We all sing. In terms of musicality some of us sing well, some not so well. But much more important than the tunefulness of the melody is the meaning of what we sing. Admittedly this is apparently contradicted by the lyrics of many of the most popular songs. I am often bemused by the words folk are happy to belt out at the top of their voices, even on those occasions when I actually understand the words that are being used. The aim of song writers often seems to be to provide a diverting overall sound rather than any sense or message. There will be the odd half phrase perhaps hinting at what a song is “about”. On that basis one might be able to classify it as happy or sad, or whether it’s about life or love or loss. But meaning and message are often lost among slush and filler. And some songs seem to be “about” nothing. There are interesting exceptions.
In this city (Liverpool) there is a particular song sung as an anthem that has taken on a particular significance. Collectively we (if I might number myself among the Scousers) have become known for it. “You’ll never walk alone” is a show tune from Rogers and Hammerstein’s “Carousel”. The actual words are, largely, nonsense. If taken as advice on what to do in a given set of circumstances (“When you walk through a storm, hold your head up high”), they would lead to disaster or at the very least stinging eyes and a severe headache from flying debris. And some of them are flat wrong and not true to life (“At the end of the storm, There’s a golden sky, And the sweet silver song of a lark”). At the end of some of life’s storms it often seems that there’s more storm. And usually the larks have more sense than to hang about; rather than singing sweetly they swiftly relocate to sing elsewhere. But we all innately understand metaphor, and where a lyric chimes with our hopes we suspend our disbelief. When sung by thousands of Scousers at Anfield, in the context of remembered disasters like Hillsborough, with their attendant multiple injustices, the song takes wing and does seem to make sense after all. Then the sound of singing fades, and we’re left with what? Well, not a lot. Perhaps a warm fuzzy feeling. But this too doesn’t last. How we need better songs.
Last week, Week 3 of the Keswick Convention, in the morning Bible readings Vaughan Roberts was considering just such songs. They are the collection of 150 songs nestling in the middle of the Old Testament, the Psalms. But no random collection this. Like every other book making up the Bible, these particular songs were not just thrown together. Although they were accumulated over a long period of time, the book of Psalms has a structure and trajectory; as VR put it “momentum builds up”. So, day by day we traced the pattern that leads from the sweeping introduction of Psalms 1 and 2, through the succeeding books, from struggle and lament, via hope to the praise due to the God of covenant promises, whose individual, global and cosmic purposes will not be thwarted. Here are the better songs we need. Songs worth singing. And VR drew our attention to the effect of singing these songs.
The analogy he used to illustrate his point was the scene in "Casablanca" when Victor (the hero unless you’re a big Bogart fan), outraged by a bunch of Nazi officers singing their Nazi songs, tells the band to strike up the Marseillaise. Up to that point the non-Nazi denizens at Rick’s had looked weak and befuddled, compared to the apparent strength and confidence of their new overlords. But led by Victor the crowd picks up the words of the song of their homeland. Lungs fill, backs straighten and soon tears flow with hope of better days to come. That is the effect of such songs (partly captured by “You’ll never walk alone” too). But there were no guarantees that this hope would not be crushed.
Not so those songs in the Psalms, even when sung by exiles. For the whole of creation has a goal set for it and Heaven’s King will one day be vindicated. Those who take refuge in Him will be saved and safe. This state of affairs has never appeared believable to fallen humanity, so taken with themselves and singing competing songs. The hope in Psalms appeared even less believable when the long-promised King was executed on a Roman cross. And of course if that was the end of the story, then these songs too would simply be about pious but ultimately frustrated hope, with no real purchase on reality. But it was this King who could not be held by death, and who was raised to demonstrate the inexorable progress of His Kingdom. Even so, at the time it didn’t look much like progress. The ancient world was not impressed. After all, how can a crucified God be any kind of God at all? And yet the Psalm of the sufferer (Ps 22) becomes the Psalm of the Sovereign (Ps 24). And although what is ancient is past (obviously), the good news of Jesus the still-coming king, continues to spread. His songs continue to be sung.
To be reminded of better songs at Keswick was valuable and refreshing (and the singing was good too). The need for others to learn these better songs has been amply demonstrated by the riots that broke out in the UK a week ago and appear to be continuing. The rioters have their songs of course, songs of hostility and hatred. These, it turns out, are also old songs. But they have never achieved anything except to provide an accompaniment to destruction and heartache.
I know which songs I’d rather sing.
