and John Witvliet.¹ Along with brief commentary on the above picture, here's what they had to say as they observed the documents and art produced in and around fourth-century Jerusalem:

[Commenting on the picture:] Although this portrayal dates from the late third century and from a different place than Jerusalem, such portrayals can help one imagine what it would have been like forJerusalem's buildings to have been filled with worshipers. Envision, for example, hundreds with hands upraised, gathered around the tomb of Christ.²

Early Christian nun Egeria, from her diary, wrote this in describing a portion of a worship service in fourth-century Jerusalem, as the people traveled from site to site surrounding the story of Jesus' death:

When everyone arrives at Gethsemane, they have an appropriate prayer,  hymn, and then a reading from the Gospel about the Lord's arrest.  By the time it has been read, everyone is groaning and lamenting and weeping so loud that people even across in the city can probably hear it all.³

Here's the sidebar comment by the authors:

The loudness of the people's reaction to the acount of Jesus' arrest is another reminder of how demonstrative late patristic worship could be. Congregations were not quiet and passive at this time.⁴

The authors summarize Jerusalem worship in the fourth century in this way:

Jerusalem worshipers were moved emotionally by their worship, mirrored by how they moved outwardly in its rhythms of time and space. Egeria depicted how deeply people's affections could be touched in worship, thereby dispelling any notion we might have that the early church's worship was staid and stuffy because it involved a great deal of ceremony. Egeria drew a picture of worship in which people wept, shouted, called back to the preacher, and applauded with delight.⁵

And here we see that more formalized and ceremony-oriented worship doesn't necessarily have to be "staid and stuffy."  Our doxological ancestors gave us a different picture.  It seems, then, if we want to talk about getting back to the worship of the early church, we need to be careful about not throwing the baby out with the bathwater.  With traditionalists and formalists, we can prize "ceremony," liturgy, and even high levels of structure and content in our worship.  With modern worship, we can appreciate and incorporate the fullness of physical and emotional expressiveness.  It doesn't seem that, from a biblical and historical perspective, either needs to be encouraged to the exclusion of the other.  

So we would do well to celebrate and incorporate the ideals of early Christian worship, even as we find new ways of expressing our ancient Christian doxology.

************ 

¹ Lester Ruth, Carrie Steenwyk, and John Witvliet, Walking Where Jesus Walked: Worship in Fourth-Century Jerusalem (Grand Rapids: Eerdmans, 2010).
² Ibid., 31.
³ Ibid., 54.
⁴ Ibid.
⁵ Ibid., 28.

Review of White Flag, by Passion

Passion, White Flag (sixsteps/Sparrow)
Released: March 13, 2012

Passion's latest project continues in their strong legacy of fervent live worship albums.  One can never question on these records that this movement continues to be deeply committed to the core of what Christian worship is all about--encountering the presence of God with the people of God.  At the same time, White Flag continues to reveal the theological growth and maturation of Passion's main songwriters and artists--Chris Tomlin, Matt Redman, Kristian Stanfill, Christy Nockels, Charlie Hall, etc.  There are even some surprising new ventures, as far as content goes. "White Flag" (the title track) appears to be a metaphor for surrender to God, which characterizes some, though not all, of the album.

SUMMARY

It is simply not possible that every album produced by a band or music-community can be landmark and earth-shattering, and while White Flag is a great listen and a solid offering of fresh anthems for the English-speaking Church, it is not extraordinary.  The production continues to be crisp, energetic, creative, and forward-looking within the pop-rock genre.  The theological content is solidly evangelical and orthodox, with charismatic leanings being dialed down a bit as compared to previous albums.  If we were to compare the breadth of content with that of the biblical Psalms, it has not gone much further than Here for You (2011) and Awakening (2010) in exploring the spectral realities in between poles like joyful praise and sorrowful lament, with one notable exception surprisingly opening the door toward worship's connection with the Lord's Supper.  

The songs I would most likely incorporate into worship in my local context would be:

• "10,000 Reasons" (see my review of Redman's album, on which this first appeared)
• "Jesus, Son of God"
• "Mystery"

With honorable mention to:

• "Lay Me Down"
• "One Thing Remains"
• "Yahweh"

MUSICALITY

White Flag is marked by the usual "arena worship" instrumentation--big drums, heavy low-end, high tenor vocals, backing "congregational" choir, epic guitars, and seeping keys.  No new or experimental/risky sounds will be found on this record, but there are a few slight new touches, such as the (most likely synthesized) dulcimer/harpsichord arpeggiations on "The Only One" and the electronica-plus-Death-Cabby-indie-guitars from Crowder on (the congregationally unfriendly) "All This Glory."  Songs like "White Flag" and "One Thing Remains" exhibit the typical arena-style soft-low-to-epic-high contour, all glued together by tom-beating, snare-banging, kick-pounding crescendos.  "Yahweh" has a nicely arranged skipping pedaled piano part in its opening and some fresh ways of coloring a triple meter.  The early 80s metal-style holds and fuzzy electrics fit well the grandeur of the song.  Some songs seem much more appropriate for special music because of their difficult rhythms, which congregations would find hard to follow, such as (ironically named) "Sing Along."  "10,000 Reasons," save a few minor variations is the same version in key, arrangement, and style, as Redman's earlier recorded version.

