Singing The Faith is the first new official British Methodist hymn book for nearly thirty years, superseding the (in my opinion) deadly dull Hymns and Psalms. My copy arrived in the post on Friday, and I’ve been skimming through it for some first impressions.

Hymns and Psalms just had to go, and many churches were voting with their wallets. It had the misfortune to come out just before the explosion in contemporary worship music (twelve months too early even for Kendrick‘s ‘The Servant King’,

I seem to recall). But you got the feeling that even if it hadn’t, that stuff would probably not have been included. It was published around the high water tide of liberal antipathy to evangelical and charismatic Christianity in Methodism. Furthermore, the musical arrangements were, as one friend put it kindly, ‘for musicians by musicians, to interest musicians’. I can’t judge the truth of that as a non-musician, but it may explain why they were largely deadly dull to me.

It had its bright spots – and I think particularly of the additional verse it includes in ‘When I Survey The Wondrous Cross‘ (retained here) that I’ve never seen elsewhere, the scholarship applied to restoring original texts and the Scripture Index in the music edition.

Methodist Conference and the panel that put together Singing The Faith faced the implications of several cultural revolutions that have deeply affected how Christians, Methodists included, approach faith and sung worship. Revolutions in communications (especially the Internet), transport (you can more easily get to a church whose style you prefer) and ecumenism (people are exposed to other traditions more easily and frequently) mean that fewer Methodists will be easily satisfied with ‘what we already know’. Some would argue (myself included) that technological changes and the fact that churches had already bought all sorts of supplementary books, such as Songs Of Fellowship, Mission Praise and The Source, meant that a new hymn book probably wasn’t the answer, and another approach was needed. The moment of publication is the beginning of fossilisation today. However, Methodism is almost umbilically attached to hymn books, and so a new book it was.

Given that fact, the new book, then, would need to embrace a diversity of musical and theological styles. Centralised or hierarchical control of doctrine may technically be still present in our system, but for many people it is long gone. There is therefore a huge question here of how Methodism maintains her doctrine in this central aspect of our piety, our singing. It may be that the forthcoming additional resource Singing The Faith Plus will act as some kind of clearing house to reflect on which of the newer material that is published from now on is consonant with Methodist doctrine, but we’ll see.

When it gets to the handling of theological diversity, there certainly is a spread in Singing The Faith. It embraces both the neo-Calvinist emphasis on the wrath of God at the Cross in Stuart Townend‘s ‘In Christ Alone’

and at the other end we have Marty Haugen‘s ‘Let Us Build A House (All Are Welcome)’

which some have criticised for allegedly extended the universal offer of salvation into universalism. So the issue of acceptable diversity is alive and well within the book!

It is also worth noting the considerable reduction in Charles Wesley hymns – very significant for Methodists, this. Hymns And Psalms was originally to be edited by an ecumenical committee, but when Methodist Conference insisted on at least two hundred Wesley hymns, the United Reformed Church pulled out. And for the URC to withdraw takes quite something! In the new book, at a quick count Wesley is down to seventy-nine contributions. Much as I love Wesleyan theology, I think this is the right move. Indeed, if many in our churches who have been most vocal about singing Wesley hymns had been as fervently aligned to his doctrine as to the music, Methodism might be more vibrant! Here is a prime example of the argument that allegiance to hymns, however central they are to Methodist spirituality, has not always maintained and fed our faith in the ways to which we might aspire.

Two more traditional-style contemporary Methodist hymn writers, Andrew Pratt and Marjorie Dobson, both participated in the STF committee, and both are represented in the final collection. Both have nine entries. With those numbers, I don’t think anyone can accuse the compilers of favouritism. I imagine the STF panel did what the HAP committee did, and required authors who were members of the group to vacate when their potential contributions were being discussed.

On, then, to think about those writers who have come more out of the explosion in contemporary worship styles. Matt Redman (also) features nine times, and the observation that interests me here is how it isn’t always his ‘hits’ that have been chosen. It looks to me like the committee has taken a real interest in what he writes about struggle and suffering. So as well as the popular ‘Blessèd Be Your Name’ we get ‘When We Were In The Darkest Night’ (‘God Of Our Yesterdays’)

and ‘We Have Nothing To Give’. No sign of ‘The Father’s Song’: one hopes that isn’t about avoiding male language for God, in the way that Fred Pratt Green‘s ‘For The Fruits Of His Creation’ has been altered to ‘For The Fruits Of All Creation’.

Having said that, the compilers are less confident that middle of the road Methodist congregations are ready for much by the late Delirious? Martin Smith and Stuart Garrard get in a couple each, but that’s it. This might be about some of the slightly unusual ways the band expressed itself lyrically, or it is about the more performance-oriented style, or possibly some other reason.

There is also evidence of taking into account the effect of contemporary worship trends on older hymns. It has become popular, particularly under so-called ‘Celtic’ influences, to sing the afore-mentioned ‘When I Survey The Wondrous Cross’ to the tune ‘O Waly Waly’ as well as ‘Rockingham’. This is recognised in Singing The Faith.

But beyond the contemporary worship movement, one area where I am particularly pleased to see innovation is in children’s worship songs. Mark and Helen Johnson of Out Of The Ark Music have been producing worship songs for primary schools for many years. Indeed, that is how I was introduced to them – by a primary head teacher. It’s a delight to see songs such as ‘Everywhere Around Me’

included, along with songs about the Incarnation and the Crucifixion (which actually doesn’t feature that often in their lyrics). Sadly, the wonderful ‘Harvest Samba’

isn’t in. Did it lose out because it has a middle eight, and that would confuse some older congregations? I wonder.

However, overall, as you will gather, for someone who stays on the fringes of the Methodist establishment, and who is usually quite uncomfortable about it, I greatly welcome Singing The Faith. I still think a new book wasn’t the right approach in a fast-moving creative and digital world, but given that the decision was made, I think what has been produced is far better than many of us might have hoped.