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
Politics
7 min read

If a King can pray with a Pope, there's hope for MAGA and woke to talk

Once bitter enemies found peace through prayer - offering a quiet challenge to today’s culture warriors

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

The Pope and King Charles walk together from the Sistine Chapel
Royal.uk

Last week, King Charles met the Pope.  

There was a part of me that wondered what Martin Luther, Thomas Cranmer, and even the young Ian Paisley would have of made it. Not much I imagine. The days of sharp theological barbs thrown between Protestants and Catholics over the mass, purgatory, the place of Mary, praying to the saints and so on are largely over. I imagine they had a cup of tea, admired Michaelangelo’s painting in the Sistine chapel and had a chat, but the main thing they did was to pray together - the first time a British monarch had met to pray with a Pope since the Reformation.  

So this was quite a big deal. Prayer carries much more significance than tea. But why did it matter so much?  

To make sense of it, you have to remember the history.  

In the aftermath of the English church’s break from Rome under Henry VIII, later consolidated under Elizabeth I, one of the most influential books that emerged from the English Reformation was Foxe’s Book of Martyrs, originally published in 1563. Alongside the ubiquitous King James Bibles, copies were to be found in English homes up and down the country for centuries afterwards. The book was a grisly catalogue of Christian persecution down the ages, and a thinly veiled side-swipe at the author’s main target - the Roman Catholic church, or “popery, which brought innovations into the church and overspread the Christian world with darkness and superstition.” Back then, that was how most British people saw the papacy.  

In 1605, a plot led by a group of English Roman Catholics to kill King James I of England (and VI of Scotland) and to blow up the Houses of Parliament was rumbled – the infamous Gunpowder Plot. For centuries afterwards on the anniversary of the conspiracy (until Health & Safety and modern squeamishness toned it down) the English lit bonfires, launched fireworks, and burnt effigies of the Catholic plotter Guy Fawkes to celebrate the deliverance of the nation from papal tyranny. At the time - and partly as a result of that event - Catholics were feared in England much as militant Islam is today in parts of the west – as a shadowy force infiltrating the nation from other European countries (mainly France and Ireland in this case), intent on changing the religion of the country, and imposing arbitrary and tyrannical rule on the population of Britain.  

Later in the same century, the looming prospect of a Catholic monarch put Britain into a spin. Charles II had been restored to the throne in 1660 after his father’s execution during the Civil Wars. Charles’ own Protestant credentials were always shaky – a fear that was confirmed by his deathbed conversion to Catholicism in 1685, but at least during his lifetime he remained a Protestant Anglican. The real problem was the heir – Charles’ younger brother James, the rakish Duke of York who was most definitely a Catholic. The same fears of papal tyranny and arbitrary rule, taking away the precious freedoms of the British people were the talk of the coffee houses and broadsheets of the 1670s and 80s.   

All the more remarkable then, that relationships between Anglicans and Roman Catholics have develop to such an extent that Anglicans (alongside other churches) were guests of honour at the late pope’s funeral and the inaugural mass of the new pope - and a King prays with a Pope.  

So why have things changed so much?  

Part of the answer is that times have changed. Europe is less obviously Christian than it was back then. The Christian churches have realised they don’t have the luxury of fighting over such matters. With Christian theology becoming less of a ‘public truth’ that held nations together (much as notions of freedom and democracy do for us today) arguments over it became less fraught and charged.  

Another reason is the lengthy conversations that have taken place between churches in the ecumenical movement throughout the last century that have carefully been able to unpick the disagreements, clarifying what was and wasn’t at stake in the fights between Lutherans, Catholics, Anglicans, Orthodox and others. These conversations haven’t solved all the issues. Different Christian denominations still disagree on a lot, especially today on issues like human sexuality and the like, but over time, they have at least brought clarity and a certain harmony to some of the historic disagreements. Anglicans still convert to Catholicism, and Catholics become Anglicans (or Orthodox or Pentecostals). The King and the Archbishop of York could not take Holy Communion with the Pope, but they could pray. I know from personal experience the depths of friendship that come when you recognise a brother or a sister in a Christian that you disagree with but in whom you can still recognise an essential commonality. 

Another key part of the answer is that the Roman Catholic church has changed. Last year for example, the Vatican department that oversees relationships with other churches issued a study document called ‘The Bishop of Rome’. It was part of an ongoing conversation between the Roman Catholic Church and other world churches on the role of the Pope in the modern world. It talked about the Papacy as having a ‘primacy of service’, its authority linked not to the triumphant but the suffering Christ, of how the Pope offered a kind of ‘personal’ kind of leadership, Orthodox churches a ‘collegial’ form (led by groups of bishops) and the Protestant churches a form that stressed the importance of the whole community.  

In other words, here was the Vatican asking other churches how the Papacy can be a help and support to Christians around the world. Back in the nineteenth century, in the first Vatican Council of 1869, the language was very different. The papacy was there by ‘divine right’, essential for the church, implying that other churches really ought to come back into the fold of the Church of Rome. The Roman Catholic church now seems to take a humbler, more generous stance which makes it possible for a King to pray with a Pope again.  

It's a heartwarming story. We constantly lament today the polarised, fragmented and angry nature of our politics and our cultural debate. The ecumenical movement of the Christian churches over the last hundred years may not be the sexiest development in recent cultural history. It involved long and painstaking conversations, the building of friendships and relationships across suspicion, a willingness to see the good in the other even when you could not agree. Yet this combination of time, patient conversation and humility has yielded fruit. 

In the seventeenth century, British Protestants saw Catholics as the deadly enemy seeing to undermine everything they hold dear - pretty much as some people do today see Muslims, or as progressives see conservatives or vice versa. Does this story hold out any hope of finding healthier ways to live together across our religious and political divides? Maybe. It's different of course because Catholics and Anglicans share the same basic faith, they recite the same Creed, they read (almost) the same Bible, they worship the same Jesus. With Islam we're talking about a different faith altogether. The ‘woke’ and the ‘MAGA’ people don’t seem to share much at all. 

But yet we do share a common humanity. And with patience, conversation, a willingness to look for the good in the other, some form of peaceful co-existence, with freedom to debate, or even to change religion might become possible.  

For that we can hope. And like the King and the Pope, pray.  

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 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