THEOLOGICAL CONTENT

Modern worship has always excelled at magnifying the prominent attributes of God--His greatness, His holiness, His majesty, His power, His perfection.  You hear it exemplified in songs like "Yahweh," whose first verse and chorus sing:

You have no rival to Your throne
In majesty, You stand alone
There is no limit to Your reign
Now all Your works shall praise Your name
As far as this, from east to west
There's no other, there's no other

Yahweh,
Your name alone be exalted
Yahweh,
Our hearts are Yours forever 

Debra and Ron Rienstra, in their book Worship Words (see my review), have challenged worship to incorporate more of the names of God.  "Yahweh," the chief name for God and perhaps the most obvious one scripturally, is still a step forward for modern worship which has for the most part failed to meet such a challenge.  Though, to be honest, much like Tomlin's "Jesus Messiah," there's not much exploration into the meaning and significance of the Name ("I am that I am").

"One Thing Remains" (previously recorded by Jesus Culture and a few others) is a testament to the power of God's love.  And this is no generic love, it is the type of love exemplified in the Hebrew word, hesed, often translated "steadfast love" or "covenant love."  Some might criticize the repetitive chorus, "Your love never fails, it never gives up, it never runs out on me" as typical "mindless 7-11" worship music, but we need to remember that it is God's love which is celebrated in such a repetetive fashion in Psalm 136 ("His love endures forever").  The problem with this song is that it lacks a context for the most part.  It is faintly rooted in the gospel ("the debt is paid") but no mention of any member of the Trinity is made.  It is a direct-address song.  If it were to be incorporated in worship, it would need strong contextualization and grounding in God the Father, God the Son, and God the Holy Spirit.  But with this context, it is quite moving and compelling.

"Jesus, Son of God," even by virtue of its title, is a step forward (albeit a small one) in more Trinitarian explicitness, and it is a beautiful, singable, gospel-centered song, praising the incarnation and cross of Christ.  Verses 1 & 2, with the chorus:

You came down from heaven's throne
This earth You formed was not Your home
A love like this the world had never known 

A crown of thorns to mock Your name
Forgiveness fell upon Your face
A love like this the world had never known

On the altar of our praise, let there be no higher name
Jesus, Son of God
You laid down Your perfect life, You are the sacrifice
Jesus, Son of God
You are Jesus, Son of God 

The second line of verse 2 is a beautiful, rich poetic metaphor.  As the crown of thorns came upon His head, "forgiveness fell" upon His face.  Blood fell.  It is a powerful statment that the instrument of torture, in a providential twist, opened up the "precious flow" of blood, which would be the world's great forgiving balm.  

The most surprising song of all, from a theological perspective, is Charlie Hall's "Mystery."  Someone's been studying their eucharistic historical theology!  Check out these lyrics:

Sweet Jesus Christ, my certainty
Sweet Jesus Christ, my clarity
Bread of Heaven, broken for me
Cup of salvation, held up to drink
Jesus, mystery

Christ has died and Christ is risen
And Christ will come again.

Why is this surprising?  First, Passion is a parachurch worship entity, and the Lord's Supper is not something they have typically focused on in their worship music.  Second, the language is reflective of some "high church" exposure.  "Mystery" is a term that more "sacramental" churches more often use.  And the phrase "Christ has died, Christ is risen, Christ will come again" is straight-up high church liturgical eucharistic language.  I'm very curious about the origin of this song...it is simply not typical evangelical megachurch content.  What makes this song more exceptional is that, for a Communion song, it's quite uplifting and eschatologically-oriented.  The bridge (which is the song's high point) sings:

Celebrate His death and rising
Lift your eyes, proclaim His coming
Celebrate His death and rising
Lift your eyes, lift your eyes

It's a moving, victorious, back-looking, forward-reaching Communion song.  Praise God!  Imbedded in this simple text is a very reflective, rich, full-orbed eucharistic theology.  This is remarkable.

