Christian Music
Grace “Semler” Baldridge. Photo courtesy Semler. Graphic by Ryan McQuade/Sojourners.
As Semler, Grace Baldridge has spent the past few years proving there was a space for people like her in the Contemporary Christian Music scene, even if she had to dig that space with her bare hands. Now, with the release of her debut album, she's looking back on how she did it — and what’s next.
Mason Mennenga. Photo courtesy Mennenga. Graphic by Ryan McQuade/Sojourners
If you’ve encountered Mason Mennenga online, it’s likely due to one of his viral tweets.
Gems like “bible college girls are like ‘marriage is so hard’ yeah, you married a 19-year old evangelical man” and “christians will name their kids after old testament prophets and then are shocked that their kids eventually speak out against injustices.” Occasionally, he dunks on a conservative personality, or he becomes the punching bag for conservative voices frustrated by his progressive theology.
But Mennenga is more than a social media account. He hosts two podcasts, writes about theology and culture, and works as director of admissions at United Theological Seminary of the Twin Cities.
Image of Flamy Grant. Photo by Sydney Valiente. Graphic by Candace Sanders/Sojourners.
Flamy Grant called in to her morning interview after participating in a day-long silent retreat. Well, not a silent retreat exactly — it was a vocal rest.
After spending the last year touring the U.S. off the success of her album, Grant, who prefers to use her stage name in interviews, needed to rest her voice. Since her rise to Christian music stardom — or infamy, depending on how one feels about a drag queen topping the Christian charts — she has performed in bars, clubs, and churches spreading the good news in glitter.
Kirk Franklin performs with Chandler Moore of Maverick City Music during the Kingdom Tour at The FLA Arena in Sunrise, Fla., on Nov. 17, 2022. Robert Bell/INSTARimages.com/Cover Images via Reuters.
Gospel music is my oasis in troubled times. My colleagues can also attest that it’s the background music by which I conduct most of my work.
Jamie Grace. Graphic by Candace Sanders/Sojourners.
As I remember it, I was first introduced to Jamie Grace’s career while listening to a Christian radio show in 2011. At the time, she was a 19-year-old college student majoring in child and youth development, recently signed to a major Contemporary Christian Music (CCM) label, and was less than a year away from being nominated for the 2012 Grammy Award for Contemporary Christian Music Song. She was a Black woman in an industry largely made up of white men; she was open about her diagnoses of Tourette syndrome, attention-deficit/hyperactivity disorder, and obsessive-compulsive disorder at a time when I wasn’t aware of many people who were; and she was a very skilled guitar player, songwriter, and singer. As such, it seemed obvious that she had a bright future in an industry that needed new energy.
Original photo of Derek Webb courtesy Webb. Graphic by Tiarra Lucas/Sojourners
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,” he told Sojourners. 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.”
Taylor Swift performers during the first night of the Cincinnati stop of the Eras Tour at Paycor Stadium in downtown Cincinnati on Friday, June 30, 2023. Credt: USA TODAY NETWORK via Reuters Connect.
While my intentions were not malicious or abusive, I knew that by stringing a series of well-known songs together, saying the right words in a prayer, and hyping up the audience, I could evoke an emotional response out of the congregation. It was a science: A bridge here, a lighting cue there, add a dramatic pause before the chorus and I could feel the mood shift in the room. I believed that creating this environment was the task of the worship leader.
Raised in a white, evangelical megachurch, this style of Christian worship was all I knew. It wasn’t until I left for college that I learned about the scrutiny surrounding these technologically enhanced worship “experiences” and the global Christian monopolies behind them.
Oil painting of Thelonious Monk by Roman Nogin
The only solution to this noisy world is good noise from people who are attuned to the world’s hurt.
Image via Anna Sutterer/Sojourners
Christian music singer/songwriter Ellie Holcomb released her first children's album, Sing: Creation Songs, in September with an accompanying children's book called Who Sang the First Song?. In January, she and her partner, Drew Holcomb, frontman of Drew Holcomb and the Neighbors, dropped an EP called Electricity.
Image via LNP Media Group / RNS
The former disc jockey-turned-pastor founded Creation Festival in 1979 after he had a vision of “thousands of kids on a hillside,” he told RNS as the festival celebrated its 25th anniversary. It grew from attracting 5,000 people to a park in Lancaster, Pa., that first year, to annual, multi-day events in both Pennsylvania and Washington state.
Penny and Sparrow performing with folk duo Lowland Hum. Photo courtesy of Bekah Fulton.
It’s been a year of unease. Neo-Nazis, hurricanes, and threatening tweets sent by orange-tinged fingers have left me wondering, “What’s next?”
Wendigo , the latest album from indie folk duo Penny and Sparrow (Andy Baxter and Kyle Jahnke), didn’t answer that question for me. Rather, their somber melodies provided something I didn’t realize I needed—space to confront the uncertainty.
According to Chippewa poet Louise Erdrich, the wendigo “is a flesh-eating, wintry demon with a man buried deep inside of it.” Some Indigenous communities see environmental destruction, exclusion, and greed as indicators of “wendigo psychosis.”
