Lincoln Brewster’s popular song “Today is the Day” seems like a flash in a pan. I think its popularity has peaked (KLOVE plays seem to have lessened). I have no doubt that churches are using it. Brewster writes accessible, singable melodies and has a gift for crafting texts which are accessible and easy to remember. He has given new vitality to a passage that is well-worn in Christian worship–Psalm 118:24 (though check out the TNIV’s translational decision about this passage, which, if correct, means that this passage is saying something different than what we’ve thought). The song seems to be putting lyrical feet to “trust in the Lord with all your heart and lean not on your own understanding…,” and that is always a welcome reflection in worship and the broader Christian life. However, the first verse is theologically troubling:
I’m reaching my hand to Yours
Believing there’s so much more
Knowing that all You have in store for me is good
Is good
It’s a simplification at best, and a distortion at worst, of a popular and powerful passage of Scripture:
“And we know that in all things God works for the good of those who love him, who have been called according to his purpose” (Romans 8:28).
Cutting to the chase, the thrust of this passage is quite different than Brewster has construed it. To the contrary, not all that God has in store for us is good. God just promises to work good in all things (be they good or bad). This is a huge misunderstanding of this passage which has led to prosperity gospel thinking, crippling the church by stripping it of a theology of suffering. Jesus prayed for the church,
“My prayer is not that you take them out of the world but that you protect them from the evil one” (John 17:15).
This and other countless passages let us know that trial and tribulation is something the church WILL experience (we’re not going to be removed from the world and its suffering). And trial and tribulation are NOT good. Yet Romans 8 reveals that God can and does use them in the lives of His people for good ends.
Trying to be fair to Brewster, I can think that perhaps Brewster has this in mind as he writes this verse. “All you have in store for me is good,” perhaps, is looking at the end after the trials. However, this is so touchy and potentially damaging when misunderstood that it’s not good to leave things fuzzy on this issue. So I land a bit harder on Brewster than on “Mighty to Save” because the collateral damage is potentially much more devastating. What would a new Christian do, upon believing this, with future trials? I fear they would despair in their faith, believing God to be a liar.
So my plea to my brother and colleague, Lincoln Brewster, is: Please rewrite this section. Please use it as a teaching point for the church. Maybe run new potential songs by some pastors/teachers/theologians you trust to give honest feedback about the content before you publish and record.
Given that my attempts at gaining permissions from major labels like Integrity’s Hosanna! (Brewster’s label and administrator) for lyric changes have all been denied, it doesn’t appear I can use this song in our church. I’m nervous about the misinterpretations that it could yield and, as a teacher (which all worship leaders are, whether they acknowledge it or not) being held accountable for giving bad food to God’s sheep (James 3:1).
Worship leaders, I humbly urge you to think critically about using this popular song in your worship services.
urban worship…my philosophy goes out the window
So I’m sitting here at General Assembly (our denomination’s national meeting…our largest gathering of churches), and I’ve chosen to sing in the ad hoc choir gathered to help lead worship. The thematic focus of GA this year is urban ministry…God’s love for the city, justice, etc. I’ve met a wonderful worship pastor, Russell Thompson, who leads music at City of Refuge Church in Houston, TX. He’s directing our choir, and doing a fabulous job guiding us in God-honoring, modern black gospel style worship (think Israel Houghton). The dude has a fabulous voice and is a humble, more-than-able worship leader. I hope he and I stay connected over the years. I need his gifts and perspective informing me, my calling, and context.
I’m an analytical person, so even as I participate and dive in head first to rousing gospel singing, American Idol-style vocal licks, and pop-style, straight toned, belty singing, I’m sifting all of this through my worship philosophy grid.
