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Can We Rock the Gospel?

The thesis of this book is made abundantly clear on the cover. A young man, jamming on an (unplugged) electric guitar, towers over a Bible which lies face-down, trampled and forgotten underfoot. Can We Rock the Gospel? According to the John Blanchard and Dan Lucarini, no, we cannot. “The authors make no secret of the fact that we count ourselves among those who are offended by rock music in God’s service and are truly perplexed that so many other Christians go to such great lengths to defend their use of it in both worship and evangelism. We are also concerned at the way in which some leaders, from their positions of power within the church, have forced it upon the rest of us.” So the authors adopt the position that rock music is always and objectively wrong. Period. While the emphasis of the book is clearly that rock music is wrong for worship and evangelism, they make it clear that it is wrong at any time and in any situation. This is hardly a unique position but one that, in my view, would depend on clearly an unequivocally defining exactly what constitutes rock music. Unfortunately, the authors do not do this. They make a brief attempt in the third chapter, presenting the following three principles as being true of rock music:
  • Constant repetition. This repetition is dangerous because of the potential hypnotic effect of repetitive music. “Any medium of presentation that induces any loss of self-control or awareness and makes the listener unusually susceptible to whatever suggestions are made by the lyrics is clearly dangerous, and will almost certainly encourage a response that will be largely psychological instead of that which God requires, which is that we should worship him ‘in spirit and truth.’”
  • A driving beat. “The backbeat dominates in most rock music songs, hard, soft or otherwise.” These beats can become hypnotic and lead people to become almost drunk on music. “The element of relentless beat and repetition in rock music increases the danger of a shallow, emotional, unthinking response, made at the wrong level and for the wrong reasons.”
  • Volume. “We need not waste time proving that volume is an important element in rock music.” The emphasis on volume makes rock music unsuitable for worship or evangelism where the emphasis must be on the words of the songs. “Any method or medium … which makes the Word of God more difficult ot hear, and therefore to be understood, is not serving the cause of God but actually hindering it.”

Strangely, this is as much of a definition as the authors provide. They do point to a wide variety of forms of music they would associate with the moniker “rock music,” and these range from folk and pop all the way to death metal and gangster rap. They quote lyrics and describe artists who barely brush the keys of pianos alongside those who tear relentlessly at distorted and amplified electric guitars. They discuss the Hymns category of Christian music “where you can find Jars of Clay rocking out on ‘It is Well With My Soul.’” So clearly even this song, which I believe has only acoustic guitar, bass and subtle drums, is categorized as rock music (you can hear a short sample of the song

 

Near the beginning of the book the authors state “rock music is dividing the church.” They present a handful of letters from concerned readers to back this claim. It is true that the church has recently battled through “the worship wars,” but it seems to me this is now a decade or two behind us. Of course there will always be disagreement about styles of worship. There will always be some who prefer one style of music over another and there is nothing wrong with this. But I think this book comes too late. Even many conservative churches have already made the move to worship led by guitar. It seems that, according to the authors, this must qualify as rock music. These churches will not revert to organ or a capella anytime soon. I appreciate the concerns of these authors, but most pastors and leaders have already worked through these issues and are comfortable with the choices they have made. I can’t help but feel the more important issue today focuses more on the lyrics of the songs we sing and the hearts of those who sing them. We can focus on the assembly of instruments at the front of the room, but I think it must be more important to worry about what we sing and how we sing it.

The authors of Can We Rock the Gospel? assemble a case depending on cliches and build it upon a loose definition of rock music. After they have torn down this house of cards, they make no alternate suggestions. How are we then to worship? What musical options are left? They are long on diagnosing the condition, but short on proposing any kind of alternative. As much as I had hoped I would enjoy this book, I simply found it a mess. I was disappointed.