One can only hope that what is barely hinted at on this album--a greater ecclesiastical awareness--is indicative of things to come.  One of the great issues facing the Passion movement along with a fair amount of the modern worship "industry" is that they are in many ways one-off from the Church.  They are "church enrichment" programs, to be sure, but they are NOT the Church, and as such, there will always be missing from their songs the very vital component of contextual music-making.  One wonders whether this missing piece is what is driving the Passion folks (Louie Giglio, Chris Tomlin) to begin the move toward "settling down" into their Atlanta-based plant, Passion City Church.  In the meantime, I'll applaud any effort at building bridges between the largely "churchless" industry and the one true Bride of Christ.

CHECK OUT OTHER ALBUM REVIEWS 

Famous Modern Worship Leader Seeks PhD in Theology

Critics who paint modern worship as being thoughtless, a-theological, and mind-numbing are having to come to grips with an increasingly large canvas.  Their broad-brush strokes aren’t so broad, anymore.  Modern worship is diversifying its portfolio.  Could we ever have imagined ten years ago that a major touring modern worship artist would pursue theological education at the doctoral level?  No, Chris Tomlin isn’t headed to Harvard.

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Worship Leader Magazine's 20 Most Influential Worship Albums - Reflections

Worship Leader Magazine - January 2012 IssueThe most recent issue of Worship Leader Magazine released their list of the top twenty most influential worship albums of the last twenty years.  Many of the album-mentions include articles of reflection and appreciation written by other worship leaders and songwriters in the mainstream worship music industry.  The list is interesting and worth some analysis.

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Do Some of Our Historic Images of Jesus Hinder Our Ability to See God as Joyful?

If you don't think that art has the ability to shape the spirituality and worship of the Church, hopefully this little exercise will shift your perspective.  What's your reaction to the statement, "God is an intensely joyful God"?  Or, perhaps more starkly, "God is Joy."

My Pentecostal brothers and sisters have no problem with joy in worship.  Modern worship capitalizes on it.  But what about the more traditional-liturgical traditions?  Is there a sense of joy in our worship?  Many of my somber, cerebral, liturgy-loving friends would say, “Of course! It’s just internal, reverential joy.”  Okay, sure.  If I’m honest with myself, though (I won’t speak for others), when I’m experiencing the richest joy there is, I would have a terribly hard time containing it within a “reverential” shell.  It would probably burst forth.  I might smile.  Perhaps I’d even shout.  Perhaps I’d even dance.  Come to think of it, are reverence and joy at such odds that to express one would be diametrically opposed to expressing the other?

Even if my more high church brothers and sisters aren’t responding to these little jabs, perhaps we might see how our historic Christological art has affected our thinking and worship of God, and specifically the Second Person of the Trinity.

John Jefferson Davis, in his fabulous work, Worship and the Reality of God,¹ points out that evangelical worship could stand to rehearse more often one of God’s most inspiring attributes—joy. (By the way, since when have we seen "Joy" as one of the sections of communicable attributes of God in systematic theology texts?)  Davis briefly proofs his claim through showing the richness of joy in God and in early church worship (Acts 2:46-47; Lk 10:21; Jn 15:11; Jn 1:1-3; Prov 8:30-31; Zeph 3:17; Lk 15:5ff; Rev 19:6-7). He then reminds his readers of God’s joy through what may be a shocking statement: “heaven is a happy place; God the Father and God the Son have smiling faces.”²  And, in a footnote, Davis points out something quite profound about ecclesiastical art in both the Western and Eastern Christian traditions:

The images of God in the church and in the Christian’s imagination can have powerful impacts for good or for ill in personal piety and worship.  The crucifix in Roman Catholic churches, portraying a dead and suffering Christ, and the icons of ‘Christ Pantocrator’ in Orthodox churches, portraying a powerful but very somber Jesus, do indeed portray profound biblical truths—but not the whole truth; the joyfulness of the inner life of the Trinity is missing in these images.³

Let it sink in.  When you scan in your mind the depictions of Jesus you’ve seen in paintings, sculptures, and film, what is the prevailing mood?  Now scan your theology (what you believe about God) and your resulting spirituality (the habits through which you personally relate to God).  What do you see?  Is God a highly joyful God in your mind?  Do you relate to God in public and private worship in ways that others would describe as a relationship "full of joy"?  Perhaps a discussion about how art over history has shaped this is a bit chicken-and-egg.  Did art shape our spirituality, or did the ways we thought of God seep into our art?  It's probably some of both, a symbiotic relationship.  But, nevertheless, here we are.

Perhaps I can’t appeal to your intellect.  Maybe you remain unconvinced that you need to see God as more joyful and that this could have a dramatic impact on your individual and corporate worship.  So I’ll try appealing to your hunger.  Don’t you want, deep down inside, to believe God is intensely joyful?  Don’t you yearn to know and love a God who is pulsating delight—delight in Himself, delight in His creation, and delight in you?  I sure do. 

