Column
Awe and wonder
Belief
Creed
4 min read

What brings us into bulwark cathedrals?

A band’s tribe trek to a cathedral that’s defied the dark for centuries.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A view from a floodlight footbridge towards a gap between office buildings which reveal a cathedral and its illuminated dome.

I went along to read some Genesis at a local Nine Lessons & Carols service, wearing the coat I’d worn the week before on my annual cathedral benefit tour with the evergreen folk-rock band Jethro Tull. 

The coat still bore the stick-on backstage pass, ‘access all areas’, that acts as some form of security for band, crew and instruments. I hadn’t had time, or the skill to be honest, to soak it off gently to avoid damaging the fabric. 

A number of congregants, both men and women – I hesitate, for contemporaneous reasons, to add “of a certain age” – noticed it. “Does Ian Anderson still stand on one leg when he plays the flute?” asked one. “I’ve still got some Tull albums from the Seventies,” added another. “Great band,” affirmed a third. 

It strikes me that more church congregants recognise Tull than Tull fans recognise the Church of England. That’s to be expected, given that this is a tribe that grew up with a prevalent post-modern atheism. I remember in the early days following a pair of increasingly hairless old hippies into one of these gigs. “Looks like a flippin’ church,” said one. “That’s because it is a flippin’ church,” replied the other (though naturally they didn’t say “flippin’”). 

These cathedral shows, of which there have been about 30 now, sell out easily and very soon after tickets go on sale in the summer. We played Bristol and Salisbury (again) last week. The larger cathedrals benefit to the tune of upwards of £25,000 for a couple of hours of Christmassy rock ‘n’ roll. They come because they like the sound of Jethro Tull and Anderson’s songwriting canon. 

But there’s something else going on. They come, these predominantly unchurched people, to take ownership of their cathedral. They may come because it’s Christmas and it’s the right place to be. They come to be together, if not as the Body of Christ then at least in some sort of communion, which is true of any rock concert gathering in a corporate way, but which is lent something transcendent in a gothic cathedral. 

This raises questions for me. The first is this: Come Christmas, what is it that they and we have all been waiting for, this crowd of people who seem strangely anticipative, not just to hear one of their favourite bands, but to hear something else in the air in a sacred, ancient place? 

I have a theatrical role, somewhere between master of ceremonies, band confessor and rocking retainer. Top hat, tails, leggings, codpiece, pixie boots and a knobbed cane. Oh yes, and my clerical collar. It’s the dog collar that connects me to a reality beyond the show business.  

In addition to cavorting, I deliver a Christmas blessing during the intro to the last number of the night (usually “May the joy of the angels, the wonder of the shepherds…” etc.). I’m struck by how moved many people are and remark on it afterwards in the crowd. There’s a real hunger for peace and goodwill in a broken world, not just an appetite for a thumping bass line to swing hips to, as they raise their eyes to a vaulted, lit ceiling far away, sometimes a thousand years old. 

My second question is relatedly this: What does a merry Christmas mean in this context? Quite often, Tull’s Christmas song from 1977 will be on the setlist, Ring Out, Solstice Bells. It’s pagan in theme (“seven druids dance in seven time”) but it engenders in this setting a strong folk memory of light and cheer in the darkness. There’s a defiance of the dark here and the cathedral stands as a bulwark against it down the centuries. Be of good cheer because all will be well – that’s what it means to wish a merry Christmas. 

A final question: Why do they come back every year, this motley band of ageing rockers (though there are youngsters too)? Part of the answer to that is the comfort of the familiar and eternal – and I don’t mean only songs that are up to half a century old. It’s a truth among other truths that religious observance is growing in some societal pockets, among Gen Z men for example.  

Cathedrals aren’t like parish churches, where you may feel part of a small community. Cathedrals are a part of the world, in all its harsh reality. Katherine Amphlett LINK has written here of Coventry cathedral (where Tull has played) and a feeling of how Christmas is far from twee in these settings – the Christmas story is hard and subversive. To my mind, it’s a story about persecution, homelessness, displacement, oppression, refugees and misogyny. 

A cathedral is big and strong enough to bring all that to. It always has been. We see some of that recognised in the audiences for these Christmas shows. Perhaps you’ll join us at a cathedral near you next year? Meanwhile, merry Christmas. 

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Essay
Church and state
Creed
Politics
7 min read

How to test the religious claims made on Trump

An old Puritan offers a way to question the assertions.

Anthony is a theology professor at Seminary of the Southwest in Austin, Texas.

A montage shows a bishop, a preacher and a president being looked down upon by a puritan.
Jonathan Edwards considers.

Christian theological language is a fairly constant garnish to the dish that is American political theater. In recent weeks, however, with the rhetoric responding to the initiation of Donald Trump's second term, such language has arguably shifted into a substantial side dish, if not the main course.  

At the Inauguration, Rev. Franklin Graham prayed, "Father, when Donald Trump’s enemies thought he was down and out, you and you alone saved his life and raised him up with strength and power by your mighty hand." He compared the new President to Moses and Samuel of the Hebrew Scriptures, and implied that the years of the Biden administration were akin to Israel's years of enslavement in Egypt.  

The President himself made a bold claim of divine intervention in Inaugural address: 

 "I was saved by God to make America great again." 

Christians, however, are far from united in this interpretation. Pope Francis suggested prior to the election that American  voters were facing a choice between two evils. He has since called Trump's mass deportation plans "a disgrace." The Episcopal Bishop of Washington went viral just after the Inauguration when she called on the newly elected President to amend his rhetoric around sexuality and immigration in the name of mercy:  "Our God teaches us that we are to be merciful to the stranger, for we were once strangers in this land." 

