Article
Creed
Music
Spiritual formation
4 min read

Sing, pray, manifest: what’s the difference?

Song, success and the search for someone who loves.

Jamie is Vicar of St Michael's Chester Square, London.

A colourful graphic overlay of praying hands over a band playing.
Coldplay.com

No one should be surprised when Coldplay release a song called 'We Pray'. Yes, the band's back catalogue is already peppered with references to the divine, but prayer in song is remarkably unremarkable.  

Just do a quick search on Spotify: Coldplay are hardly alone. In recent years our purveyors of prayer have notably also included HAIM and Elda Good. Go a little further back: Leonard Cohen, even Take That and Duke Ellington. Which song do you immediately think of when I mention Bon Jovi? And who could forget Madonna, Dionne Warwick or Andrea Bocelli with Katharine McPhee. Prayer makes good music sales. 

A recent poll by Skylight showed that 61 per cent of Americans pray. And, 9 in 10 of those believed they'd received an answer to prayer in the past year. If prayers and songs are both places for us to process emotion, then the genre overlap is hardly surprising. 

But when you think about it, these songs at their essence sing about a spiritual practice. The spirituality is sometimes overt, and sometimes prayer is useful as a device for something else (Nick Cave's immortal line: 'I don't believe in an interventionist God / But I know, darling, that you do…'), but whichever way you slice it, we sing about prayer because prayer is one of our deepest instincts. We get meta about our metaphysics because the divide between the sacred and the secular simply isn't there. 43 per cent of respondents to this recent survey were almost as likely to pray in nature as they were in a house of worship (46 per cent). We pray for all manner of reasons, which is the premise of Coldplay's song, why 'we pray'. 

This instinct seems to have also birthed the song itself. ''We Pray sort of wrote itself like some of the good songs do,' Chris Martin recently revealed. 'In Taiwan, in the middle of the night, I woke up and the song was in my head, and I don't know where it came from. So, the sound of it sort of dictated itself and that's all. I just sort of followed the road map that it said.'  

The ambiguity of the song's origins also matches the huge scope within the song for the listener to interpret as they wish. Coldplay have fascinatingly added a 'blank verse' version online where people can ad lib their own prayers within the song. This is not unlike the practice of many 'charismatic' worship leaders, providing a space for deeply personal expressions of prayer within a corporate religious experience. And whether you're at Glastonbury or alone with you and your AirPods in the park, the offer is not only to connect with a higher power, but to reflect on why you're doing so at the same time.  

What if the power instead resides not in the person praying, nor in the prayer itself, but in the recipient of the prayer?  

We may not all have the musical genius of Martin, but many of us similarly profess an innate desire to pray, regardless of religious beliefs. Studies come and go showing that praying can also have emotional benefits.  

So, the question arises: is there power in prayer? If the power is in the act itself, then it's on par with manifesting. 

The act, and thoughts of manifesting may have the same motivations as prayer for many, but it can be argued that manifesting is not in the same category as prayer. Much like The Secret or The Power of Positive Thinking, manifesting the latest new age trend where your mind achieves your aspirations: you can simply manifest that new job, relationship, or Ferrari. But the practice has its limitations, and its critics. Vox's senior correspondent Rebecca Jennings reports that 'Overestimating the power of one’s thoughts, which is a symptom of OCD among many other disorders, 'could be very dangerous to people who already have anxiety disorders, but potentially, it might even be enough to start those symptoms happening in someone who originally doesn’t', according to cognitive neuroscientist Rhiannon Jones. 

I recently spoke to a couple of women in their early 20s who'd just returned from a manifesting conference. Manifesting may have the same motivations as prayer for many, but it can be argued that manifesting is not in the same category as prayer, even though this hugely popular practice could be understood as a secular form of piety, potentially rivalling that of the devout. But what if the power instead resides not in the person praying, nor in the prayer itself, but in the recipient of the prayer? Martin hints that the prayer itself is not the power. He sings 'Only by his grace', and 'for someone to come and show me the way.' 

