My mind ventured off to the Contemporary Christian Music concerts I attended with my youth group. CCM was taking off, and evangelical teens had a mass of buying power. In my home, my mom would pay for any CCM that I wanted.So I listened to the music and even attended Disney’s Night of Joy. It was a magical evening in the kingdom. As Michael W. Smith sang in front of the Cinderella’s Castle, girls in the audience would raise their hands and scream, “WE LOVE YOU, MICHAEL!”
The cover of the August 1996 Atlantic Monthly announced a Christian cultural revolution: “Giant ‘full-service’ churches are winning millions of ‘customers’ with [their] pop-culture packaging. They may also be building an important new form of community.” Author Charles Trueheart described what he calls the “Next Church”: No spires. No crosses. No robes. No clerical collars.
Back before pop diva Lisa Loeb became a household name, she and Elizabeth Mitchell performed together at Brown University. While Mitchell didn’t achieve Loeb’s fame, she possesses no less talent—and on her album for children, You Are My Little Bird (Smithsonian Folk ways), she demonstrates how the simplest music-making can be the most moving.
If, as Karl Barth said, God may speak through a blossoming shrub or a dead dog, I reckon God may be found at rock festivals. At least that is my hope every spring as the Chicago winter finally eases its grip and I begin planning rock music outings.
John Nelson is a world-renowned conductor noted for his commitment to contemporary sacred music. He was born in Costa Rica to American missionary parents. He attended Wheaton College and the Juilliard School of Music.
The world’s most popular rock band lives in constant contradiction. As U2 itself put it in the 1988 hit “God Part II”: “I don’t believe in riches, but you should see where I live.” The group at times proclaims Christ with power and passion, but it seems equally capable of cunning calculation.