My findings (and I’m broad-brushing gospel-style worship based on this and a few other similar experiences…so there will be some holes):
Positive Feedback
- the music of the modern black gospel genre is more sophisticated than typical mainstream modern evangelical pop/rock worship–melodic and harmonic structures are more complex (more chord inversions, more quick passing chords, more added tones to chords, expansion beyond major and minor into half-diminished and diminished chords, trills and grace notes built into the main melody)
- the rhythm of the genre requires a greater skill level than typical mainstream evangelical pop/rock worship–I’ve played with enough pianists to know that to do what the pianist did today requires a totally different skill-set from typical pop or classical training
- the expression is unabashed…”worship with abandon”
Constructive Criticism (through my grid)
- you complain about 7-11 songs…these are more like 70-111 songs
- many classically oriented singers will find these songs not just temporarily unsingable (until they learn them), but permanently unsingable (the syncopation is too perpetual, too demanding; the vocal style is too free, not dictated enough)
- the theology is very simple (I prefer to use “simple” rather than “shallow,” though I know some of my cohorts would call it that)–it’s gospel-based, experience-based, immediate, not terribly profound
- strong committal, triumphalistic texts (“I can do this, I will do [such and such a righteous act], I’m going to live [in such and such a pious way]”; this is the very notion I criticized in verse two of “Mighty to Save” [read about it])
So here’s the issue. Why is it that I am strangely ambivalent about my constructive criticisms in this instance? Why is it that I feel my worship grid doesn’t (and shouldn’t) apply here? Why is my philosophy going out the window?
All I can think is that there’s a liberality of God’s Spirit based on context. I have to think that if I came into City of Refuge Church in Houston and led a worship service transplanted directly from my suburban Denver church, the people would not engage with God but feel quite hindered in their worship of Him. I may be leading out of my philosophical ideals (and some would applaud me for such “integrity”), but I’m losing the people. Now (the voice of the idealist pops up), should we be people-driven? Of course not. Worship is God-centered and God-directed (that’s the center of my Philosophy Statement). But I also spent a good portion of my previous position in a church leading worship almost totally out of my ideals, and the result was a decaying of the general spirit of worship (an observable “hardening” among some) and a pharisaical attitude about worship among our worshiping community (this wasn’t total, but I witnessed it as a growing force). The lesson I learned there was that a good worship leader stands in that gray area between ideals and reality. I’m sure that has something to do with a little thing called original sin and its effects on both the world/society globally and the person individually.
I don’t think everyone’s going to agree with me on this. But if you’re going to be totally on the ideals-driven side, I wonder if you’ve had a consistent worship-leading position in a church. If so, I wonder how long. I also wonder what the overall aura, “vibe,” or spirit is of your worshiping community.
But my reflection here is really unfinished, because it seems odd to me (it itches) that I’m comfortable throwing out (really, ignoring) some of my ideals so readily when worship happens in the urban context. However, though I’m relatively young, I’ve been around the block and talked to enough wise people to have realized that unresolved tension is that place where truth abides. Hmm….
why it’s sweet to wear robes in worship
Our church is a hybrid of “high church” and “low church” practices. Our services have both a liturgical feel and a “free church” feel. For these reasons, we tend to have a hodgepodge of people with a diversity of backgrounds in and out of the Christian church. We get asked by some who aren’t from high church traditions why we pastors wear robes. Here are 5 brief reasons:
1) It highlights the office of the pastor while de-emphasizing the person. A simple robe covers much of the person, helping to conceal that which distinguishes his or her personality. It reminds us that we lovingly submit ourselves, not so much to the person and their personality, but to the role they have been called to by God—pastor.
2) It fights against us viewing the pastor as a “CEO” figure. In American culture, a suit and tie are the “uniform” of business professionals, lawyers, etc. A robe de-emphasizes any cultural “uniform” and reminds us that the pastoral office described in the Bible is in many ways different from our society’s concept of a business leader.
3) It reminds us that, when they preach, they bring to us the very Word of God, as opposed to the thoughts and opinions of one person. Scripture is God’s unique, unparalleled revelation of Himself to us. It is like no other book.
4) It reminds us that we are clothed in Christ’s righteousness. The pastor, wearing a piece of clothing that both covers over and is distinct from their own clothing, offers to us a symbol of how we approach God in worship, “clothed with Christ” (Galatians 3:27)—it is His righteousness that makes us acceptable to God.
5) Wearing robes is part of our heritage. As Christians, it is part of our ancient Israelite heritage. The priests wore robes to distinguish their office (Exodus 28). It is also a part of my Reformed/Presbyterian heritage (robe-wearing is also a part of other Christian traditions as well). From the time of John Calvin, Reformed pastors would don the garb of a Renaissance scholar (a black robe called the “Genevan robe”) to legitimize their credentials as someone who was studied and learned in the Scriptures. This was important during a time when the Catholic church would have accused the churches of the Reformation of being unbiblical in their Christian expression.
the christian calendar for modern worship?
