Backdrop

RedeemerI’ve spent a significant portion of the past two days sitting in a sanctuary at a church in Nashville which I can only describe as “warm.” It is a building which seems to stretch its arms out in welcome. The older parts of it are made of wood that holds the patina of the years. In the sanctuary itself, a newer section, a deep crimson wall, inset with a large leaded glass window and an unadorned wooden cross has formed the backdrop for words and music that have shaped me in the past two years.

It’s the place where I first heard N. D. Wilson describe the Fall as the man failing to fight the dragon and save the woman, and the Second Adam as the one who rescued His bride by sacrificing Himself in her place.

It’s the place where I saw Eric Peters as a noisy Chewbacca and Jonathan Rogers as a properly electronic R2-D2 in a Shakespearean rendition of Star Wars.

It’s where Ron Block sang the words, “Let there be beauty for beauty is free.” Where Andrew Osenga shouted, “Space!” Where Pete Peterson has wept and Andrew Peterson has geeked out over Rich Mullins.

It’s a place I heard words of healing as Andy Gullahorn sang, “The story isn’t over yet.” And I’ve heard words of challenge from Father Thomas McKenzie. I’ve heard words of encouragement in art, faith, love, community, hope.

And in the past two days it has been the backdrop for moments like Son of Laughter singing “The Meal We Could Not Make” and Jenny and Tyler singing “Skyline Hill.” It has stood behind Rebecca Reynolds talking of the Blue Flower and Russ Ramsey holding up a Vermeer print and Andrew Peterson plugging in his phone to play Marc Cohn’sWalking in Memphis.”

It is a backdrop full of memory for me—and I’ve only visited on yearly occasions. For those who come weekly, it is the backdrop for the breaking of the bread, the drinking of the wine of the new covenant, the truth of the gospel taught, of prayers covering and lifting pain and sorrow to the ear of heaven’s throne.

Rebecca Reynolds said this morning, “Any old church is a familiar friend.” Arms open, they invite us toward the altar of worship.

Review of Walking Song Published at Curator

Ron Block's Walking SongA few weeks ago, WORLD magazine published a review of Ron Block’s new album, Walking Song. While, in essence, the review was positive, it was, quite possibly, one of the most dismissive I’ve ever read. The reviewer seemed to be saying that the promotional material for the album, which talks about the process of creating it, should be ignored and the album enjoyed on its own merits. Perhaps not bad advice, except it was said in such a way, with such a tone, that it just irked me.

It irked me enough to make me keep thinking about it, niggling it over again and again in my mind, trying to figure out what bothered me so much.

And then I landed on it. I’ve read about the creative process behind this album. Ron partnered up with Rebecca Reynolds as a lyricist, and magic happened. And I know that it was something new, something Ron had never tried before. And I know that Ron himself would say that the creative process that made the album what it is; in fact, he has said as much, “Rebecca came along and said, ‘Let’s just be kids creating again.’ It’s more like what I was doing when I was 17, 18 years old, even though the stuff I was doing wasn’t as developed. It was just a kid sitting there experimenting, having a good time.”

I wanted to respond to the WORLD review, but I probably wouldn’t have been able to say what I really wanted in a letter to the editor, so instead I decided to just write my own. It posted yesterday over at The Curator. Here’s a snippet:

My love of American folk music has nostalgic tendencies to be sure. However, as I look at the growing popularity in recent years of bands like The Civil Wars, The Avett Brothers, The Lone Bellow, The Lumineers, The Vespers, etc. (and of course the meteoric fame of the non-American-American-folk-rock band Mumford and Sons), I realize I’m not alone in my love for Americana.

There is something about American folk music that speaks to us, something in its essence that keeps us asking for more.

Here’s the thing, though. As much as I love all those bands listed above and latch on to nearly every new album that seeks to generate the Americana sound, it’s rare for me to find an album that fully captures what I found under that patchwork quilt. It’s not often contemporary musicians strike the same chords in my soul as “Down in the Valley.”

Enter Ron Block’s “Walking Song”.

So hop on over and check out the rest, and then get your hands on a copy of the album and listen. ‘Cause it really is that good.