Review
Belief
Culture
Death & life
Joy
Music
Wildness
7 min read

Nick Cave’s Wild God challenges a too comfortable culture

Eavesdrop on profound discomfort and raw wonder.

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

A singer, wearing headphones, turns from a microphone in front of him.
Listen with Nick.
nickcave.com

In the fourteenth and fifteenth centuries, there lived an anonymous mystic who we’ve since come to know as Julian of Norwich. After coming chillingly close to death at the age of thirty, she spent the subsequent decades of her life in a small side room of St Julian of Norwich church (the inspiration behind her pseudonym), speaking to people only through windows and writing masterfully about her supernatural visions of God. 

Her anonymity, modesty, and creativity meant that she was free to write about God without the pressure of being theologically or doctrinally ‘correct’. She wasn’t too interested in making her writing academically bulletproof, nor was she too bothered with institutional rightness.  

Rather, she experienced, and she wrote. She pondered and she wrote. She suffered and she wrote. She rejoiced and she wrote.  

She was utterly captivated by God, and that meant that she was free.  

I think that Nick Cave is free, too.   

His latest album reminds me of Julian of Norwich’s work; baffling, subversive, mystical, rooted in a truth that can’t be proven. A truth he wouldn’t be interested in proving, anyway. It, too, swerves ‘rightness’. It, too, refuses to dilute the oddness of faith. It, too, is irresistibly intense. I pressed ‘play’ at around 8:03am this morning, assuming that this album would be the soundtrack to my mundane morning. But two songs in, I found myself sitting on my kitchen floor with my coffee, a notebook, and the album turned up to a volume that would have justifiably annoyed the neighbours.  

This is not a casual album. Any true Nick Cave fan would scold me for ever expecting it to be. 

The album is a ten-track-long ode to a Wild God who has met Nick in the darkest of places. Places, I’m sure, he never wanted to go. Places, I’m sure, he will never fully leave. Such a wild God is a challenge to a culture that has enthroned comfort. We’re too easily spooked. But Cave, through a combination of circumstance and intentionality, appears to have entirely shunned comfort. And so, he’s in prime position to introduce us to a God who will confound us.  

Julian of Norwich’s book and Nick Cave’s album are centuries apart – yet, somehow, it feels as though they have been made from the same materials: profound discomfort and raw wonder. 

Suddenly, you’re reminded that you’re eavesdropping on a man who has lost his son, conversing with a God who lost his too. 

This is Cave’s eighteenth album with the Bad Seeds. Together, they have created a soundscape to get lost in, a changeable climate controlled by their instruments: you get caught up in a cyclone during the title track, the cymbals crash like waves on the shore in ‘The Final Rescue Attempt’, you can hear the gentle droplets of rain fall in ‘Frogs’, the strings somehow sound like a sunset in ‘As The Waters Cover The Sea’.   

It’s music that baffles your senses. 

And then there are the stories that the songs are telling.  

The album opens mid-way through a bar, its first song – ‘Song of the Lake’ - sounds as if it was playing before you hit play. In 2015, Nick and his wife Susie lost their teenage son. In 2022, Nick lost another son. The last two albums offered up by Nick Cave and the Bad Seeds – Skeleton Tree and Ghosteen – they have an address, and the address is grief. They’re laced with palpable agony. And so, beginning this album mid-way through a bar, it’s as if Nick is telling us that we’re picking up a conversation where we left off in 2019. This album wouldn’t exist if the previous two didn’t exist.  

He uses the opening song to remind us of the tragic circumstances in which he lost his teenage son, Arthur, by referencing the nursery rhyme character, Humpty Dumpty – who, of course, ‘had a great fall’. Nick quotes, ‘… and all the king's horses and all the…’ before cutting himself off with ‘… oh never mind. Never mind.’ 

What’s the meaning of this recurring ‘never mind’? Is it agony or acceptance? Maybe it’s both. Maybe it’s neither. Maybe Nick, as usual, doesn’t want to be too knowable.  

Some of his thoughts feel finished and firm, others feel unexplored and new – like we’re hearing them at the same time that Nick is. On occasion it feels as though he’s teaching us something, on other occasions, he’s the one asking the questions. It’s about him, and then it’s not about him. It is intensely personal and then it’s cosmically minded. It’s sturdy, then it’s fragile. It’s from the point of view of a deity, then it’s from the perspective of a frog in his pocket.  

It is pretty uncontainable.  

