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Community
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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 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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Review
Art
Character
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5 min read

Why sculpt the face of Christ?

In Nic Fiddian Green’s work we feel pain, strength, fear and wisdom.

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

A man looks up a shaft of light that illuminates him and a crucifix higher up a wall.
I Accepted, 2025.
Richard Foster.

The seeds of faith were sown in the life of Nic Fiddian Green by his father. As he has explained recently, he “was shown a way and a faith, and an understanding around the faith of Christianity, in the way my father lived”. 

Later, his wife-to-be, Henrietta Hutley, asked him to help create Stations of the Cross for the Wintershall Estate in Surrey where, today, The Nativity and the Life of Christ are regularly performed. Henrietta’s father, Peter, wrote and brought The Passion of Jesus to Trafalgar Square, while her mother, Anne, had the vision for the Stations of the Cross project after a life-changing visit to Medjugorje. 

Fiddian Green says that “The Face of Christ has been with me for over 40 years” and that he has “searched for His face through my art as part of my spiritual journey, and also in the work of many others – especially Renaissance artists like Giotto, Piero della Francesca and Michelangelo”. 

Fiddian Green, who is internationally celebrated for his monumental equine sculptures, has created a deeply personal and spiritually resonant exhibition entitled The Face of Christ. The exhibition features 20 new sculptures including works in bronze, copper, lead, marble, plaster, and silver, together with a series of drawings. The exhibition ranges from the Nativity to the Resurrection but focuses primarily on the crucifixion.  

The exhibition is deeply personal for Fiddian Green because it is informed by the harrowing encounters he had with an array of life-threatening illnesses a few years ago. These caused an obvious and honest creative re-assessment and it is from these experiences that a stronger, deeper and more contemplative vision has emerged. One that permeates the new work via modes of stillness and reflection.  

The Face of Christ offers a profoundly meditative engagement with the image of Christ, capturing a sense of serenity, resilience, and transcendence in bronze and stone. In these works, he shows us how his spirit and his faith help him triumph over the physical as he explores the enduring power of faith, suffering and redemption. In the eyes of his work, we feel pain, strength, fear, wisdom and more as he asks questions of the viewer that leave a powerful and spiritual resonance. 

Fiddian Green says: “These works are a reflection of my journey of faith. I have come to find that His power to elevate us underpins everything I strive to do and The Face of Christ is an attempt for me to convey in my work all that He conveys in my heart. Christ gives me the key, but will I open the door…?” 

While the exhibition focuses on the crucifixion and the face of the crucified Christ, the expression on Christ’s face is generally one of peace, rather than pain. In part, this is because many of the heads of Christ included are images of Christ resting in death prior to the resurrection. The brokenness that the crucifixion brought is shown in these images through damage to the body of Christ, as opposed to the expressions on his face. This is most powerfully the case with ‘Broken for You’, a bronze crucifixion sculpture where Christ’s torso, as well as being scarred by a long spear-like fissure, has also been fractured with the two parts fused together using brace brackets. Similar fissures appear on other of the crucifixion sculptures but ‘Broken for You’ goes furthest in graphically showing the pain Christ endured on our behalf. 

It seems to me that Fiddian Green could go further in revealing the horrors that Christ endured and that his love of Renaissance art with its focus on beauty and balance might hold him back in this regard. Another artist to have regularly depicted the Crucifixion in images shown in mainstream galleries in recent years is Peter Howson, whose images of the crucifixion are much more expressionist graphically capturing the depth of pain that Christ endured. Fiddian Green’s drawings, more than his sculptures, tap into the sense of pain endured, particularly ‘This Storm will Pass’, a partial image of the face of the crucified Christ which in its frenetic pencil-marks and incomplete state speaks particularly powerfully. 

Fiddian Green, by contrast, primarily gives us a sense of the peace that he receives from Christ on the face of Christ. ‘I Forgive’, a bronze head of the crucified Christ depicts the love with which Christ looks on us as he endures the cross. ‘Christ is Laid to Rest’ is a huge head encircled by a crown of massive spikey thorns with green verdigris overtones suggesting the sweat and blood of anguish which has led to the completion of purpose that Christ finds in death. ‘Peace’, a plaster sculpture of Christ’s head, is also redolent of the supreme achievement of the cross; ‘It is finished’, meaning that all his work is complete and done, enabling him to rest and enabling us to enter rest.  

In these images, Fiddian Green is reading back into the events of the crucifixion the outcomes that it gains for us and showing, in his Christ figures, the peace that he personally finds in the love and forgiveness which overflows from the crucified Christ to each and every human being throughout time and history.  

Fiddian Green writes of having “been given materials to use by the God of heaven and earth” – those materials of the earth that he uses in his sculptures – and says that “it is my hope that some of these pieces may rest and resonate with those who see it; that they may find a deep connection by gazing on the works which takes the eye, the heart and the soul to the One who helped me create them”.  

While Lent, Holy Week and Easter are often times when art is offered to enable us to walk in the footsteps of Christ it is not common for commercial galleries to specifically invite meditation on these events, so don’t miss the opportunity for contemplation that the Sladmore Gallery is providing through this exhibition. 

 

The Face of Christ, 10th April – 2nd May 2025, Sladmore Gallery, London.