Many wendigos seemed to appear after the 2016 election. Not just in the White House, but also in families, friends, and neighbors. The song “Kin” calls to mind Thanksgiving dinner with pecan pie and family members-turned-strangers. “Where the hell did your spine go? / Did you cut it out? / Did it never grow?” the lyrics ask.
Via gungormusic.com
Editor's Note: Last week, Sojourners’ Associate Web Editor Catherine Woodiwiss caught up with musical collective Gungor at South by Southwest in Austin, Texas. Here’s what Michael Gungor has to say about art, liturgy, and the future of music.
This interview has been edited for length and content.
Catherine: So what brings you to South by Southwest (SXSW)?
Gungor: I guess we thought it was about time to experience the circus.
Catherine: A couple of years ago there was talk of SXSW becoming a destination for "Christian techies,” and Donald Miller premiered his popular film, Blue Like Jazz, at the film portion of the festival. Do you consider yourself part of a Christian “witness” here at SXSW?
Gungor: We are here to make some music, have a good time, and perhaps make some friends along the way. We certainly aren't here to proselytize or advance some secret religious message or anything.
But anywhere we go, we do have a desire to live the sort of life that Jesus invited people to live.
Courtesy of Atlantic Records
Way back in the day (circa 2004), Switchfoot's lead singer, Jon Foreman, was asked if the band is a “Christian” band. Even though it's been a while, his response is worth looking at again.
Troy Bronsink, photo via Andrew William Smith
Troy Bronsink’s meditative live album Songs to Pray By stretches its sonic arms to embrace every listener with expansive words of spirited awe and awesome humility, with ecstatic waves of audio grace and rhythmic gravity.
Bronsink and his band bring to church what we’ve seen out on the festival circuit for years: a shimmery and psychedelic use of sound and language to elevate listeners who choose to inhabit a song as if it were wings, the place where the spirit soars and the heart sings. We don’t often associate noodly guitars and trippy percussion with the worship sound, which is exactly why this album is such a perfect addition to the praise genre.
A solo Bronsink will be presenting his musical work tomorrow at the Wild Goose Festival. We both took a break from packing and planning our journeys to North Carolina for this email interview.
Catholic artist Matt Maher. Photo courtesy Matt Maher
Growing up Roman Catholic in Newfoundland, Matt Maher never imagined that his childhood interest in music would lead to a career as a Grammy-nominated, chart-topping Christian rocker — let alone a crossover artist featured on Christian radio and in evangelical worship.
After he stopped going to Mass as a freshman in high school, Maher wasn’t even sure about his own faith. The idea of maintaining a personal relationship to God seemed a foreign concept.
“Where I grew up, evangelical Christianity really hadn’t made any strides,” said Maher, now 38, describing the mainline religious culture of his wind-swept Canadian homeland.
Listen to any of his catchy, guitar-driven pop-rock anthems, such as his new single, “Lord, I Need You,” and it’s clear God is never far from Maher’s mind these days.
Hymnals at a church, Alexander A.Trofimov / Shutterstock.com
Most songwriters in Nashville want to get their songs on the radio. Keith and Kristyn Getty hope their songs end up in dusty old hymnbooks.
The Gettys, originally from Belfast, Ireland, hope to revive the art of hymn writing at a time when the most popular new church songs are written for rock bands rather than choirs.
They’ve had surprising success.
One of the first songs that Keith co-wrote, called “In Christ Alone,” has been among the top 20 songs sung in newer churches in the United States for the past five years, according to Christian Copyright Licensing International. It is also a favorite in more traditional venues — including the recent enthronement service for Archbishop of Canterbury Justin Welby.
Hearing that hymn sung by a boys’ choir with a brass ensemble and thousands of worshippers was a thrill for Keith Getty, a self-described classical nerd.
Bob Gersztyn wrote “Jesus Rocks the World—The Definitive History of Contemporary Christian Music.” Photo courtesy Bob Gersztyn
Bob Gersztyn owned a fine collection of 300 rock ‘n’ roll albums in 1971, the year he accepted Jesus Christ as his personal Lord and Savior. Among them were some choice 1960s vinyl from Jimi Hendrix, the Beatles, Bob Dylan, and the Mothers of Invention.
But all of a sudden, this was the devil’s music.
“I destroyed some of them with a hammer and took the rest to a used record store,” he recalled with a laugh. “I think I kept 10 classical music albums that I decided were not anti-Christian.”
Gersztyn retained his love of rock ‘n’ roll, but limited his listening to Christian rock, a genre that was just getting going in the era of the hippie-inspired “Jesus freaks” and the hit Broadway musical “Jesus Christ Superstar.”
He joined a Four Square Gospel Church in Los Angeles, enrolled in Bible college, and became a Pentecostal preacher. He also started emceeing and booking concerts for such Christian artists as Keith Green to 2nd Chapter of Acts.
No Sympathy for the Devil: Christian Pop Music and the Transformation of American Evangelicalism, by David W. Stowe.
A growing number of Nashville-based Christian musicians are discovering that their faith compels them to play and work for social change.