But the song that my mind seems to have gotten snagged on is ‘Joy’, which sits about a quarter of the way through the album. Again, he begins the song by telling us how he ‘woke up this morning with the blues all around my head… I felt like someone in my family is dead,’ he speaks of his ‘pain and yearning sorrow’ – all of which hits you in the stomach, because such lines are wholly unexpected in a song entitled ‘Joy’.  

You could read a 100,000-word long thesis on the theology of joy. Or you could just listen to this song. I think it would teach you everything you need to know.  

The way Nick chooses to sign it off is to overtly tell us so. His goodbye is a direction, his epilogue is an invitation. 

Despite the references to his grief, Nick recently shared that he nearly titled the album ‘Joy’. And I get why. If you think of joy as some kind of light and fluffy thing, you might not spot it. But if you, like Nick and his band of Bad Seeds, perceive joy to be something that can hold tension, confusion, and even sorrow – you will see that it is all over this project. As Nick has already taught us, faith and hope can be found amid carnage. And Nick’s new(ish)-found faith has quite obviously turned him upside down.  

His wild God has clearly swept him off his feet.  

The remaining songs on the album - the ones that I don’t have the wordcount to do justice - they take God/death/life, and they ponder them from every angle. There is a childlike wonder to this album, a pure kind of excitement. The kind that you'd think would be irreconcilable with the realities of grief but is somehow able to sit right alongside it. Nick isn’t trying to explain the God that he has found, or the ‘conversion’ he’s experienced – he’s just celebrating it, and inviting us all to listen.  

He's simply loving God and enjoying being loved right back. It really is all very ‘Julian of Norwich-esque’. It will offend you if you try too hard to put it into a neat box.  

But then there’s the last song, which is where I’ll bring this gush-a-thon to an end. It is a hymn. Like, an actual, albeit tweaked, hymn – the last song is a rendition of ‘As the Waters Cover the Sea’.  

All of a sudden, there’s a gear change to grapple with. Nick is placing himself in a church, he’s tying himself to a particular religious tradition, he’s joining a particular community and affiliating with a particular history. It turns out the God of whom he speaks is not abstract, he’s the Christian God. You’re reminded that you’ve been eavesdropping on a man who has lost his son, conversing with a God who lost his too. The lyrics have been hinting at this all the way through the album, but the way Nick chooses to sign it off is to overtly tell us so. His goodbye is a direction, his epilogue is an invitation. He is basically saying -

If you’re intrigued by the Wild God, here is where precisely I have found him…  

And this kind of religious specificity being used to tie up an album so full of metaphor and mystery. An album I thought I had worked out, an artist I thought I had finally cracked, a message I thought I had deciphered… 

… Oh, never mind. Never mind. 

Article
Belief
Creed
Ethics
Politics
7 min read

The Danish Prime Minister is right - the West needs a spiritual rearmament

Christianity should challenge, not reflect, the cultural zeitgeist

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

Mette Frederiksen gesture as she delivers a speech.
Mette Frederiksen speaking at Aalborg University.
Aalborg University.

For some time, there has been a sense of crisis in Europe. You can feel it. European nations are re-arming themselves as America turns off the financial tap. They are struggling to manage levels of migration. Young people are losing faith in democracy.  

Yet this is not primarily an economic crisis, or even a political or ethnic one. It is spiritual. And when you start to look for it, you see the signs of it everywhere.  

Take one example. Back in the summer, Mette Frederiksen, the Prime Minister of Denmark announced a national military build-up involving increased defence spending, conscription and so on, all fuelled by the general north European fear of expansionist Russia. While speaking to a group of Aalborg University students soon after, she surprised everyone by saying: 

“We will need a form of rearmament that is just as important (as the military one). That is the spiritual one.” 

She spoke of the discernment needed to tell the difference between truth and falsehood in a world where they were hard to tell apart - and implied this required spiritual wisdom not more technology. Increasing levels of conscription is one thing, but persuading young Danes to fight and even die for anything is another. The problems are not unique to Denmark. Why would Gen Z fight for an economic system that doesn't seem to be working in their favour, doesn't offer them the prospect of owning a home or a stable job, and offers little to inspire any kind of heroism? John Lennon imagined a world with “nothing to kill or die for.” If there is nothing you would die for, there probably isn’t much to live for either.  

