Review
Belief
Books
Culture
Music
1 min read

Belle and Sebastian's suffering singer on the struggle and the hope

On the edge of ‘Nobody's Empire’: something good will come.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A singer, wearing a hat, pulls his head back holding a note, and a mic.
Stuart Murdoch performs, St. Paul, Minnesota, 2024.
Andy Witchger, CC BY 2.0, via Wikimedia Commons.

Nobody's Empire: A Novel is the fictionalised account of how Stuart Murdoch, lead singer of indie band Belle and Sebastian, transfigured his experience of Myalgic encephalomyelitis/chronic fatigue syndrome (ME) through faith and music.  

The book has two Belle and Sebastian songs as its keystones. The first, ‘Nobody's Empire’, gives the book its title and is a description of how it feels to have ME: 

‘I clung to the bed and I clung to the past 

I clung to the welcome darkness 

But at the end of the night there's a green green light 

It's the quiet before the madness’ 

Murdoch has been living with ME since the 1980s and is an outspoken advocate for those who have the condition. His experience, as described in ‘Nobody’s Empire’, has been that ‘We are out of practice, we're out of sight / On the edge of nobody's empire’. That is also the experience of Stephen, the central character in Nobody’s Empire, a music loving romantic in Glasgow in the early 1990s who has just emerged from a lengthy hospital stay having been robbed by ME of any prospects of work, a social life or independent living. In Glasgow, he meets fellow ME strugglers who form their own support group and try to get by in life as cheaply and as painlessly as possible.  

As the story progresses, he finds he has the ability to write songs and wakes to the possibility of a spiritual life beyond the everyday. Later, he leaves Glasgow with his friend Richard in search of a cure in the mythic warmth of California. Because Murdoch is fictionalising his own experience, Nobody’s Empire offers its readers compelling insights into the experience of ME, particularly the experience of having the condition in the early days when it was little understood. He writes, too, with an engaging ingenuous and childlike curiosity about life and his own experiences. 

Nobody’s Empire adds to the conversation about what faith means to rock’s stars.

The second song ‘Ever Had a Little Faith?’ is included towards the end of the novel as one of the early songs written by Stephen. This song, in which the line ‘Something good will come from nothing’ is repeated, is actually an early Belle and Sebastian song that was only recorded for a later album Girls in Peacetime Want to Dance. It is a song that was inspired by a sermon preached by Rev John Christie, Minister at Hyndland Parish Church in Glasgow, the church Murdoch attends. He has said of the song: "The sentiment was based on a sermon that our then minister, John Christie, preached about simply getting through a dark night, and the hope of morning."  

This Easter morning sense that good will come from the nothingness of being on the edge of nobody’s empire is an experience of transfiguration. Revd Sam Wells, Vicar of St Martin-in-the-Fields has preached perceptively on prayer in terms of incarnation, resurrection, and transfiguration. The prayer of incarnation is a prayer for God to be with us in our difficult circumstances. The prayer of resurrection is a prayer for God to change and fix our difficult circumstances. Then, in response to a possible situation of need, Wells says of a prayer of transfiguration:  

“God in your son’s transfiguration we see a whole new reality within, beneath and beyond what we thought we understood. In their times of bewilderment and confusion show my friend and her father that they may find a deeper truth to their life than they ever knew, make firmer friends than they ever had, find reasons for living beyond what they ever imagined and be folded into your grace like never before. Peel back the beauty and strength of their true humanity, transform and transfigure from this chaos and pain something new, something good, something of life.”   

This is where Stephen’s story and Murdoch’s experience takes us as there is no fix for ME, as for many other health conditions or disabilities, and Stephen/Murdoch ultimately has no desire to be fixed, as ME becomes an important part of identity for them. Instead, Nobody’s Empire takes us up the mountain through Stephen and Richard’s California experiences, as was the case for Jesus and his disciples at the Transfiguration, so we can see beyond and come to know a deeper reality. As Wells puts it, the prayer of transfiguration is to “Make this trial and tragedy, this problem and pain a glimpse of your glory, a window into your world, where I can see your face, sense the mystery in all things, and walk with angels and saints.” 

Faith has featured compellingly in a significant number of relatively recent books by rock stars including, among others, Surrender by U2’s Bono, Walking Back Home by Deacon Blue’s Ricky Ross, and Faith, Hope, and Carnage, the record of conversations by Nick Cave and the journalist Sean O'Hagan. Murdoch’s Nobody’s Empire adds to the conversation about what faith means to rock’s stars and how that is expressed through their music but offers an alternative take both as fiction and as a story in which faith and music combine to transfigure life and ME in ways that enable good to come from nothing: 

“Do you spend your day? 

Second guessing faith 

Looking for a way 

To live so divine 

Drop your sad pretence 

You'll be doing fine 

You will flourish like a rose in June 

You will flourish like a rose in June 

Ever had a little faith? 

Ever had a little faith?” 

  

 

Nobody’s Empire: A Novel, Stuart Murdoch, Faber & Faber, 2024.

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Review
Belief
Culture
Music
5 min read

Mumford & Sons search for meaning

Wonder about which love they sing of - earthly or divine.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

A band lounge around.
Pondering the reviews.
Mumford & Sons

My old RE teacher always liked to make the point that meaning can be found in anything, if you want to find it.  

