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Awe and wonder
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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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Events
Identity
Politics
S&U interviews
4 min read

June 3: Esau McCaulley and Graham Tomlin - get tickets now

Join us in London as we explore today's cultural moments.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A man talks to a camera with his hands together palms up and his finger interlaced.
Esau McCaulley on the Re-enchanting podcast.

Meet Esau and us

Seen and Unseen is hosting an incredibly rare event: Bishop Graham Tomlin in Conversation with Esau McCaulley on 3rd June, at St Mellitus College, 24 Collingham Road, Earl’s Court, London starting at 7.30pm .

As well as hearing more of Esau’s story, this conversation will cover the place of faith in public life, the significance of the black church, US politics, and this cultural moment. Trust me, you don’t want to miss this. I have had a couple of conversations with Esau McCaulley, and they have re-arranged the theological air I breathe.  

You can find out more about Esau on his web site and read his New York Times columns. Or listen to my interview with him, as part of our Re-enchanting podcast.  

Places will be limited, get further details and reserve your (free) ticket on Eventbrite.

 

Belle Tindall writes...

How does one wrestle their faith out of the hands of those who used it as tool to enslave them? How does one keep hold of such a faith when the owner of the local plantation was also the pastor of the local Presbyterian church? When the people who filled the pews were also the people who turned up to the KKK rallies? And how do the descendants of those people wade through the cultural and spiritual residue of such a history? Wrestling, still, with the complex evil that defined their ancestors' days?  

And how does one respond when Donald Trump, the likely Republican presidential candidate, endorses a God Bless America Bible as some kind political strategy? What does one do when their community are being peddled their own sacred book, this particular edition of which includes the American Constitution, the Bill of Rights, the Declaration of Independence, the Pledge of Allegiance and the lyrics of a country song also entitled God Bless the USA? Oh, it also has the American flag emblazoned across the front. For good measure, I suppose.  

And finally, how does one look out at an increasingly secular culture and remain confident that what it really needs is to be reminded of an ancient Galilean carpenter, as if he’s still some kind of relevant solution to our deepest hopes and fears?  

These questions have something in common: they have been, and are continuing to be, answered by Esau McCaulley.  

Answered honestly.  

Answered powerfully. 

Answered ever so publicly.  

Last year, Esau was named by the Washington Post as one of the most influential faith leaders in the USA. He is a New York Times contributor and a New Testament Professor at Wheaton College, he is also the author of the award-winning Reading While Black and his latest best-selling memoir, How Far to the Promised Land? What began as a eulogy for Esau’s (rather complicated) father became ‘one black family’s story of hope and survival in the American south’. The eulogy was unapologetically complex, and so is this book. It was unwaveringly honest, and so is this book. It was utterly profound, and so is this book.  

Esau, when reflecting on his own history, stretches for truth, refusing to relax into comfortable simplicities or false binaries that don’t belong in reality. Writing this memoir cost Esau something. You can tell. The grace woven into the paragraphs did not come cheap.  

This book, as Esau himself explains, is about his father, but his father is a metaphor for America. And so, when it comes to this book (and much of Esau’s work), the political makes its home within the personal; the story that Esau tells is, to an extent, a trojan horse. A challenging commentary of America is sitting within this book’s pages. Esau is clear, his father – who continued to leave a trail of trauma in his wake – made bad decisions. But society played a significant role in creating the context within which those decisions were made. Were the poor decisions his father made down to personal responsibility or was it structural injustice? Esau’s answer? ‘Yes’.  

Again, he has an aversion to binaries that don’t belong in reality.  

To borrow an Elizabeth Oldfield phrase that I cannot stop thinking about: this book tells us something of our brokenness and our ‘breaking-things-ness’. And, as Esau writes,  

‘patience with broken people and broken things is a manifestation of trust in God’ 

And Esau seems to have a lot of patience. Patience with himself, patience with his father, patience with Rev. Matthew Bone, owner of the Bone planation where his ancestors were enslaved, patience with those who have hurt him, patience with us all.   

And that, it seems to me, has bred a persistence in hope. Real, gritty, bruised and yet still beating, joy-filled hope. The kind of hope that can look at the God Bless America Bible and not face-palm. The kind of hope that can research the links between Christianity and slavery and not fall into spiritual crisis. The kind that can observe the theory that faith is losing its place in public life and can use a New York Times column to prove it wrong.  

Ultimately, the kind of hope that the world is increasingly paying attention to.