Simply searching on Spotify with the keyword 'pray' is only the tip of the iceberg for prayerful songs. Many of them don't include the word, yet still meditate on prayer. For instance, U2 sang 'I waited patiently for the Lord, he inclined and heard my cry' - a reworking of King David's Psalm 40 where he is lifted out of the miry pit. The psalm's final verse begins 'But as for me, I am poor and needy; may the Lord think of me.' This is not so much a song of spiritual practice, but desperation. It can be hard even to pray when you're stuck in a rut. And in his helplessness, David finds that there is someone who fills his mind with thoughts about him.

I've recently sat with people who've in some form of prayer thanked God, the universe, even the day itself. The blank space is there. The space is for us to fill. But what if we are not praying into the void? Because far and above any personal experience or benefit of prayer, the ordinariness of prayer is really quite extraordinary: We pray. Someone is listening. 

Article
Culture
Music
Wildness
6 min read

Rock ‘n’ roll’s long dance with religion

How popular music conjures sacred space.

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

Rapper Stormzy raises a hand to heaven as he sings with a gospel choir on the Glastonbury stage.
Blinded by Your Grace, Stormzy, Glastonbury 2019.
BBC.

In Faith, Hope and Carnage, his book of conversations with Seán O’Hagan, Nick Cave said: “Music plays into the yearning many of us instinctively have—you know, the God-shaped hole. It is the art form that can most effectively fill that hole, because it makes us feel less alone, existentially. It makes us feel spiritually connected. Some music can even lead us to a place where a fundamental spiritual shift of consciousness can happen. At best, it can conjure a sacred space.”  

That’s because, as Elvis Presley stated during his ‘68 Comeback Special, "Rock and roll is basically just gospel music, or gospel music mixed with rhythm and blues". Following in the wake of key precursors such as Sister Rosetta Tharpe, Rock ‘n’ roll merged Blues (with its spiritual strand) and Country music (tapping its white gospel) while Soul music adapted much of its sound and content from Black gospel. For both, their gestures and movements, and sometimes the songs too, were adopted wholesale from Pentecostalism. Some, such as Jerry Lee Lewis and Sam Cooke, felt guilt at secularising Gospel while others, like Johnny Cash, arrived at a hard-earned integration of faith and music.  

All experienced opposition from a Church angry at its songs and influence being appropriated for secular ends. This opposition fed a narrative that, on both sides, equated rock and pop with hedonism and rebellion. The born-again Cliff Richard was often perceived (both positively and negatively) as the only alternative. Within this context the biblical language and imagery of Bob Dylan and Van Morrison was largely overlooked, although Dylan, in particular, spoke eloquently about the influence of scripture within the tradition of American music on which he drew. 

However, this changed in two ways. First, the Church began to appropriate rock and pop to speak about Christian faith. David Wells has explained that: “The American branch of the Jesus movement effectively started in the Haight-Ashbury district of San Francisco, but there was also a parallel development in the UK that slowly evolved from beat groups performing in church coffee-bars. By 1971, leading British Christian rock band Out Of Darkness were appearing at notorious countercultural gathering Phun City, while Glastonbury introduced a “Jesus tent” that offered Christian revellers mass and holy communion twice a day.” 

This development led eventually to the emergence of a new genre, Contemporary Christian Music (CCM) and a consequent oscillating movement between CCM and the mainstream. Mainstream artists such as Philip Bailey, David Grant, Al Green, Larry Norman and Candi Staton developed CCM careers while artists originally within CCM such as Delirious? Martyn Joseph, Julie Miller, Leslie (Sam) Phillips, Sixpence None The Richer, Switchfoot, and Steve Taylor achieved varying levels of mainstream exposure and success. 

Second, the Hippie movement expanded the spirituality already inherent in rock music through the visionary aspect of drug culture and a wider engagement with religion which included significant connections with Eastern religions but also, in part through the Jesus Movement, with Christianity. This was the period of songs such as 'Presence of the Lord' by Blind Faith, 'My Sweet Lord' by George Harrison, 'Fire and Rain' by James Taylor, 'Sweet Cherry Wine' and 'Crystal Blue Persuasion' by Tommy James and the Shondells, 'Let it Be' by The Beatles, 'That's the Way God Planned It' by Billy Preston, 'Hymn' by Barclay James Harvest, 'Jesus is A Soul Man' by Laurence Reynolds, 'Are You Ready?' by Pacific Gas & Electric, 'Spirit in the Sky' by Norman Greenbaum, 'Put Your Hand in the Hand' by Ocean, 'Jesus Is Just Alright' by the Doobie Brothers, ‘God Gave Rock and Roll to You’ by Argent, and both ‘My Life Is Right’ and ‘Try Again’ by Big Star.  