The discipline of theology can seem like an exercise in evaluating faith language against the grid of personal conviction. Rev. Graham has his theology, Pope Francis his, Bishop Budde hers. But as any true student of theology knows, the tradition is rich with critical tools that go far beyond private taste or political orientation.  

Good theology acts as  a grammar for the language of Christians. Think of how German or French has rules that keep our subjects and objects aligned and that connect propositions and antecedents. Sentence-diagramming, that dreaded rite of passage for the language student, shows those connections visually on a chalkboard. Cumbersome as they are, such structures  allow us to make the most sense possible when we go to put thoughts into words.  

So too in the language of faith traditions: we can fail to make sense by ignoring the long evolution of "grammar" that is that tradition's critical reflection on its own faith.  

What forms and structures might allow us to evaluate claims about whether or not God's hand is at work in the election and vision of a new U.S. President?

Divine intervention never shows up "full strength," given that it only ever arrives through the words and acts of human beings.

In the eighteenth century, American Puritan theologian Jonathan Edwards weighed in on arguments about whether God was at work in the movement of revivals that we have since taken to calling the First Great Awakening. His careful evaluation of arguments and claims for and against the revivals could serve as a model for evaluating the political theology of our day.  

Edwards is most famous for his sermon "Sinners in the Hands of an Angry God," a text that my high school English teacher justly called a stunning piece of rhetoric and an alarming bit of theology. Less famous, though, are the writings that explore the true center of his theological vision. For Edwards, the world was created out of the bounty of God's own character. Call it a theological aesthetic: God delights in the beauty of his own goodness and truth, and so makes a world whose character is, at its best, a reflection of of a good and beautiful God.  

This aesthetic runs like a soft bass line through his short treatise The Distinguishing Marks of a Work of the Spirit of God. This work opens with a passage from the first Epistle of John.  The writer says that Christians should not believe every spirit, but rather "try the spirits whether they are of God." Edwards is surprised to find that this invitation is not one that his contemporary theological evaluators have taken up. There's his aesthetic running in the background: If God made us to be Godlike, then we ought to be vigilant in our attention to the energies sweeping through the world, and certainly "try them" before we decide to trust or mistrust them as the presence of God's own Spirit.  

When he addresses those who deny that the hand of God is at work the Awakening, he takes seriously their criticism that some preachers are excessive, or harmful, or even riddled with errors in their sermons. Edwards doesn't disagree or defend such preachers, but rather reminds the reader that one must consider the distance between the eternally holy and righteous God and the temporally limited and fallible creature. God made us to be Godlike, but that likeness is a calling, not a presumption. For this reason, "If some fall away into gross errors or scandalous practices, it is no argument that the work in general is not the work of the Spirit of God." In fact, "if we look into church history, we shall find no instance of a great revival of religion but what has been attended with many such things." In effect, humans are imperfect receptors of divine transmission. Acknowledgement of our imperfection is not a denial of divine activity. This is, for Edwards, as for the whole of the theological tradition, a key principle of good theological grammar. Divine intervention never shows up "full strength," given that it only ever arrives through the words and acts of human beings. 

 The "proof" of God's hand, theologically speaking, is not in the strength of one's conviction or in the number of people who hold it. 

When he turns from what might negate the claim of divine action to what might affirm it, Edwards says, first of all, that a growing affection for Christian teachings is an integral part of such evidence. "The devil has the most bitter and implacable enmity" against the whole story of the virgin birth and the redemption wrought by Jesus' death and resurrection. If people begin falling in love with the beauty of the story, he suggests, it is a pretty solid indicator that God is at work. 

But this alone is not sufficient evidence, if for no other reason, Edwards says, than that there are false prophets who mislead even as they speak in ways that sound pious. For this reason, a love of truth-telling supplies a touchstone for our theological grammar. "If we see that a spirit operates as a spirit of truth, leadings persons to truth, convincing them of those things that are true, we may safely determine it is a right and true spirit." For Edwards, if I speak out loudly in favor of the divinity of Christ while lying about my own actions or intentions, you should not trust that I am a faithful witness to the work of the Holy Spirit.  

But the most important of all marks of the work of the Spirit of God is neither of these; or perhaps, it is a mark that lies within and shapes all other evidences. Edwards says that "humble love" of God and fellow humans is the "highest evidence of a true and divine Spirit." The adjective here is important: a love that is self-aggrandizing is not the love that shares in God's own character.  

Here again the aesthetic sounds the bass line: God's love changes us like a beautiful memory or a lovely person does. We want to belong there, we want to be like that. If the energy, the spirit, sweeping through a culture is not that sort of energy, then it's likely not the work of the lovingly humble God.  

Edwards ends his own treatise by grading the revivals on his grammatical grid, and determining that it is, in fact, the work of God. For our current moment in U.S. society, the evidence is not yet in. Will the Trump administration cause an increase in affection for Christian teachings? Will it explode in an epidemic of truth-telling and a cultural outrage at falsehood? Will the policies and practices of the next four years demonstrate humble love? If so, Christians will have good reason to attest that the interpretations of leaders like Reverend Graham are accurate.  

The "proof" of God's hand, theologically speaking, is not in the strength of one's conviction or in the number of people who hold it. It is rather in the humility, Christian devotion, and the divine and neighborly love that grows from the events in question.   

On this note, Bishop Budde's admonition invites a reading that not far from the theological grammar that Edwards supplies. "You have felt the providential hand of a loving God," she reminded the President. "In the name of our God, I ask you to have mercy upon the people in our country who are scared now." If it was in fact God's mercy that spared you, it was so that you could be merciful. The proof of providence will be in the pudding of practice, Mr. Trump.  

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