Article

Community

Creed

Faith

Spiritual formation

8 April 2025

5 min read

The welcome surprise of church growth

Beyond the noise of scandal and politics, a low and steady hum resonates. It’s the sound of a quiet revival.

Lauren Westwood

Lauren writes on faith, community, and anything else that compels her to open the Notes app.

A cover of a book show a cross and the title 'You are loved'.

Rod Long on Unsplash.

‘More young men turned up at church for the first time this morning.’

‘Suddenly our pews are filled with twenty-somethings.’

‘A new family is coming on Sundays. Their teenage daughter has been dragging them along.’

I can believe it.

If you’ve heard similar things about church congregations over the past few years, you’re likely to have heard the same caveat: anecdotally, of course. These conversations have long been coloured with an undertone of confusion and uncertainty.

The Bible Society has released a landmark piece of research that has uncovered the data to back up these anecdotes about growth in churchgoing in England and Wales. The Quiet Revival is based on findings of a survey of adults in England and Wales in 2018 and 2024, undertaken by YouGov.

This set of robust data supports that anecdotal swell around church engagement in recent years, particularly among young men. It evidences a growing Church, the increased positive impact of it in communities, and spiritual openness among the young. It paints a picture of an multi-ethnic and multi-generational Church that is transforming alongside an ever-evolving cultural landscape and a shifting national understanding. This is exciting stuff.

The report identifies a general increase of people who go to church at least once a month and call themselves a Christian from 8 to 12 per cent. It presents a radical shift among young adults between 18-24, all within the Generation Z cohort, as being more likely to fit this definition of churchgoers than any generation except for those over 65. In a further reversal of norms, the research sees men as more likely to attend church than women across most ages, but especially among under-35s. Critically the report outlines that this is ‘not a case of young men joining while young women are leaving’, but of mutual increase in church attendance.

It seems that, just maybe, Christianity is cool.

Gen Z are the most likely to believe in God and to pray regularly. Just under two-thirds would be happy for a Christian friend to pray for them, and 47 per cent of non-churchgoing Gen Z believe it is a good thing for Christians to talk about their faith with non-Christians. This signals a move from attributing growth to the sole influence of cultural commentators or media personalities, and towards confident local Christians sharing faith between friends. Rather than being spurred on by influencers and intellectuals, the greatest impact comes from relationships and in-person invitation.

However, this remarkable openness to religion and experiential spirituality among Gen Z is not straightforward: a third agree that the Bible is a source of harm in the world. This is no longer an anecdotal curiosity; this is real, documented growth exhibited in an emerging spiritual generation, received by a cultural atmosphere that is warming to faith.

Going to church is good for you. In an age of self-help phenomena, The Quiet Revival positions the Church as an antidote to fragmented social lives and mental health crises. Churchgoers of all ages are more likely than non-churchgoers to be happy, to possess hope for the future and to believe that their life is meaningful, as well as being less likely to say they’re feeling anxious or depressed. Critically, these findings are true for young churchgoers, giving further reason behind their flocking to churches. Quite simply, it makes them happier.

It’s a balm to a generation – particularly young men – who are digitally surrounded but socially isolated. Going to church leads to better connection to people in the wider community, with nearly two-thirds of 18–34-year-old churchgoers feeling close to people in their local area, compared to just a quarter of their non-churchgoer peers. Looking specifically at young men in church, this increases to 68 per cent, presenting an incredible opportunity for churches to cut through the loneliness epidemic.

‘The difference is staggering,’ remarks Dr Rob Barward-Symmons, one of the reports authors. ‘It paints a picture of young adults who have found a deep sense of meaning and life satisfaction through attending church regularly, who feel connected to their communities and – in the data we have gathered on their social action – are keen to give back to their local communities as well. This is not the image we typically see of young adults in the media, but it is a powerful one.’

