Consider the crown and who wears it

The Feast of Christ the King prompts Jamie Mulvaney to ask what sort of strong leader we should seek.

Jamie Mulvaney

Jamie is Associate Minister at Holy Trinity Clapham, London.

King Charles in a black dinner suit talks and gestures to President Macron who is similarly dressed.

King Charles and President Macron at a September 2023 state visit.

Remember singing 'God Save the King' for the first time and it took a little more effort? Instinctively, we were so used the Queen, and unless you're well into your eighties the concept of a King will still be something a novelty. Slowly the stamps have changed, and new passports are finally being printed. After King Charles' first year on the throne, and having celebrated his 75th birthday this month, we can reflect with a little more perspective about what it means to have a king.

A new king gives us an opportunity to look forward and back. The crown cradles continuity, bringing the past into the present. And whether you've been indulging in the latest series of Netflix's The Crown or venturing further back into royal history, we can also indulge in a little time travel. Maybe not a regal DeLorean, but if you hop inside the state coach there’s quite the ride to be taken. The historian Dominic Sandbrook recently detailed in The Times how in Britain that 'it is remarkable how often monarchs’ opening 12 months have set the tone for the rest of their reign.'

We find ourselves in a liminal space - not quite an airport terminal - but one where we are on our way although not there yet. We see glimpses of this still-coming kingdom, but not yet fully realised.

What if we went back to the future even further, considering Jesus Christ as king? We might be unable to argue with the enduring legacy of this historical figure, but most of us are unfamiliar with Jesus as King. We tend to think of baby Jesus, Jesus feeding the five thousand or Jesus on the cross, but what about Jesus as King? Today the church celebrates the Feast of Christ the King, an interestingly fairly recent tradition. A bit like the John Lewis Christmas ad encouraging us to 'let your traditions grow'. But there is nothing new about Jesus' kingship. The church has always thought of Christ as King. According to the accounts of Jesus' life in the Bible, the topic Jesus taught on more than anything else was 'the Kingdom of God'. And King Charles’ coronation was itself a portal to the life of this king. The service began with the Chapel Royal chorister greeting the new monarch, ‘Your Majesty, as children of the Kingdom of God, we welcome you in the name of the King of Kings.’ His reply? ‘In his name, and after his example, I come not to be served, but to serve.’ It was a useful reminder that the form of servant leadership we have assumed and expected from the Queen and now the King is not a modern invention or interpretation of how monarchs should be.

Much like the arrival of a new king, Christ the King Sunday also enables us to both look back and look forward. We find ourselves in a liminal space - not quite an airport terminal - but one where we are on our way although not there yet. We see glimpses of this still-coming kingdom, but not yet fully realised. The word 'Gospel' was well-known in the ancient world, describing the good news of the rightful king who has returned home to take this throne.

But this king is quite the contrast to the strong leader we're used to. As we look to world leaders today, we see many elder statesmen (you decide whether 'elder' or 'statesmen' should be emphasised!). There are different understandings and projections of what strong leadership looks like.

The historical reality of Jesus, his fingerprints on the world today, and the professed experience of millions of people worldwide continue to subvert.

Jesus is a king who comes in humility. There was speculation of a slimmed-down coronation for King Charles proportionate to the cost-of-living crisis. But in Jesus’ mind must have been more the cost of dying, as he rode on a donkey into Jerusalem, surrounded by a fickle crowd cheering his own coronation before condemnation only a week later. At his execution there was mockery with the sign on his cross ‘King of the Jews’, and of course wearing a crown of thorns. If you travel back to his birth, the magi bring royal gifts, so his life is bookended with rumours of kingship.

What might this mean for us in the twenty-first century? On the one hand, there’s the personal, individual connection to the king. Pope Francis heralds ‘Christ the King who conquers us’. We’re happy for his rule and reign out there, but what about extending into our own lives? For the past few years on the eve of Christ the King I've been to baptism services at Southwark Cathedral. One of the symbols of the water in baptism is that we overwhelm our lives with Christ's life, and ultimately his reign over who we are, how we are, and what we do. Then there’s the broader reality: a king who does not neatly or easily fit into our political paradigms, whose priorities in one way or another will catch us off guard.

Jesus is the king who turns things upside-down. His kingdom is not marked by borders but is still whispered of and spoken about two thousand years later. That is what we sing about at Christmas. The king arriving in vulnerability as a baby and one day - who knows when - Christians believe he returns in power as king. On that day, Christians believe justice, goodness and all that we long for will be ushered in. But until then, the historical reality of Jesus, his fingerprints on the world today, and the professed experience of millions of people worldwide continue to subvert.

As Dietrich Bonhoeffer, the German theologian famous for plotting to kill Hitler said, ‘A king who dies on the cross must be the king of a rather strange kingdom.’ The mystery amidst the majesty. Keep looking back. Keep looking forward.

Review

Belief

Creed

Music

Wildness

18 November 2024

5 min read

Did Nick Cave’s tour just take thousands to church?