Artists: it looks like we have some work to do.  We have an opportunity to fill a significant gap that could have a shaping impact on Christ's church going forward.  We need more songs, more paintings, more sculptures, more film, more drama, and more dance that give us a balancing picture of God’s eternal joy!

********** 

¹John Jefferson Davis, Worship and the Reality of God: An Evangelical Theology of Real Presence (Downers Grove: IVP, 2010).
²Davis, Worship, 58.
³Davis, Worship, 58, n. 48.

An Important Interjection into the “Feminization of Worship Songs” Debate

When I first heard Vicky Beeching’s music, I knew she was different from your average modern worship songwriter.  Her songs have substance, reflection, and biblical insight.  One of my favorites is her “Great is Your Glory,” which is very gospel-centered and nearly creedal in tone.  It’s marvelous.  Beeching is an equally formidable thinker in the area of worship, church, theology, and culture…something you cannot say about many, if not most, modern worship songwriters.  I respect and appreciate her insights.

If you are not familiar with the ongoing debate, it is whether or not modern worship has been “feminized” such that men feel uncomfortable singing the standard fare of the evangelical mainstream.  Put another way, men struggle in singing mushy things like, “I love you, Jesus,” or, “God, you are beautiful.”

Beeching has weighed in, and she has a special perspective worth listening to.  She is a relatively high-up woman in the modern worship world.  Here is a bulleted summary of her challenges to the “feminization” claim, but please read her whole post rather than just reacting to these:

• Wasn’t David actually a very emotional singer and songwriter, modelling what godly masculinity looks like?
• “Jesus wept” is the shortest verse in Scripture. It packs a real punch. Could manhood actually be about owning and being secure in your own feelings and expressions? Jesus was pretty emotional. 
• Why were so many people’s #MachoWorship suggestions about beer, DIY, shooting, hunting and fighting? Are we overlaying our skewed ideas of masculinity onto what godly men should be like? Have we been influenced by the ‘Cage Fighter Jesus’ that certain theologians peddle?!
• Song of Songs was written by Solomon (i.e. a man). Is that not evidence that godly men are able to express themselves freely in emotion and words of love and affection?

Great New Denver Worship Artist - John Gooch

The tide continues to turn in modern worship.  Faux-hawks are increasingly being covered with thinking caps.  I met John Gooch a few years ago when he moved to Denver from out of the state.  He’s finishing up a degree at Denver Seminary, and one of the primary goals of his studies is to be the best worship leader he can be.  I praise God that we’re seeing more up-and-coming worship leaders hungering for deep theology and wide biblical reflection.  Would to God that more aspiring worship leaders believe that the best thing for their craft is a deep love for God honed in the woodshed of thoughtful, intentional Bible-training.  Because John is one of these kinds of worship leaders, I value him, even enough to ask him to sub for me at Cherry Creek when I’ve been out of town.

John has just released a stellar EP entitled The Waiting Room.  It’s a clean and clever pop-rock album, some of the songs on which have great congregational potential.  My favorite track is “Home,” a powerful ballad which internalizes and personalizes the story of the Prodigal Son.  You get the sense that John is writing from the perspective and voice of the Prodigal himself and yet sharing something deeply personal about his own story.  There’s a lot in this song for everyone to identify with, as the first verse and chorus illustrate:

I’ve been a liar
And I’ve been a thief
I’ve killed another’s hope
And I’ve stolen their dreams

How could You ever love such a broken man like me?
Still You say, “I love you, son. Come home.”

All my fear, all my shame
On the cross You took my blame
In Your grace I’m not alone
God, you say, “Come home.”

Ahh…the good news just never gets old.

There are a lot of emerging singer-songwriters out there making records.  What makes John stand out?  Well, for one, not every singer-songwriter has a great voice, and even fewer have that natural, knock-you-out vocal sound (I think I fall short of this, myself).  John does; his voice is pro.  Secondly, if The Waiting Room is the beginning of John’s official songwriting journey, then we’re in for a treat as we see him develop in his craft, because these songs are both solid and deep.  John has a clear passion to inhale theology and exhale praise through song.  The Waiting Room typifies this and prophesies of greater depths to come.  Part of my hope and prayer for John is to figure out how to wed the passion and heart of modern worship with the church's rich history of hymnody.  I don't know that we've fully seen the potential of that explosive combination, and I think John's the type of songwriter that will have the chops to do it.

The album was recorded in a fine studio (Epicenter) out here in Boulder, CO, and its mix is fresh and clean.  I love some of the electric guitar choices and colors, especially on “Beautiful Savior” and “You Are.”

Go give The Waiting Room a listen, and pick up a copy while you’re at it!