Going to church isn’t just good for you, it’s also good for your community. Perhaps The Quiet Revival’s deepest encouragement lies in its glimpse of a faith-in-action Christianity. The research shows a picture of churchgoers who are not just concerned for their own wellbeing, but who want to improve the lives of others - 78 per cent of all churchgoers agreeing that making a difference in the world is important.

In particular, the churches' younger generations desire social change, possess confidence and investment in effecting positive change, and a responsibility to contribute to their communities. Acts such as regularly donating to charity, supporting a local food bank, and participating in environmental improvement activities are seen as the outworkings of Christian faith in action. It indicates the consequences of churchgoing through a deep embodying of God’s love and the passing of this love to others.

‘These are the markers of whether you’re a true believer or not,’ adds Dr Krish Kandiah, sharing his own encouragement in the findings. ‘It’s not whether you turn up at church, have signed a confession or sing the songs. Jesus expounds on how to tell whether you’re in the Kingdom or not: “I was hungry and you gave me something to eat, I was thirsty and you gave me something to drink.”’

Now we’ve got the numbers, we’re left with questions. How can we respond? Where will this lead us? Are we witnessing the death of nominal Christianity? To say the findings have caught the Church off-guard may be an understatement. The 2024 survey happened to go to field on the day that news broke of Archbishop of Canterbury Justin Welby’s resignation. We are living in times of political unrest. Religion and just about everything else is weaponised. The poverty gap is increasing, and not just in material poverty.

The reality is that we all have a part to play. The report is inclusive in its approach and recommendations. The first call is for an increased recognition of the scale and impact of churchgoers, something that can be adopted by social influencers and decision-makers. The following recommendations are more directed to those within the Church, to prioritise discipleship and Bible teaching, to cultivate intentional intergenerational spaces where each churchgoer is empowered to tell their story, and to put emphasis on building interpersonal relationships.

Beyond the noise of scandal and political Christianity, a soft, low and steady hum resonates. It doesn’t dictate; it shares. It doesn’t drown others out; it listens. It doesn’t withhold; it invites. It prizes action over words. This is the sound of quiet revival.

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Article

Art

Culture

Trauma

War & peace

23 June 2025

5 min read

Forgotten soldiers and new narratives are shaping how we mark our wars

Writing our history of conflict is as much a war of images as of words.

Susan Gray

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

An actor reads a speech at a commemoration

Timothy Spall recites Churchill.

Sky News.

Heading into an intense summer of World War Two remembrance, with May’s commemoration of the 80th anniversary of VE Day followed by marking the end of war in the Far East in August, it is remarkable how well the essentially Edwardian model of honouring the war dead has stood the test of time.

In The Edwardians Age of Elegance exhibition, at the King Gallery’s, a room is devoted to the passing of the extravagant turn-of-the-century era into the sombre age of war memorialisation, following World War One. George V commissioned traditional English artist Frank O Sullivan to paint the inaugural service for the Unknown Warrior in Westminster Abbey. The long canvas, with a domed frame at the centre to accommodate Edwin Lutyens’ freshly unveiled, lofty Cenotaph, captures the solitary King walking behind a flag draped coffin, mounted on a gun garage, as the parade passes the war memorial. Initially a temporary wood and plaster structure, Lutyens’ Portland stone monument commemorated over a million soldiers lost in the Great War, some buried near the battlefields near where they fell, and nameless others whose remains had been obliterated by mechanised warfare.

Attended by widows, ex-servicemen and armed forces personnel, the 1920 Armistice Day ceremony marked a shift away from solely glorifying commanders and officers, placing the sacrifice of ordinary combatants centre stage. The monarch symbolised his gratitude to his people, rather the other way around.

Ceremonial Great War gun carriages featured in the London VE Day parade on 5th May. And the King’s Troop, Royal Horse Artillery provides gun carriages and teams of six black horses for state funerals. Following World War Two, and complete mechanisation of artillery, George VI instituted a troop of horse artillery for ceremonial occasions, enshrining the continuation of practices from a previous era’s warfare.