This was also the period of musicals such as Jesus Christ Superstar, Godspell and, from the Jesus Movement, Lonesome Stone and Yesterday, Today, Forever. Among the most interesting, but then relatively obscure, examples of albums connecting faith and music were Electric Prunes’ Mass in F Minor (written by David Axelrod), C.O.B.’s Moyshe McStiff and the Tartan Lancers of the Sacred Heart and Bill Fay’s Time of the Last Persecution. Gram Parsons drew heavily on the Gospel music tradition in Country Music, also taking The Byrds in the same direction, while many of the songs of Judee Sill dealt specifically with Christian spirituality.  

It was that spirit that was transposed into the feel and flow of rock and soul and it is this that gives rock and soul its affective nature.

With the majority of Soul stars having begun singing in church, many of the most effective integrations of faith and music were also found there, with Marvin Gaye’s What’s Going On and the Gospel-folk of the Staple Singers, such as Be What You Are, being among the best and most socially committed examples. Gospel featured directly with Preston, Edwin Hawkins Singers, Aretha Franklin’s gospel albums, and Green's albums from the Belle Album onwards.  

The biblical language and imagery of stars like Cave, Leonard Cohen, Dylan, Morrison and Bruce Springsteen began to be understood and appreciated. This was helped to varying degrees by explicitly ‘Christian’ periods in the work of Dylan, Van the Man and, more latterly, Cave. Dylan’s conversion came about through the Vineyard Church movement which also impacted musicians such as T Bone Burnett, Bryan MacLean, David Mansfield, Maria McKee, and Stephen Soles. 

Musicians such as After The Fire, The Alarm, The Alpha Band, Burnett, The Call, Peter Case, Bruce Cockburn, Deacon Blue, Extreme, Galactic Cowboys, Inner City, Innocence Mission, Kings X, Lone Justice, McKee, Buddy & Julie Miller, Moby, Over The Rhine, Phillips, Ricky Ross, 16 Horsepower, Mavis Staples, U2, Violent Femmes, Gillian Welch, Jim White, and Victoria Williams rather than singing about the light (of Christ) as CCM artists tended to do, instead sang about the world which they saw through the light (of Christ).  

As rock and pop fragmented into a myriad of genres, this latter approach to the expression of faith (which was first articulated by Burnett) continues in the music of Belle and Sebastian, Eric Bibb, Blessid Union of Souls, Creed, Fay, Brandon Flowers, Good Charlotte, Ben Harper, Held By Trees, The Killers, Michael Kiwanuka, Ed Kowalczyk, Lifehouse, Live, Low, Neal Morse, Mumford and Sons, Joy Oladokun, Revolutionary Army of the Infant Jesus, Robert Randolph and the Family Band, SAULT, Scott Stapp, Sufjan Stevens, Stormzy, The Welcome Wagon, and Woven Hand. 

With his latest album Wild God, Cave is using rock music to conjure sacred space. ‘Joy’ begins, “I woke up this morning with the blues all around my head” but its key moment of transition comes when he falls to his knees calling out “have mercy on me please” and “a voice came low and hollow” saying “we’ve all had too much sorrow, now is the time for joy”. In ‘Wild God’, the antidote to “feeling lonely” and “feeling blue” is to “Bring your spirit down” so that He moves “through your body like a prehistoric bird”. 

In his examination of the roots of rock and roll, James Cosby notes that the entire purpose of Pentecostalism was to play music that most let its adherents feel the Holy Spirit in their bodies. It was that spirit that was transposed into the feel and flow of rock and soul and it is this that gives rock and soul its affective nature. This is where “the heart, joy and sheer exhilaration of rock 'n' roll comes from” and it may also be “one of the best examples of America’s ability to draw from both the sacred and the secular”. 

 

Many of the artists mentioned above feature on the author's Closer to the Light playlist on Spotify.

 

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