Let me talk about the Christian calendar, and then discuss how worship leaders in modern settings can utilize it without compromising what makes modern worship so beautiful.
Why use it
Not every church follows the church year, also called the “liturgical cycle.” Why does our church spend time doing so, observing seasons such as Advent, Epiphany, Lent, Easter, and Pentecost? For one thing, it links us to practices of Christ’s church which are very ancient. We know that primitive forms of the church calendar were emerging as early as A.D. 57. Secondly, observing a uniquely Christian calendar reminds us that we are a peculiar people set against a world that doesn’t necessarily follow “God’s time.” The January-December / Sunday-Saturday calendar we follow ultimately has roots in the pagan Roman empire, and the use of a Christian calendar within the church reminds us that all our time and living revolves not around what the larger world has to offer, but around Christ Himself. Notice that all the seasons symbolically center around Christ. Advent refers to Christ’s advent on earth. Lent refers to Christ’s time of fasting and humiliation. Pentecost refers to the outpouring of Christ’s Spirit on all kinds of people. In Christ spin all the gears of time, and we acknowledge that when we worship through a Christian calendar.
How it can be used in modern worship
You don’t have to be a “liturgical” church to incorporate and observe the Christian calendar. You don’t have to change your service’s structure to walk through the church seasons (though some change might help!). First, I’d suggest just becoming educated about the Christian calendar. The least expensive, most accessible, and generally reliable way to start is wikipedia. They have a decent article on the liturgical year which will branch you to other articles that help you understand the big picture and the smaller aspects of each season. Second, once you become aware of the year, cater your song selections (or at least some of them) to the season. Songs on the Spirit during Pentecost. Songs of repentance during Lent. Eschatological songs during Advent or Epiphany. Third, use your technology to color the ambience of that season. Each liturgical season has its color. Maybe you can have a graphic designer create slide backdrops with those colors and dream up icons or thematic symbols to accompany those visuals.
Hopefully some of these suggestions can break the ice. But sky’s the limit when it comes to creative ways to help your people–even in modern worship settings–embrace the church year. And trust me, when modern worshipers with very little liturgical roots grab onto the church year, they CAN’T GET ENOUGH. It’s balm for the soul (only a slight exaggeration). Our postmodern milieu cries out for roots. The Christian calendar can be a start at providing that.
Grace & peace.
Album Review of Tear Down the Walls / Across the Earth by Hillsong United
Hillsong United, Across the Earth: Tear Down the Walls (May 2009)
It’s been a pleasure to buy a copy of United’s latest work. I’ve been processing it, listening to it in my car, and dialoguing with a few friends about it. I’ve been looking on United’s site and reading some posts to get some context for its creation. Thank you, Hillsong United, for another beautiful offering to our Father in heaven.
I would like to review the album with some positive comments and then some constructive feedback. Hopefully it will bless the Church and worship leaders to be discerning about the songs they utilize in their worship services.
Positive Feedback:
What I love, more than anything else about Hillsong and Hillsong United recordings is their attempt to aurally capture the corporate worship setting. The lead vocals are always very tucked, and one hears easily the swell of many voices (whether choir or congregation) coupled with lots of verb to give it that “in-house” feel (I know many of them are actually in-house and the reverb is actual house acoustics). I also appreciate that they have an arsenal of different lead singers, helping play down the notion of a “celebrity frontman.” Not every church has the resources to have multiple worship leaders and lead singers, but it’s a blessing when they do.
The musical production is outstanding. It’s the unique, “signature” Hillsong sound, with creative electric guitar and synth work. The electric guitar/synth line (at least that’s what I think it is) on the opening track has that beautiful tension of familiarity and uniqueness (oh, so enjoyable).
The album title is creative in its double-entendre, and therefore it’s a powerful umbrella to encapsulate a powerful album.
The best song on the album: “Desert Song.” As a person who, even at a young age, has had to endure some heavy suffering, I have a tender spot in my heart for any song whose theme is, basically, “even when God has ordained suffering for me, yet I will praise Him.” “Desert Song” does this. More than that, “Desert Song” has a unique, yet singable melody and chord structure, and has a nice flow and movement. We will be using “Desert Song” at our church.