“Do you find meaning in a sunset?” he’d ask. “Or only beauty?” 

From the outset of Mumford & Sons’ new record, ‘Rushmere’, the deeper things, as ever, are front and centre - at least for those of us who wish to find them. 

The folk band’s records have always been replete with religious undertones - lead man Marcus Mumford is the son of a preacher, don’t you know? - and they are apparent from the very start of the band’s fifth studio album and first since 2018. 

‘Rushmere’ kicks off with ‘Malibu’, which speaks of finding “peace beneath the shadow of your wings”, and an unnamed “you” being “all I want” and “all I need”. 

There’s even talk, right at the beginning of the song, of feeling “the spirit move in me again - the same spirit that moves in you”.  

Precisely which spirit is meant is never defined - these are song lyrics, after all, not a sermon - but for this listener at least, the reference to the third member of the Trinity appears clear. 

Not every song on the album hits such obvious religious notes, but the opening track is far from unique. Indeed, one needs only to flick through the names of the other songs to get a hint of the deeper meanings on offer, with titles such as ‘Truth’, ‘Anchor’ and ‘Surrender’. 

Meanwhile, in ‘Monochrome’, we’re told that even within a hyacinth can “life”, “restoration” - even “Christ” - be found.  

Could the “out of sight” monochrome “beyond reason” that we are called to contemplate represent the Christ - in theological terms, the “Word” of God - whose fingerprints can be seen across Creation? 

And what is meant when Mumford sings that “the kind of love that I’m always chasing is the kind of love that won’t be chased?”  

As with many of the band’s lyrics, there appears space for both a romantic and religious reading, though perhaps romance is harder to read into metaphors such as a “cup running dry”, as Mumford sings elsewhere in ‘Monochrome’.  

Is it only me for whom this evokes memories of the old Sunday school refrain: “Fill up my cup and let it overflow”? 

‘Truth’, meanwhile, begins with the fairly blunt statement: “I was born to believe the truth is all there is.”  

“Oh my love, hold me fast,” the song ends, and again we are left to wonder about which love he is singing - earthly or divine. 

It isn’t made clear whether such belief remains intact today, nor even which truth is meant, given that we now live in times where such things seem occasionally grey. But ‘Surrender’ appears more black and white, speaking of being brought to one’s knees, “broken” then “put back together”, and “held in the promise of forever”.   

“I surrender, I surrender now,” Mumford cries - words Christian congregations have sung for centuries. 

And as ever with a Mumford & Sons record, ‘Rushmere’ doesn’t hold back from the trickier theological issues, touching upon the concepts of both hell and original sin. 

“Let your anger go to hell,” ‘Where It Belongs,’ Mumford sings in the track of the same name, which is sung like a lament, while in the final track, ‘Carry On’, those of us who believe in original sin are encouraged to consider that “there’s no evil in a child’s eye”. 

“It was made, and it was good,” Mumford sings in a nod to the Creation story, when the world was blemish-free. 

Meanwhile, in ‘Anchor’, Mumford sings that he “can’t say he’s sorry if he’s always on the run from the Anchor”. Which for some of us, at least, will conjure recollection of part of the Bible’s Book of Hebrews that speaks of our “hope” - Jesus - being “an anchor for the soul, firm and secure”. 

“Oh my love, hold me fast,” the song ends, and again we are left to wonder about which love he is singing - earthly or divine. 

Fans of Mumford & Sons - and yes, you’ve guess it, I count myself among them - will recognise that particular phrase from a previous hit, ‘Hopeless Wanderer’, which again seemed to speak to a life of faith; of pilgrims “called by name” trying “so hard to live in the truth”, but being “prone to wander”, as it says in the hymn ‘Come Thou Fount’, which Mumford has also been known to perform. 

So this is not the first Mumford & Sons album to have contained such imagery. Far from it. For those of us who’ve followed the band since their debut album, ‘Sigh No More’, in 2009, there have always been calls to ‘Awake My Soul’ or to find comfort in a future day in which there will be “no more tears.”  

In the years since, we have been encouraged to be ‘Lover[s] of the Light’, or to find hope in a ‘Guiding Light’ who won’t ‘Slip Away’ in the night. 

Perhaps, then, there’s nothing very different about ‘Rushmere’ - it represents just another chapter on a journey of faith - but this particular fan continues to appreciate, deeply, the depth that Mumford and his bandmates continue to bring to our ears.  

And as for the music, well I suppose by now that most readers will probably be familiar with what one can expect from a Mumford & Sons album, and ‘Rushmere’ certainly doesn’t disappoint those of us who like that kind of thing. 

It’s notably shorter than the previous album - nearly half the length - but is probably no worse for it. It’s hard to think of a weak song on the album, while there is something for everyone: from the country feel of ‘Caroline’ (think Counting Crows/Ryan Adams) and rock and roll of ‘Truth’, to the gentle fingerpicking and harmonies of ‘Monochrome’. Heck, the banjos even make a comeback on the self-titled ‘Rushmere’, so truly something for everyone - or at least for all of us fans.   

By the way, my old RE teacher never told us what he believed, but I later found out that he’d once been ordained, so I suppose that he, like me, might still find meaning in a sunset or even, perhaps, a Mumford & Sons record.

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