Column
Belief
Creed
4 min read

Let 2025 be a year of cultural Christianity - celebs and all

New epiphanies challenge traditional authority.

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

A man in a suit stands in front of a orchestra, by a lectern, gesturing while talking.
Tom Holland.
x.com/TheRestHistory.

Monday is the Feast of the Epiphany, marking the end of the 12 days of Christmas. It’s rather good when Christmas falls on a Wednesday, so that Epiphany is on a Monday – the start of a new working week. No need to have returned from holiday during this previous week, for me at least, the only “work” I’m doing before Epiphany being the writing of this column. 

Epiphany celebrated the nativity and/or baptism of the Christ historically, but in the western Church we’ve moved those festivals, not least to mark the birth of the Christ child at Christmas. The Greek root of Epiphany means “manifestation” and in popular, polytheistic religions nature is of full of local manifestations of the gods. 

A deity might manifest in a divine human, a monarchical figure or a miracle worker. In ancient Greek philosophy, epiphany-religion is the foundation of a natural theology discerning these manifestations of the divine in all things, which we might call pantheism. 

We’re more reticent about direct epiphanies of God in our biblical religion, but they do occur, notably for Moses in his witness of the burning bush (and thereafter in his regular audiences with the Godhead as he leads his people from Egypt). 

Such manifestations invariably come by way of a promise, supremely in Christianity in the incarnation at Christmas. Our theology might hold that not until the epiphany of the Christ at the end of history can we speak of the Feast of the Epiphany in any fulfilled sense. 

But there is another, more immediate side to the Epiphany. The coming of the magi – or sages – from the East to pay homage to the Christ child has long been interpreted as the manifestation of God to the Gentiles in the poverty of a Judean stable. 

There is nothing actually in the scriptural story to indicate that these grandees are not Jews of the Diaspora, journeying back to their homeland to witness the Christ. But, importantly, this has come to represent the gift of a new covenant to the world, rather than the Mosaic covenant exclusive to the Jews.    

And it’s with that idea that I suggest our Epiphany has very current cultural implications. The point of Epiphany is that it’s not ours, it’s everyone’s. It’s not owned here, it’s out there. It’s not multicultural, it’s transcultural, even supercultural.  

So the Christian faith defies ownership, as the magi demonstrate. That’s a vital notion at a time when the phrase “cultural Christianity” has gained fresh traction. It’s customary at this point to list who most famously identifies as culturally Christian. So, briefly, here goes. 

The professional atheist (he has earned a living from it) Richard Dawkins claims such status; former Dutch MP Ayaan Hirsi Ali has moved from Islam to atheism to Christian faith, claiming it as a bulwark against cultures that threaten us and the historian Tom Holland has expended a substantial proportion of his scholarship demonstrating that western civilisation is built on Christian foundations. Elon Musk has chimed in as a cultural Christian. So has rocker Nick Cave. There are many more. 

The response from what might be called pro-am Christians isn’t always edifying. At best, it’s condescending – these starlets really don’t get it and need to study and qualify properly as card-carrying Christians. At worst, it’s belligerent – these charlatans want the fruit from our tree, but attack its roots. 

It’s fair to observe that Christianity has always been cultural, not just through its initial and expedient spread through the trade routes of the Mediterranean until its adoption under Roman emperor Constantine, but in its very genesis in Jerusalem. The insurgent Nazarene movement showed far more interest in the lived experience of the new faith than in establishing an alternative Temple authority with it. 

It’s a saying misattributed to St Francis of Assisi that evangelists are to go out into the world and spread the gospel and, if we have to, to use words. It’s about actions in the Christian life, not words of intent. In that, the former US president Jimmy Carter, who has just died aged 100, is a worthy exemplar. 

By contrast, we have the modern versions of the corrupt and self-serving Temple of Jerusalem in our Christian Churches. Elites who believe in a primacy of status, marching around with sticks, bear as much fruit as the withered fig tree of the gospel. More than arguably, it must be worth turning away from them and towards the cultural Christians mentioned above. 

For I’m finding that I may have more in common with them than with archbishops and priests, endlessly debating how to improve their woeful their Church. This is my epiphany.  

So, for me, let 2025 be a year of cultural Christianity. Let them say we pick the fruit and ignore the roots. Because perhaps that’s preferable to sticking with a thick trunk that despises those fruits.  

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief

Review
Belief
Culture
Music
Romance
3 min read

Is Alex Warren singing a love song, or a worship song?

Ordinary's lyrics speak to a fundamental human desire, even when we don’t realise.

Ed is a Research Fellow at the Faculty of Theology and Religion at Oxford University.

A singer holding a guitar raises his head with closed eyes.
Warren on stage.
Mike M. Cohen, CC BY 3.0, via Wikimedia Commons.

Alex Warren’s Ordinary is number one in the UK charts. At first glance the song appears to be a love song, and I would guess this is how it’s been heard during its 400million streams.

Spend more time with the song, though, and it becomes hard to ignore the theological imagery. “stayin’ drunk on your vine,” sings Warren – a conscious (he’s a Catholic) borrowing of St John’s image of the human person as united to God like a branch to a vine. “You’re the sculptor, I’m the clay,” is a direct reference to St Paul. Warren adds to these biblical allusions images primarily associated with Christian worship, including references to ‘holy water’ and ‘kissing the sanctuary.  

So, Ordinary is certainly a love song, it’s just not clear who Warren is singing to. A human lover? Or a song to the Triune God, the One revealed in Jesus Christ? 

I’m not really interested in the meaning Warren intended to convey. But I am interested in what the popularity of the song might say about the human heart. 

As St Paul stood before the Athenians he told them he came with news of the ‘Unknown God’; one whom the Athenians did not know but who they deeply desired to know. Might the popularity of songs like Ordinary reveal the deep desire that human beings have for a God they do not yet know? To my mind, the 400,000,000 streams of Ordinary speak of a desire to meet with the God who is Love, the God who invites us into a union, a love, more intimate than the branch and the vine.  

In one of my favourite songs, Florence + the Machine insightfully explores what it might mean to love someone without knowing it. In South London Forever, she tells us about a time when she was ‘young and drunk and stumbling in the street’. The tone is light, and the regular refrains of ‘it doesn't get better than this’ capture the (sometimes literal) ecstasy which often accompanies youth.  

Yet the song also captures a real sense of loss. Florence describes how ‘I forgot my name, And the way back to my mother's house’. As the song builds, the refrain becomes deeply melancholy, with Florence moving from belting out that life had never been better to describing how: 

 ‘Everything I ever did, was just another way to scream your name, over and over and over and over again’. 

 It is with these words that the song finishes. 

But whose name is Florence screaming?  

The song does not say. But, might it be God’s name? Indeed, Florence hints at this with a singular reference to God at the heart of the song. On this reading, South London Forever becomes a story about recognising one’s own failed attempts to find happiness as an attempt to find God. It becomes a story about seeking God without even knowing it. 

Intriguingly, the great North African Bishop, St Augustine of Hippo tells a similar story in his Confessions. Augustine’s spiritual autobiography is, at least in part, a story of his deep struggle with a desire for sexual intimacy. It is a story of seeking out fulfilment in strange places such that Augustine slowly becomes a stranger to himself, and as Florence puts it, loses the way back to his mother’s house. Looking back over these attempts to find happiness, Augustine comes to recognise that it was God all along that he was looking for ‘how deeply even then, the depths of my heart were sighing for you’.  

The story of songs like Ordinary and South London Forever is that the human heart always desires God, even when the heart is looking for God in strange places. 

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