Another great song: “Soon.” The church needs more songs that focus on the eschaton. We get so caught up in the now, and yet Christ’s resurrection and down payment of the Holy Spirit has sealed for us a future that we need to be continually aware of. “Soon” does this. Among modern worship songs, it is rare in its second-coming focus. It’s a sweet, beautiful song.
(It’s interesting that the two songs I most like are sung by Brooke Fraser. I can’t find who wrote these songs [come on Hillsong, don’t make it this hard], but my hunch is that she wrote these two. Why? She wrote “Hosanna,” which is full of biblical allusion and theological reflection. And these two song seem to come from a similar mind. In general, I find Fraser’s writing a cut above the other Hillsong lyricists.)
Constructive Criticism:
An overall observation of much of United’s material, across their many wonderful albums, is that their lyrics tend to be disjointed (logical coherence is one of my criteria for choosing worship songs…see my article on criteria). From line to line, I sometimes have a hard time making the immediate logical connection. I understand that some songs are intentionally “impressionistic” (such is the case with the hymn on our album, “Light After Darkness,” by Frances Ridley Havergal), but when it happens for much of the material, I have to pause and ask the question of how healthy it is for churches to speak to God with such hiccupped communication. For instance, here’s verse 2 of “Freedom is Here:”
And everything comes alive
In my life as we lift You higher
Let Your freedom arise
In our lives as we lift You up
Sing it out
Sing it out
Your freedom is here
One CAN discern logical connection with all these phrases, but it’s just a bit haphazard and stream-of-consciousness. Historically, that type of writing hasn’t made for strong and lasting worship songs.
Another overall observation of Hillsong United (and this may be more of an underlying theological difference between Assembly of God / Charistmatic theology and my convictions) is that they tend to be triumphalistic in their lyrics. For instance in “More than Anything”:
Because I’ve seen Your light
You bring my world to life
I’m coming after Your love
(PRE CHORUS)
I’m not shaken
I’m not letting go
As I’ve said about “Mighty to Save,” I just can’t in good conscience before God sing the Pre Chorus lyrics sincerely. Because I know, no matter HOW far I’m down the journey of sanctification, I still have times where I AM shaken. I still do have times where I slip and DO let go. I can’t claim that kind of triumph. It should be my ideal, but I can’t sing them honestly.
In general, Hillsong United could stand to have more biblical depth (with exception being the writing of Fraser, as noted above). There’s nothing wrong with experiential lyrics, but United often teeters on being experiential to a fault, to the neglect of other things. Thinking of worship from a congregational nourishment perspective, I wonder how nourished the United congregations are. I know they’re inspired and even transformed by fresh waves of the Spirit, but are they nourished? Is the intellectual side of their faith being nurtured? Are their heads engaged AS MUCH AS their hearts?
(I Head Revolution…I Brain Revolution…that would be a cool graphic)
isaac watts: pioneer of “contemporary worship”
Isaac Watts (1674-1748): English pastor, author, teacher, and one of the greatest hymn-writers of all time. Many do not know that Watts was a polarizing figure in his day because of the startling changes he was introducing to Protestant worship. After the Reformation through to Watts’ time, congregations almost exclusively sang Psalmody—hymns whose texts were exactly or closely derived from those of the biblical Psalms. Young Watts found these “traditional” services dry and spiritually devoid, and one day (so the legend goes) he returned from worship complaining about the poor quality of the hymns. His father responded, probably wanting just to keep him quiet, “Give us something better, young man.” Watts’ whole life, as it turns out, seems to be a response to that initial challenge by his father. The Church experienced a rebirth as the “contemporary” hymns of Watts and others who followed flooded parishes with theologically rich, highly emotive, powerfully engaging songs of worship. Through Watts and others, the Holy Spirit breathed fresh life into the worship of Christ’s church, not taking away from the glorious heritage of biblical Psalmody, but adding to it a rich dimension of “hymns and spiritual songs.” It is ironic, then, that traditional worship is often pegged as boring, dry, or even lifeless, when it is heir to some of the most exciting revolutions in church music history!