Article
Belief
Culture
Music
5 min read

How Mumford and friends explore life's instability

Communing on fallibility, fear, grace, and love.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A bassist hauls a double bass of its base as he plays it.
Daniel Boud/x.com/mumfordandsons.

“Serve God, love me, and mend” must rank as one of the more unexpected openings to a hugely popular album in the history of rock ‘n’ roll. A quote from Shakespeare’s Much Ado About Nothing, it introduces us to the potent mix of Shakespearean and Biblical allusion and imagery to be found on Mumford and Sons debut album Sign No More.  

Sigh No More, both as song and album, begins with confident assertions of faith then moves into acknowledgement of human fallibility and prevarication summed up in the Shakespearean phrase that “Man is a giddy thing” before asserting that love does not enslave but is freeing, enabling those who know it to become the people they were meant to be. The song ends with a prayer to see the beauty which will come when the protagonist’s heart is truly aligned with love. Throughout the album, the overriding concern is that personal fallibilities and fears – the darkness within – will prevent grace from having its full effect and the beauty of alignment with love from being fully realised. 

In many Mumford and Sons songs such personal instability is the problem to be resolved; “Man is a giddy thing”, “Why do I keep falling?”. Their search is often for the relationship or place that will provide stability:  

I can't say, "I'm sorry," if I'm always on the run 

From the anchor (‘Anchor’) 

‘Roll Away Your Stone’ describes the darkness within as a God-shaped hole filled with false gods: 

See you told me that I would find a hole 

Within the fragile substance of my soul 

And I have filled this void with things unreal 

And all the while my character it steals 

but this is not how life has to be: 

It seems that all my bridges have been burned 

But, you say that's exactly how this grace thing works 

It's not the long walk home 

That will change this heart 

But the welcome I receive with the restart 

Lead singer and songwriter Marcus Mumford knows how this grace thing works because, on the one hand, his parents founded the Vineyard Church UK and Ireland meaning he grew up in the context of grace and, on the other, he seems to have experienced grace personally in relation to the sexual abuse he suffered as a child (which was not experienced in his family or his church). In ‘Grace’ from his self-titled solo album he contrasts grace, flowing like a river, with the experience of acknowledging the abuse he endured and the healing for which he prays. 

Such biblical allusions and references abound in the songs of Mumford and Sons, as is also the case with some of those with whom they performed, supported or inspired. The Nu-folk movement of which the Mumford’s were part, began at a club called Bosun’s Locker in Fulham. There, with the likes of Laura Marling, Noah and the Whale, and others, their musical journey commenced. Noah and the Whale’s first album Peaceful, the World Lays Me Down featured philosophical rumination on a par with that of Sigh No More including lines such as: 

Oh, there is no endless devotion 

That is free from the force of erosion 

Oh, if you don't believe in God 

How can you believe in love?          

Following the closure of Bosun’s Locker, Ben Lovett from Mumford and Sons, with others, set up Communion Records, a network of musicians, songwriters, industry and music fans who all share a common philosophy and set of ideals. Among the artists supported by Communion have been Bear’s Den and Michael Kiwanuka. 

Bear’s Den is one of several bands, which also included Dry the River, that have used religious and spiritual symbols in their songs. Andrew Davie from Bear’s Den has said: “I wouldn't say I'm particularly religious, but I was brought up going to church every Sunday, I studied a bit of religion in school and just from going to Sunday school, it's almost that I know the stories so well, that I find it a cool way of telling more modern and more nuanced stories about my own life. As a backdrop to that I find it just constantly helpful and it's quite a powerful way to talk about things. It adds weight to me.” Similarly, Matthew Taylor of Dry the River said of the theological imagery in lead singer Peter Liddle’s songs: “It’s always been a tool for Peter I think, to use the imagery you’re talking about, to add weight to what he’s writing about. It’s rich imagery, and the ideas are ones that people can relate to easily, if there’s that familiarity there.” Both recognise, as do Mumford and Sons, the continuing power of Christian ideas and imagery and their resonance for young people. 

Michael Kiwanuka was surprised that his early song about faith ‘I’m Getting Ready’ was enthusiastically released first as the title song of an EP from Communion Records and then by Polydor as a single from his debut album Home Again. Kiwanuka, who is married to Christian singer Charlotte, has consistently expressed aspects of his faith through songs like ‘Love and Hate’, ‘One More Night’, ‘Solid Ground’, and ‘Floating Parade’. Alexis Petridis has noted that Kiwanuka sees more people searching for a belief system: “Having a faith in things now is, I think, a lot more acceptable, whatever faith it is. There’s no dogma, necessarily. We’re connected by the struggles we have and I think that’s what I’m singing about – being a human being and trying to overcome, which is what we’re all doing in a way.” 

Whether opening up space for bands to utilise the power of Christian imagery in their songs or enabling singers with a Christian faith to be heard on mainstream labels, Mumford and Sons, by example and support, have created opportunities for faith to be explored and appreciated. The response to their music, its themes, and those of artists with whom they connect, seems to reflect a growing openness to spirituality and faith. As they sang, together with Pharrell Williams, on ‘Good People’, “Welcome to the revelation”. 

Celebrate our 2nd birthday!

Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief

Explainer
Belief
Books
Creed
Poetry
6 min read

Why a book? The words that change the world and me

Living by a literature that’s imbibed in countless cultures.

