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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Article
Awe and wonder
Culture
Sport
Wildness
6 min read

Surfing with Dostoevsky: what waves taught me about the journey

The water draws things out of us that we can’t see on our own

Rick writes and speaks on leadership, transformation, and culture.

A surfer carves a turn on a wave.
Oliver Sjöström on Unsplash.

 

Fyodor Dostoevsky wrote in The Brothers Karamazov, “The mystery of human existence lies not in just staying alive, but in finding something to live for.” For many, the true purpose of life is not merely a philosophical concept, but a fundamental inquiry. It's about uncovering something beyond our individual selves, an answer to the inherent question about the very meaning of our existence. 

The place where I find myself pondering this mystery is on my surfboard. Whether anticipating a wave or carving along its emerging curl, the ocean consistently beckons me to meditate on a quest for a re-enchantment of our profound spiritual mystery.

I have loved surfing since I was young. I remember the first wave I really surfed in Southern California. I was 14 and an insecure high school kid who struggled with a severe stutter. It was so bad that I viewed everything in my life through the lens of my stutter. Consequently, I always wanted to hide in the shadows and never be seen, because any time I opened my mouth to speak it was a mess. But something happened for me that day that forever changed how I saw myself. On that wave, I saw my potential, my person, not just my stutter. 

That morning the water was alive with a crazy energy churning just below the belly of my board. The waves were rolling in as beautiful lines etched against the morning sky. They stacked up on the outside reef and I picked my ride. I put my hands deep in the cold, blue waters and my heart began to race as I pulled and paddled toward the unknown. The wave that I chose rose to a perfect liquid wall. It was sheer beauty.

At that moment, it was just me and that wave. I realized I didn’t have to talk to anyone or worry about what others thought of me. Instead, I felt alive and free to be me. In this freedom, I could feel the exhilaration of pulling and paddling toward the horizon full of fear and excitement. I was caught up in the rush of the unknown size, shape and personality of the wave and what I would do once I caught it.  

In a split second, I pivoted 180 degrees, perfectly positioned my body on the board, put my hands deep into the rising pitch, pulled in, and snapped up to my stance all in a single movement.

As I dropped in, my insecurities, my doubts, my fears …. my stutter vanished like the mist spraying off the curling wave. In that instant, I felt a connection to something beyond me as I found my line and carved up and down the face of the wave. I was forever hooked like an artist sculpting beauty out of a block of stone. On that wave I saw myself in a new and different light of potential. I converged with the board, the moment, with what needed to be done, and looked for what could be done. I found something more, something beyond me.  "The experience of art is a cleansing of the spirit, a return to deeper emotional and imaginative states,” as Pablo Picasso put it.

You might say it’s weird but surfers have a deep sense of trust in the experience of surfing;  the wave draws things out of us that we couldn’t see on our own.  It inspires us to push our limits until we see and realize our potential, until we see something more.  

Surfer Easkey Britton is the first Irish woman to be nominated for the Global WSL Big Wave Awards. She is a scientist, academic and social activist, with a PhD in Environment and Society and she is always one to look in places others aren’t for the answers to difficult questions. She said,  

“A wave is like a mirror to our soul. Whether we paddle out and into the horizon, take a drop down the face of a liquid wall, or dive deep under a mountain of water as it crashes overhead, the wave reflects our fears, our willingness, our vision, our potential.” 

Are we willing to look at ourselves in the mirror? Or better yet are we willing to venture out into the wild and let something else bigger than us show us … us? 

I am not saying that wave gave me something to live for, but it did show me I was something more than my insecurity, my shortcoming, my limited view of who I was and what I perceived I could be. It revealed something outside of and beyond me. It acted much like that mirror Easkey talked about, and it revealed that I hid behind a cover, a disguise, a fear. In a melodic almost musical repose, it crashed on the shores of my perception and gently but powerfully rattled my forming identity and revealed something more. 

Dostevesky speaks not of a moment but of a journey to find something, to find that thing that moves your soul, that stirs your being into that sense where we ponder “something to live for.” Surfing did that for me.

For the surfer the reward is the journey of the never ending search for the next wave. It’s not about just one wave, just one drop. It’s the whole experience of the journey, wave after wave; it’s the sensation of the ride and the work that gets us there. It’s where we find a sense of significance, a sense of something greater. As Henri Matisse put it, "Creativity takes courage.”

I remember when I was studying at Oxford University, I longed for the noise of the calming surf. Instead, all I could hear was the occasional buzz of traffic outside and the silent enchantment of academia whispering in the quiet, cold, majestic city parks. Yet like the ocean it too in its own way was quietly calling me to find that “something to live for.”   

Surely now in a world of powerful currents and unsuspecting waves, we need more than ever to find something to live for—something beyond ourselves. This era of rapid technological advancement, instability, division, and volatility underscores a heightened need for deeper discussions about meaning, hope, purpose, and what truly gives life value.  Like a surfer paddling out toward the horizon, dropping in on a wave, and finding her line, we need to never give up the search for the immeasurable and fascinate our soul with this journey. For the surfer there is a great, almost deep joy in finding that ethereal line stretched out in the emerging pitch.  

The wave, though external, compels us to look beyond our individual selves. It pushes us to experience something vast, transcending the confines of our self-centeredness and exposing us to a world—and potentially a hope—far grander than our limited perception.

As I carve up and down the face of the wave like that sculptor, I continually deepen myself into this essence of something greater, something bigger than me. I am ever drawn to its soulful re-enchantment as it gently but powerfully confronts me with the microcosm of my ‘me-ism’, with the truth that I was created to live for something and perhaps even for Someone vastly bigger than myself.

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