Review
Belief
Creed
Music
Wildness
5 min read

Did Nick Cave’s tour just take thousands to church?

He’s picking holes in the idea that religion is where freedom goes to die.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A rock star prowls the stage while behind hundred of faces tined red star.
Cave and the congregation.
Instagram/nickcaveofficial.

I recently went to Nick Cave and the Bad Seeds’ Wild God Tour.  

I was told that it would be a terrific show, and it was. I was told that Cave would be more charismatic and commanding than he’s been in decades, and he was. I was told that it would be some kind of spiritual experience, and it was… 

Kind of.  

Those who are likening it to a ‘spiritual’ (including ‘This Country’ actor, Charlie Cooper) experience are certainly onto something, the whole production is designed to be transcendent, it’s just that the adjective they’re opting for is a little too vague. Instead, I would suggest that the show is a religious experience.  

Now, hear me out - I know that we tend to feel nice and comfortable with the ambiguity of the former adjective, and much more cautious when it comes to rigidity of the word I’ve subbed it out for. If you just winced at the sight of the big, bad, R-Word, I get it. It comes with all kinds of wince-worthy connotations. A lot of it, deserved. Some of it, not. 

But, like it or not, I truly don’t think that Nick Cave is giving us the comfortable luxury of vague-ness.  

When I wrote about the Wild God album upon its release, I mentioned that the ‘Wild God’ to whom the record is an obvious ode is not abstract. Rather, the ‘wild god’ is the Christian god. The album attaches itself to a specific story, it finds its home within a specific paradigm. And the same is true of the tour. I would propose, if I may be so bold, that Cave and his Bad Seeds have spent the past few months telling the Jesus-story in every city they’ve found themselves, and subsequently, taking tens of thousands of people to church.  

I would hate for you to think that my objective here is to stick a flag on the hill of this album/tour/artist. It’s not my intention to claim Nick Cave for ‘team Christianity’; it’s not necessary, he speaks continuously and profoundly about his own faith. Rather, as someone who has lived her life according to the very same Jesus-story, I’m simply offering you a lens through which you can gaze upon this touring work of art.  

So, I’ll suggest it again – the Wild God tour is a religious experience.  

And I know that sounds too constrictive of an analysis, but I think that’s on us for ever kidding ourselves into thinking that ‘religious’, ‘Christianity’ and ‘church’ were small words.  

That’s certainly not the way Nick views them. In a recent issue of his Red Hand Files, he writes, 

‘ I experience a certain vague ‘spiritualness’ within the world’s chaos, an approximate understanding that God is implicit in some latent, metaphysical way, yet it is only really in church – that profoundly fallible human institution – that I become truly spiritually liberated. I am swept up in a poetic story that is both true and imaginative and fully participatory, where my spiritual imagination can be both contained and free. The church may appear to some as small, even stifling, its congregation herdlike, yet within its architecture, music, litanies, and stories, I find a place of immense spiritual recognition and liberation.’ 

Fascinating, isn’t it? The concept feels kind of upside down. How could confinement cultivate liberation? How could boundaries ever encourage freedom, or particularity somehow hold entirety?  

Can the ‘spiritual imagination’ truly be ‘both contained and free’? I think it can. In fact, I think that would be my own story, too. And, what’s more, I think the Wild God tour is some kind of proof of concept.  

Can art be bursting with rage and religion? I think Nick has just proved that it can. I think he is probing, once again, at the myth that faith and hope can’t sit alongside carnage. 

The whole show is framed by Cave’s joyous bewilderment at his own conversion – song by song, it tells the story of how he has been wading through the thickets of grief, his eyes steadily fixed on the God who rescued him ‘just in time’. 

 It’s specific. It’s religious.  

And here’s the funny thing: the show having such a specific story to tell doesn’t seem to have a narrowing effect. Instead, songs about storms in the tiny town of Tupelo and girls who live on Jubilee Street seem to be swept up into a story that’s big enough to hold them, big enough even, to imbue them with yet more meaning. Doubt also sits comfortably here. As does anger and profanity.  

Can something be sweary and sacred? Can art be bursting with rage and religion? 

I think Nick has just proved that it can. I think he is probing, once again, at the myth that faith and hope can’t sit alongside carnage. He’s finding holes in the idea that religion is a place where freedom goes to die, picking a fight with the claim that ambiguous spirituality, or even outright irreligion, is more freeing.  

It’s a big old fight he’s picked, one that’s been fought – in one way or another – since the beginning of time. I guess, as a Christian, it’s a fight that I have picked, too. I have placed my life (and, if we’re going to get weird with it, my afterlife) within the confines of a particular story. Am I certain that I’m right? Of course not – otherwise my faith would be faith-less, no? Nevertheless, I too have chosen to place my understanding of the eternal in the confines of the particular. I, too, am trusting that within the boundaries of the Christian story, there’s space for me to run free.  