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

A man sits on a pier intently reading a book on his lap.
Ben White on Unsplash.

I have a belief system, a story that I live by, a lens through which I perceive the world. That doesn’t make me unusual or in any way different to you – we all have those, whether we’re aware of them or not. What may make me different to you is that mine are primarily explained to me through a book – or, more accurately, a library of sixty-six books – which we call the Bible. 

The story that I live by, that I breathe in and out, is bound. It sits within a cover, it moves through pages, it unfolds according to a contents page – it has genre, it has authors, it has punctuation.  

And I’ve never really found this odd. 

I think it’s because I’m what Charles Taylor would call a ‘storied creature’, my default is to make sense of the world on a largely imaginative level. I’m also quite romantic; poetically inclined, one could say. It sometimes feels as though words flow through my veins – if you were to cut me open, I may just bleed a puddle of my favourite Jane Austen monologues straight onto the floor. And so, my personality happens to lend itself spectacularly well to living my life according to a spiritual, sixty-six book wide, library. I’ve never really had to wrestle with the strangeness of such a thing, I’ve never sat down and stared the oddness of it in the eye, I’ve never even really asked myself (or God): why a book?  

I feel I should pause here, and offer a quick Rory Stewart-esque explainer, just so that we’re all on the same page.  

What I, and Christians through time and place, call the Bible is an anthology of sixty-six books, written by around forty authors, in three languages, over the span of 1,400-ish years. Within it, one can find poetry, narrative, apocalyptic literature, erotic literature, lists and figures, instructions and explanations. It is – year in and year out – the bestselling book in the world, with over 100 million copies sold or gifted each year. The New York Times Bestseller List actually omits it from its rundown, because otherwise it would always be so boringly there – sitting comfortably right at the top. No other book ever comes close. Words from this anthology of literature are graven into the floors and walls of the Houses of Parliament, they’re woven into almost every work of Shakespeare, they’re spray-painted clumsily onto billboards in the city I call home.  

And so, I guess, in one way, the answer to my question – why a book? – is all of that. The peculiar far-reaching resonance of the methodology speaks for itself. I think of Robin Williams’ impassioned monologue in Dead Poets Society… 

‘No matter what anybody tells you, words and ideas can change the world. We don't read and write poetry because it's cute. We read and write poetry because we are members of the human race. And the human race is filled with passion.’  

… And I get it. I understand why it was literature that was compiled, why language and words were the tool of choice. For better and for worse, biblical words and ideas have changed the world – they have been ‘the making of the western mind’, just ask Tom Holland. And so, pragmatically, one could argue that the Bible being a book (or a book of books) means that it has successfully imbedded itself in countless cultures, while also transcending them. It’s gone further, lasted longer, sunk deeper than any other form of communication could. Such is the power of words. 

But to stop my pondering there feels like I’d be stopping short. I’m not sure that a distant, pragmatic, academic answer is one that I feel satisfied with.  

So, this morning, I sat down with a cup of tea, a pen, my notebook, and a newfound curiosity - and I asked myself, and God, why a book?  

Why poetry?  

Why story?  

Why wordplay?  

Why have I – an educated, arguably disenchanted, most definitely left-brained, twenty-first century adult - been so willing to let these things mould my interior life? Why am I so moved by them? Moved to action, moved to tears, moved to rage. How can I read something that was written a millennia ago, in a part of the world I have never trod on, and somehow feel as if it is a love letter written exclusively to my own soul?  

I think that those are the real questions - the questions to which I have both a thousand and zero answers.  

And, like any work of literature, it does not give its meaning up easily – it requires me to sit with it, to excavate it, to gnaw on it like a dog with a bone. 

Zero answers, because I fundamentally think that it’s a spiritual thing, a God-designed thing, a thing that sits beyond any explanation I could piece together. The God that I believe exists wants me to know about him, wants me to learn and study, wants me to get glimpses of how thinks, how he works, he feels about me – and you. That’s a wild and wonderous thing. That reality leads me be stunned not only at the methodology, but the desire behind it, as St. Augustine wrote,  

‘the whole Bible does nothing but tell of God’s love’.  

And so, this literature, to me, is a source of truth, leaning into Iain McGilchrist’s inkling that,  

‘the fact that religions and mystical and spiritual traditions have always had to use language in a poetic way doesn’t mean that what they’re talking about is not real, it means it is ultimately real.’ 

The biblical literature uses words to take us to the edge of them.  

And, like any work of literature, it does not give its meaning up easily – it requires me to sit with it, to excavate it, to gnaw on it like a dog with a bone.  

Sometimes reading it feels like a balm on my heart, other times it feels like a wrestle in the dirt. But I guess that’s the beauty of it being a book, right? My worldview sits within a piece of literature that is adorned with my scribbles, tear stains, tea spills. A book that meets me every single day, ready to read me as I read it, giving my as many questions as it does answers. 

So, why a book? Because now that I think about it, it is odd. The powerful resonance of words for all cultures at all times, perhaps? Or the way that poetry was designed to make a bee line for the deepest parts of us? Or the fact that it is only through language that we can talk about the things that go beyond it?  

There are a thousand human-sized answers, if you really need them. I happen to enjoy the mystically-charged zero answers, myself.  

Celebrate our 2nd birthday!

Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief