Understanding the process of turning an implement of death and violence into a tool for creativity and imagination is one part of the strategy. In doing so, there is hope that participants in such an event will begin to reimagine their own world and how they engage it. After all, true change first begins with imagining the possibility of such transformation.
Further, Reyes hopes to challenge U.S. citizens to consider their relationships with guns, and moreover, the impact that value has on people in other countries. Again, in the NPR story, Reyes explains, “We have to be allowed to ask questions. If you are not allowed to ask questions, you are not free."
Sisters in the Wilderness: The Challenge of Womanist God-Talk by Delores S. Williams / Social Music by Jon Batiste and Stay Human / What Do We Tell the Children: Talking to Kids About Death and Dying by Joseph M. Primo / The Age of the Spirit: How the Ghost of an Ancient Controversy is Shaping the Church by Phyllis Tickle and John M. Sweeney
This year I have been trying something new to me. I’m trying my hands at a little music or concert review. It’s a chance to experiment with this nascent methodology I’m developing. The posts have been some of the most commented upon on Facebook and even on the blog. Thanks for everyone’s engagement!
Though not the beginning, certainly the central review is this duo about Mumford and Sons and eschatological banjos. Cathleen Falsani was in town and we had a great time at these shows. These concerts are all about the eschaton, transcendence, immanence, and banjos. There are always banjos. I know.
One of the downsides of a theological education (and/or an overactive theological imagination) is an inability to sing some favorite old hymns with naive gusto. During this Christmas season in particular, we simply know too much about the biblical story (and the reality of childbirth and babies in general) to fully believe all of the touching words in some of the most popular Christmas carols.
So as a public service, I have written historically accurate versions of three of the most beloved holiday hymns. Without personally endorsing any of the theology below, I also offer some alternatives to those who don't theologically jive with the current version of "Joy to the World."
I was driving home from work a few weeks ago and found myself suffering from a little radio ADD. I flipped through every station on my programmed radio console with a sense of emptiness. Each station was playing what sounded like the same song with the same beat over and over again.
How can I find meaning in my drive home with the drudgery of the same bland music?
I finally gave up on my search for meaning and stopped on my favorite top-40 radio station, Chicago’s 101.9 The Mix. And there it was. Someone was singing these words:
I will love you unconditionally
There is no fear now
Let go and just be free
I will love you unconditionally.
“Wait a minute,” I thought. “The Mix is playing a song about God?!? Had The Mix been taken over by a Christian radio station? Had K-Love or Moody Radio joined messianic forces with Rafael and Ted Cruz to enforce Christian Dominionism all over American radio?”
There is no mistaking it: Shad Kabango's music is authentic and tenacious. With incredible humility, he speaks from his heart, with no fear of calling out the inconsistencies he sees in the world.
In the recent release of his 4th studio album, Flying Colours, the critically acclaimed Canadian emcee, better known as simply "Shad," hopes his music speaks for itself.
"It’s not easy to summarize or convey, I don’t think," Shad said of the theme of the album, in a recent interview with Sojourners. "Some sort of … feeling of hope, I guess, but hope within the complexity of real life and the challenges of real life."
It seems rare these days to find an album where each song is valuable both individually and as part of the collective whole that makes up the record. Musicians are always telling us that they “don’t want to make just a few good singles with filler,” but few are able to fulfill those lofty intentions. Wilco did it on Yankee Hotel Foxtrot, where the songs were different from themselves and anything Wilco had ever done in the past, and Animal Collective did it more recently on the 2009 album Merriweather Post Pavilion with the opposite approach: each song was unified by a cohesive and consistent sonic palette. Many point to Fleetwood Mac’s 11th studio album Rumours as another example, and there are surely others depending on one’s musical tastes.
But I think a newer, much lesser known group has entered that conversation, and they’ve done it on their first studio release, nonetheless. Brooklyn-based Lucius have managed to craft an album with diverse songs, catchy hooks, and really powerful vocals and harmonies stick in your head for days. There isn’t a song on their debut, Wildewoman, I want to skip through. Bob Boilen of NPR’s ‘All Songs Considered’ perhaps says it best when describing their EP: “If it were possible to wear out a digital file, then my copy of Lucius' self-titled 2012 EP would now be scattered digital bits.”
On the opening night of the Yeezus Tour, multi-platinum, Grammy award-winning rapper Kanye West brought out an actor to portray Jesus during his concert in Seattle. Most of the time when I see "White Jesus" depicted, I don't get offended because I don't find it to be historically accurate. But between this and the title and theme of Kanye's last album, Yeezus, I was initially fed up. His antics were disrespectful, offensive, and just plain unnecessary.
Before I began to write this post I searched for concert footage of the event, but I stumbled upon an interview Kanye had with Wild 94, a hit music station in San Francisco. During the interview, which was done a few days after his Seattle performance, he was given the opportunity to explain his motives behind bringing out Jesus.
"We do plays all the time. People play Jesus,” West said. “You know what’s awesome about Christianity is we’re allowed to portray God. It’s a painting, it’s a sculpture, it’s a moving opera, it’s a play, it’s a message. God knows where my heart is at.”
Then came the comment that changed the entire direction of this post:
“One of the things that I really wanted to get across is that you can have a relationship with Jesus. That you can talk to Jesus. This is the way I express it.”
Life is riddled with a smorgasbord of emotional highs, lows, tragedies, triumphs, and what might feel like monotony to fill in the gaps.
On the newest album from Seattle folk and Americana band The Head and the Heart, you can feel the wear and tear of a group who have simply experienced a lot and probably had little time to rest and reflect.
“When I think about the two records together, the first one feels like we all wanted to fulfill this dream we’d had about playing music, meeting people and traveling around,” drummer Tyler Williams told Sub Pop. “This one feels like the consequences of doing that — what relationships did you ruin? What other things did you miss? You always think it will all be perfect once you just do ‘this.’ And that’s not always the case.”
Seattle-based folk group The Head and the Heart released their newest single, "Another Story," off of their anticipated upcoming album, Let's Be Still. The song beautifully wrestles with the grief and confusion that struck the country during the chaos that followed the Newtown, Conn., shootings at Sandy Hook Elementary School.
Check it out below:
Maybe you are like me and you need a bit of good news this week, because it’s been a week of bad news. There was the tragic shooting at the Navy Yard, leaving 12 people killed. Then there were the racist comments about the new Miss America, Nina Davuluri. She is the first person of Indian descent to be crowned Miss America, yet the news of the event emphasized racist tweets. It was almost as if people were competing over who could be the most racist: Some referred to her as “the Arab,” and other tweets claimed, “this is America, not India,” and one even called her “Miss 7-11.” Not to mention the continuing escalation of tensions throughout the world involving Syria.
It was a depressing beginning to the week. I mimetically absorbed much of this violence, hatred, and racism. Misanthropy settled into my soul and I began to loathe myself and the entire freakin’ human race.
But then I saw this video of Beyoncé performing in Brazil, and my hope in humanity was restored.
It’s been twenty years since I rose and cleared my throat
It’s been ten years since stood outside the church
- Derek Webb, I Was Wrong, I’m Sorry & I Love You
The first verse of the first song on the Derek Webb’s new album is a recap of his music career, from Caedman’s Call in the 90s to his solo career launched with She Must and Shall Go Free (2003). Since that first solo album, Webb has pushed all sorts of buttons in the church and the “Christian” music world. From albums Stockholm Syndrome (2009) to Sola Mi (2012) and Ctrl (2012), he’s pushed his own musical boundaries and themes, incorporating elements of hip-hop and electronica and veering away from his gospel-country-folk roots.
I Was Wrong, I’m Sorry & I Love You releases today across the country. While you can buy the album online, it is also at a number of Christian retailers for only $4.99 (an unbelievable deal, I must say). It is a return to those gospel-country-folk roots while still embracing all he’s learned in the past 10 years of a solo career. The bright guitar sounds return alongside mellow synthesizers, and for some songs, a crowd-sourced chorus.
But more important than the sounds are the lyrics. They’re not snarky or sarcastic like earlier records Mockingbird and The Ringing Bell, but still raw and personal.