Frederiksen’s call is just one sign of the spiritual crisis in Europe. Another is the rise of what is sometimes called ‘Christian nationalism’. Elites may sneer at the flags on lamp posts and the crosses held aloft in populist marches, but these are the visible signs of swathes of people in the UK who feel no-one listens to them, and who regret the loss of the cultural and broadly Christian framework that in the memory of past generations provided the operating system of British life for centuries. Its disappearance since the 1960s and the lack of anything to replace it is a problem. The ‘new atheism’ was an act of cultural vandalism, aiming to destroy faith but with nothing to put in its place. You don't have to believe that Tommy Robinson or even Nigel Farage is the answer to this yearning to recognise the validity of this sense of loss. 

Yet another is what has been called the ‘Quiet Revival’ - signs of renewed churchgoing among (especially) young men in the UK. Revivals of religion usually happen when a community feels its identity and survival is under threat. At such times, people go back to their roots, to available sources of wisdom and reassurance. This isn't yet a wholesale turning to the Church, but it is sign of a yearning for some kind of spiritual meaning, for something sacred – something that can't be bought for money and that has a value beyond what we choose to give it.  

So - back to Mette Frederiksen’s surprising call for spiritual renewal in her own country. Denmark is one of Europe’s most secular nations, Frederiksen is not known as a regular churchgoer, and her Social Democrat party has generally been lukewarm about religion in recent decades. Yet she was honest enough to recognise the problem. If we have told ourselves for decades that there is no such thing as truth, it's not surprising we find it hard to tell truth from falsehood. When we have confidently proclaimed that the most important voice to listen to is our own desires – ‘you be you’ – it is not surprising that that we don’t have any ideals left to live or die for. Young people might take to the streets over climate change or Palestine, but being willing to lay down their lives for something beautiful, sacred, something transcendent beyond all that - even when it has sustained their civilisation for generations? Probably not. And there is no reason to think that Denmark is any different from any other European country. The same is surely true in Britain, even if our politicians are not as perceptive as Mette Frederiksen in noticing the problem.  

So where is an answer to be found? Mette Frederiksen called out to the Church for an answer:  

“I believe that people will increasingly seek the Church, because it offers natural fellowship and national grounding… If I were the Church, I would be thinking right now: how can we be both a spiritual and physical framework for what Danes are going through?” 

Yet herein lies the problem. The Church of Denmark, one of northern Europe’s Lutheran churches, is not exactly in a great state. 70 per cent of the population may be registered members of the church, but only 2.4 per centof those actually turn up in church on Sundays – which makes for an average of 30 people in any local Danish Lutheran church on Sunday.  

In Ireland, the Roman Catholic Church ordained just 13 priests this year. Fifty years ago, 90 per cent of Irish people went to mass every week. Now it’s around 16 per cent. The decline was a self-inflicted disaster as scandals of abuse and cruelty recurred with depressing frequency. The Church of England’s attendance figures are not much more encouraging. And its ability to offer something to live and die for is far from clear. The philosopher John Gray is scathing about the western churches’ captivity to the spirit of the age. He thinks of them as “mirroring the confusion of the zeitgeist rather than offering a coherent alternative to it… this kind of Christianity is a symptom of the disease not a cure for it.” 

That may be the problem - but it is also the opportunity. Christianity is the west’s default spiritual tradition. Nothing goes as deep into the European soul as this. Others come and go, but this faith is in our veins, our landscape, our art and our memory. Time and again, from its early centuries, it has inspired countless people to live lives of selfless devotion. It happened when the Byzantine empire emerged from the ruins of the Roman one, when a new medieval Christianised civilisation grew out of the ruins of the barbarian conquests, or in the reform movements of the sixteenth and seventeenth centuries, or the missionary movements of the nineteenth centuries. Time and time again it has proved a catalyst for wisdom to face the challenges of crisis, for individual self-sacrifice, cultural renewal and a purpose beyond personal fulfilment – something to live - and die - for.  

And it still does. You only have to recall the 21 Libyan martyrs – mostly ordinary Coptic Christians from a simple Egyptian village who were captured by ISIS in 2015, and who chose a gruesome death rather than forsake their faith in the love of Christ – to show how Christian faith gives something not to kill – but to die for.  

I have no doubt Christianity can provide that again. Not as a reversion to something past, but in a new form that is true to its roots, but in a way that will look new – maybe humbler, simpler, purer. 

This is the challenge for such new leaders as Pope Leo and soon-to-be Archbishop Sarah Mullally. And indeed, for all of us who call ourselves Christian. Can we Christians, as John Gray put it, offer a coherent alternative to the confusion of the zeitgeist rather than be a pale reflection of it?  

The future, not just of European Christianity, but also of Europe may depend on it.  

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