Layering memorialisation upon memorialisation was also evident in the 5th May ceremonies when actor Timothy Spall read an extract of Churchill’s Whitehall speech, given to the crowds when European hostilities ended.

“In the long years to come, not only will the people of this isle, but of the world wherever the bird of freedom chirps in human hearts, will look back on what we have done and they will say do not despair, do not yield to violence and tyranny, march straight forward and if needs be, die unconquered.”

Narratives around the present and recent past are codified with a focus on forecasting how future generations will view events when looking back.

While Europe celebrated in early May 1945, the one million troops of the Fourteenth Army continued fighting the Japanese Army through Burma and the Pacific. Dubbed the Forgotten Army and the Forgotten War, their campaigns were underplayed in the Allies’ wartime narrative. Singapore’s fall to Japanese forces in February 1942 was seen as a shameful defeat. Remoteness from London of the Far East campaign, and the vastness of the theatre of war, made it near impossible to report on by radio and print journalists. Letters to and from the Fourteenth Army took months to reach their destinations. Soldiers and civilians held as prisoners of war by Japanese forces were forbidden to make images or create records of their captivity, making contemporaneous images of their incarceration rare. But drawings of camps and hospitals by Jack Chalker hidden in hollowed out bamboo sticks, acted as preparatory works the artist to later make paintings such as his painting Medical Inspection, Chungkai Hospital Camp 1943, created in 1946, and now held by the Royal Army Museum.

As traditions of commemorating the war dead evolve, new grey areas come to light, demanding space in the official narrative

Contrasting the paucity of images of the war in the Far East, with the array of works depicting the Blitz in London - created with American audiences in mind, in the hope of winning support for the Allied cause - together with photographic images of North African and Middle East operations, it is little wonder the Forgotten War struggles to be remembered. Veterans of the Far East campaign and POWs were far more likely to join ex services organisations such as the British Legion and Burma Star, than those who served in Europe. Marginalised from victory and peacetimes narratives, the Forgotten Army chose to remember together.

Before Victory over Japan’s 80th anniversary is commemorated on 15 August, with the famous cover photo of an American sailor dramatically embracing a woman in a white dress showing on repeat, the 80 years since the dropping of atomic bomb on Hiroshima and Nagasaki will have to be faced. Mainly civilians died as a result of impact and sickness from the bombing of Hiroshima on 6 August and Nagasaki on 9 August, with estimates of between150,000 -246,000 deaths. Whether the only use of nuclear weapons in warfare was justified, as it prevented loss of life from not having to wage a military campaign to occupy mainland Japan, or the horrific sacrifice of so many civilians was a war crime, remains a morally grey area.

As traditions of commemorating the war dead evolve, new grey areas come to light, demanding space in the official narrative. Actress Sheila Hancock wrote recently about the trauma and fear of being an evacuee, sent away from her London family as a small child, to an emotionally neglectful home in the ‘safer’ countryside. Forced adoption of children born to lone mothers, and the stigmatising treatment expectant women received at the hands of Christian denomination- ran mother and baby homes, is a wartime and postwar story now demanding to be heard.

Lesser documented stories of marginalised civilians, and combatants in faraway places take time to emerge, fighting to be heard above familiar images of plucky cockneys in bombed out buildings and amorously celebratory sailors. Shaping a multifaceted history of conflict is as much a war of images as of words. And as families become more transnational, the search for a shared narrative can replace clinging to the right or official story.

The idea of army chaplain, the Reverend David Railton, to commemorate an Unknown Warrior with honour, still resonates over a century later. Railton’s battlefield altar cloth, known as the Padre’s or Ypres Flag, covered the coffin on its journey from Boulogne to Westminster Abbey.

Stretching and fraying to include the stories of groups previously overlooked, the Edwardian fabric of military remembrance is proving remarkably strong.

The Edwardians: Age of Elegance, the King’s Gallery, until 23 November.

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