This world is so beautiful
For no reason at all
When life circles around
And you can’t see straight
– from “Can’t See Straight” by Sam Phillips
"Push Any Button,” the first new physical album in five years from singer-songwriter Sam Phillips, is a blithe, fetching exploration of life’s flip side — after the flush of youth, after the heartbreak, after the bottom falls out and the road bends and you head in a wholly unexpected direction that turns out to be exactly where you need to be.
“Push Any Button,” which dropped Aug. 13, looks to the future by examining the past, viewing both through a lens of stubborn (and optimistic) grace.
Trey Pearson, front man and creative mind behind the band, Everyday Sunday, is in many ways the picture of a successful Contemporary Christian Music artist. He’s toured the world, played to thousands of fans at a time and sold hundreds of thousands of records. So I was intrigued when I sat down with him at the recent Wild Goose Festival in North Carolina to learn more about why this icon of Christian pop was going solo with his most recent record.
How did you get started in the Contemporary Christian Music (CCM) scene?
I was introduced to the scene as a teenager, finding out that people listened to "Christian music.” I started going to "Christian concerts,” and was inspired to write my own songs and have a band. I was already into performance art as a teenager from doing theater, musicals, acting, and modeling for commercials, print, and things of that nature. I grew up teaching myself piano, and was intrigued by the idea of playing songs for people.
Given my background, I felt like I needed to do "Christian songs" to glorify God with my art. Long story short, after opening for several signed artists, I dropped out of college (after being on honor roll through my freshman year) to make an independent album and pursue a record deal. I went to Nashville, and knocked on doors until someone would listen. I signed a deal three months after I released my independent album.
I love Fun.. I especially love the wacky period at the end of the band’s name. But my Word doc has the green squiggly line under the two periods of that first sentence. I hate that green squiggly line — it’s not fun. It’s there to tell me that I have bad grammar. Not this time, Word doc! I shall right click and ignore you!
Fun.’s (okay, now there’s a red line! Once again I shall ignore…) Some Nights is full of philosophical and spiritual gold. It asks questions about identity, friendship, violence, and the purpose of life. But, for me, these words stand out the most:
My heart is breaking for my sister and the con that she calls “love”
When I look into my nephew’s eyes…
Man, you wouldn’t believe the most amazing things that can come from…
Some terrible nights…ah…
Amy Ray’s smile opened itself to wrap love around the couple thousand fans who’d weathered a soggy soaker of a spiritual festival to wait for their 10 p.m. Saturday set. “Y’all have advanced way past kum-bah-yah,” she quipped. “That was a deep album cut.”
For 90 minutes, Ray and her musical partner Emily Saliers couldn’t stop praising the Wild Goose Festival crowd. It’s as if they’d trekked to the misty mountains of western North Carolina just to see us render their greatest hits the new hymnal for progressive and inclusive Christianity. The stellar setlist covered all the ground, a collection of tracks both new and old spanning a career that jump-started itself in the same 1980s Georgia music scene that gave us the likes R.E.M. and Widespread Panic.
The Indigo Girls catalog knits itself into our daily lives in such a way to make them the perfect band for a campfire singalong at a radicals’ revival like this. But what else was obvious here could not be pinpointed in the mere practice of song. The best-selling grassroots folk duo found something in our makeshift festival that’s been true of their career — past all the great lyrics and legacy of activism, past the DIY-ethics and indie entrepreneurs' edge, past all the albums and compilations, past all the accolades — exists the chewy center of hope. We see the Holy Spirit at work in such a down-to-earth humbling and fiery fashion. The Indigo Girls headline set at Wild Goose 2013 healed the audience and sealed the festival’s cultural location in a jubilant justice movement for ecumenical and evangelical convergence on the funky fringes of mainstream Christianity.
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.
Fans of a beloved contemporary Christian hymn won’t get any satisfaction in a new church hymnal.
The committee putting together a new hymnal for the Presbyterian Church (USA) dropped the popular hymn “In Christ Alone” because the song’s authors refused to change a phrase about the wrath of God.
The original lyrics say that “on that cross, as Jesus died, the wrath of God was satisfied.” The Presbyterian Committee on Congregational Song wanted to substitute the words, “the love of God was magnified.”
The song’s authors, Stuart Townend and Nashville resident Keith Getty, objected. So the committee voted to drop the song.