The word ‘religion’ is roomier than we are often urged to believe. Need convincing? Nick Cave is your man.  

Column
Creed
Feminism
Monastic life
4 min read

Cancelled but not forgotten, the medieval heretic who still intrigues today

Despite erasure and desecration, Guglielma was a trailblazer.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A silhouette of a woman's face.
Seth Johnston on Unsplash.

Is it possible to be martyred years after dying a natural death? The question occurs to me under the Alps between Lyon and Milan and arises from a late thirteenth century story of Guglielma, a spirited 50-year-old to say the least. 

She arrived in Milan in 1260 like Ruby Tuesday. No one knew where she came from and yesterday didn’t matter, because it was gone. She lived in poverty, but gathered quite a following. Some said she was the daughter of the King of Bohemia (she was certainly bohemian in the cultic sense), others that she was the cousin of Elizabeth of Hungary or had been married to an English prince. 

Guglielma (we have no surname) claimed equality with God, a new dawn for womanhood, and according to a contemporary account stated she was “the Holy Spirit made flesh for the redemption of women” whom she baptised “in the name of the Father and of the Son and of herself.” 

Some 20 years after she died, Dominican agents of the Inquisition arrived in Milan and burned a top nun, Maifreda da Pirovano of the local ruling family, at the stake, for claiming that she would be made Pope. Then they pitched up at the Abbey of Chiaravalle, desecrated Guglielma’s tomb, dragged her mouldering remains to a field and burned her bones to dust, scattering her ashes to the winds. 

I resolved to embark on a little pilgrimage to Chiaravalle when I arrived in Milan, to pay my respects to Guglielma, my kind of heretic. I’d never heard of her before a short account from the podcasting historian Tom Holland, whose book Dominion, on “the making of the western mind”, I was finishing as I crossed the Italian border. 

Pilgrims used to visit her tomb twice a year in the Middle Ages before she was violently exhumed. But you’ll find no record of her at Chiaravalle now. Bizarrely, there were Italian supercars being photographed outside of the abbey when I arrived, but it’s peaceful and original, nonetheless. And Guglielma is, of course, missing. 

Speak to one of the Cistercian monks there and they will affect not to have heard of her, then murmur “heretic” and “Bohemian.” But a gentle monk called Davide sweetly told me he would show me her former tomb, in the private grounds out of bounds to visitors, if I returned in 20 minutes. 

We walked through the brothers’ vegetable garden and cemetery, where hares were nibbling around a statue of St Francis and the trees grew unruly. There, under a twelfth century arch, was her former grave, now marked with the names of local Milanese benefactors of the abbey. I wondered if they had known they would be laid to rest in heretical soil. The birds sang on. 

As such, heresy serves as a reminder not only to overthrow prevailing orthodoxies, but is also divinely owned. 

There are lessons to learn from the Gugliema cult. The first is that, as the author of Ecclesiastes has it, there really is nothing new under the sun. Women have been fighting the patriarchy perhaps since Mary Magdalene encountered “the gardener” outside an empty tomb. 

There was no word for “deaconess” in the early church, only deacons. The Gugliemites were heralding the dawn of a new age for the Christian Church run by women. That may not be wholly the ambition of today’s women priests, but let’s note in passing that it’s taken more than another 700 years for women to be consecrated as bishops.  

The second point is that she really might have had a point about the Holy Spirit. Claiming the third person of the Trinity as herself may have gone a bit far, even by today’s standards, but for a God who holds within “himself” all gender, there is a venerable tradition of considering the Spirit as female. 

The Hebrew bible often casts this spirit as female, as in the book Proverbs, where Wisdom is a woman who “shouts in the streets” and “cries out in the public square.” It was St Paul, much later, who said she must keep quiet in church. 

Guglielma is a saint only in Folk Catholicism, but women like her and Maifreda were authentic witnesses and trailblazers for women’s apostleship. We can still be too sniffy, even afraid, of heresy and we do well to remember the main charge against the Nazarene at his arrest and execution was precisely that. As such, heresy serves as a reminder not only to overthrow prevailing orthodoxies, but is also divinely owned. 

As I left Guglielma’s last grave, I knew it was empty of her, not unlike that other empty tomb. Her violators had liberated her into the world. She’d gone before me. 

It was fitting that her ashes had been thrown to the wind, like the wind that had moved across the waters in the act of creation; like the wind that had blown over other disciples at Pentecost. And like the wind that was now gently rustling the trees in this quiet monastic back garden.  

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