He’s picking holes in the idea that religion is where freedom goes to die.

Belle Tindall

Belle is the staff writer at Seen & Unseen.

A rock star prowls the stage while behind hundred of faces tined red star.

Cave and the congregation.

Instagram/nickcaveofficial.

I recently went to Nick Cave and the Bad Seeds’ Wild God Tour.

I was told that it would be a terrific show, and it was. I was told that Cave would be more charismatic and commanding than he’s been in decades, and he was. I was told that it would be some kind of spiritual experience, and it was…

Kind of.

Those who are likening it to a ‘spiritual’ (including ‘This Country’ actor, Charlie Cooper) experience are certainly onto something, the whole production is designed to be transcendent, it’s just that the adjective they’re opting for is a little too vague. Instead, I would suggest that the show is a religious experience.

Now, hear me out - I know that we tend to feel nice and comfortable with the ambiguity of the former adjective, and much more cautious when it comes to rigidity of the word I’ve subbed it out for. If you just winced at the sight of the big, bad, R-Word, I get it. It comes with all kinds of wince-worthy connotations. A lot of it, deserved. Some of it, not.

But, like it or not, I truly don’t think that Nick Cave is giving us the comfortable luxury of vague-ness.

When I wrote about the Wild God album upon its release, I mentioned that the ‘Wild God’ to whom the record is an obvious ode is not abstract. Rather, the ‘wild god’ is the Christian god. The album attaches itself to a specific story, it finds its home within a specific paradigm. And the same is true of the tour. I would propose, if I may be so bold, that Cave and his Bad Seeds have spent the past few months telling the Jesus-story in every city they’ve found themselves, and subsequently, taking tens of thousands of people to church.

I would hate for you to think that my objective here is to stick a flag on the hill of this album/tour/artist. It’s not my intention to claim Nick Cave for ‘team Christianity’; it’s not necessary, he speaks continuously and profoundly about his own faith. Rather, as someone who has lived her life according to the very same Jesus-story, I’m simply offering you a lens through which you can gaze upon this touring work of art.

So, I’ll suggest it again – the Wild God tour is a religious experience.

And I know that sounds too constrictive of an analysis, but I think that’s on us for ever kidding ourselves into thinking that ‘religious’, ‘Christianity’ and ‘church’ were small words.

That’s certainly not the way Nick views them. In a recent issue of his Red Hand Files, he writes,

‘ I experience a certain vague ‘spiritualness’ within the world’s chaos, an approximate understanding that God is implicit in some latent, metaphysical way, yet it is only really in church – that profoundly fallible human institution – that I become truly spiritually liberated. I am swept up in a poetic story that is both true and imaginative and fully participatory, where my spiritual imagination can be both contained and free. The church may appear to some as small, even stifling, its congregation herdlike, yet within its architecture, music, litanies, and stories, I find a place of immense spiritual recognition and liberation.’

Fascinating, isn’t it? The concept feels kind of upside down. How could confinement cultivate liberation? How could boundaries ever encourage freedom, or particularity somehow hold entirety?

Can the ‘spiritual imagination’ truly be ‘both contained and free’? I think it can. In fact, I think that would be my own story, too. And, what’s more, I think the Wild God tour is some kind of proof of concept.

Can art be bursting with rage and religion? I think Nick has just proved that it can. I think he is probing, once again, at the myth that faith and hope can’t sit alongside carnage.

The whole show is framed by Cave’s joyous bewilderment at his own conversion – song by song, it tells the story of how he has been wading through the thickets of grief, his eyes steadily fixed on the God who rescued him ‘just in time’.

It’s specific. It’s religious.

And here’s the funny thing: the show having such a specific story to tell doesn’t seem to have a narrowing effect. Instead, songs about storms in the tiny town of Tupelo and girls who live on Jubilee Street seem to be swept up into a story that’s big enough to hold them, big enough even, to imbue them with yet more meaning. Doubt also sits comfortably here. As does anger and profanity.

Can something be sweary and sacred? Can art be bursting with rage and religion?

I think Nick has just proved that it can. I think he is probing, once again, at the myth that faith and hope can’t sit alongside carnage. He’s finding holes in the idea that religion is a place where freedom goes to die, picking a fight with the claim that ambiguous spirituality, or even outright irreligion, is more freeing.

It’s a big old fight he’s picked, one that’s been fought – in one way or another – since the beginning of time. I guess, as a Christian, it’s a fight that I have picked, too. I have placed my life (and, if we’re going to get weird with it, my afterlife) within the confines of a particular story. Am I certain that I’m right? Of course not – otherwise my faith would be faith-less, no? Nevertheless, I too have chosen to place my understanding of the eternal in the confines of the particular. I, too, am trusting that within the boundaries of the Christian story, there’s space for me to run free.

The word ‘religion’ is roomier than we are often urged to believe. Need convincing? Nick Cave is your man.