Corinne Bailey Rae’s energised and anguished creative journey

Corinne Bailey Rae’s latest album, Black Rainbows, is an atlas of capacious faith. Jonathan Evens explores her inspirations in Detroit, Leeds and Ethiopia.

Jonathan Evens

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

A black and white portrait of a young woman's head against a dark textured background.

www.corinnebaileyrae.com.

Black Rainbows is the latest album from multi award-winning singer-songwriter Corinne Bailey Rae. Part of a project which also includes a book Reflections/Refractions at the Arts Bank photographed by Koto Bolofo, live performances, visuals, lectures, exhibitions and more, the album is inspired by the objects and artworks collected by artist, archivist and curator Theaster Gates at the Stony Island Arts Bank in Chicago. Bailey Rae attended The Black Artists Retreat there in 2017 and performed in the space. Last year Bailey Rae performed in Black Chapel, the Serpentine Gallery Pavilion designed by Gates. A shared element of their collaborations, work and inspirations are their Baptist upbringings and experiences.

Black Rainbows represents a significant development in Bailey Rae's music and career. By turns angry and reflective, noisy and still, celebratory and keening, original and grounded, the album broadens her musical palette considerably through a marvellous melange of electronica, jazz and punk meshed with soul and R&B. The album ranges from righteous railing against the casual erasure of Black lives and memories to a vision of a world in which we dig our gardens and live, find work and time to dance, in a new utopia. It also extends Bailey Rae’s exploration of and engagement with black history and culture beyond her own experience, through collaborations with Gates and also the Stony Island Arts Bank, which was her inspiration for the album. Her longing, shared in ‘A Spell, a Prayer’, is to arc an arm through history in order to unpick every thread.

Bailey Rae has spoken of the way in which her visit in 2017 to the Stony Island Arts Bank at the invitation of Gates, its founder, transformed her.

“I knew when I walked through those doors that my life had changed forever.”

Two things changed. One was a deeper engagement with the Stony Island Arts Bank's basic premise that black people matter, black spaces matter and black objects matter. The other was developing the confidence, through the example of Gates as artist, lecturer, potter, choir director, business owner, to, as she has said in an interview for Wilful Publicity, just:

"be myself and follow all of my interests and allow all my fascinations and obsessions to come through in my music in the belief that we are all people, and we all have those connections and questions and interests."

Christian Viveros-Faune has written that Gates developed his practice as "an artist-curator-activist", serving "different kinds of communities as an artistic ‘bridge’," out of engagement with the Church, having been both Director of Chicago’s New Cedar Grove Missionary Baptist Church Choir and "an urbanist in Seattle for a Christian mission that ran a housing programme in poor neighbourhoods.” His artistic projects have included processing a 250-person gospel choir he assembled from local churches through the galleries of the Milwaukee Art Museum while singing hymns Gates had scored as a response to poems written by the slave-era potter Dave Drake. The musical offerings of Gates' house band, the Black Monks of Mississippi, also combine spirituals with Zen chants. The Black Monks of Mississippi performed in Black Chapel, as also did Bailey Rae.

His entrepreneurial projects have included the Dorchester Art and Housing Collaborative which consists of 32 units made for those who receive affordable and low-income housing support with a space for theatre and dance, and a mission is to share culture first with the folk residing in the 32 units. Similarly, the bank at 68th and Stony Island was once a vibrant community savings and loan bank but today, through Gates’ intervention, provides the South Side of Chicago with 17,000 square feet of space for innovation in contemporary art and archival practice.

Surprisingly, the kind of faith-informed arts-and-community-connecting entrepreneurship practised by Gates, is not unknown to Bailey Rae through her own background. As a member of Moortown Baptist Church, she was part of Revive, a fresh expression of Church begun by then Youth Pastor Simon Hall. Bailey Rae has said that Hall encouraged the young people in Revive to write their own songs, provided a first guitar for her, and encouraged her to develop a "capacious faith." Her first recordings were on the Revive albums Beautiful Day and Neither Work nor Leisure. Under Halls' leadership, Revive has become a church for people who like Jesus but aren't too sure about church. He has also developed Left Bank as a community arts venue (of which Bailey Rae is a patron) in a disused Anglican church, whilst also setting up The Wren Bakery, a social enterprise using baking and barista training as tools to help women build self-belief and gain transferable skills for employment, and Queer Church Leeds, a community which celebrates LGBTQ+ people and aims to create a safe and open space for both fellowship and discussion.

Bailey Rae has shared her own exploration of faith in her music through songs such as 'I Would Like to Call It Beauty,' ‘Walk On’ and 'The Skies Will Break' and has done so in relation to both grief and celebration. Steve Stockman writes of one such song:

“Love’s On Its Way is a prayer. It begins “Oh Father”, confesses misunderstanding at the great mysteries, looks at the state of the world and then after more confession asks that her response to this world would not be just the prayer but the action of her life."

Black Rainbows ends with a stunningly beautiful track 'Before the Throne of the Invisible God' inspired by a book in the Stony Island Arts Bank about the rock churches of Lalibela in Ethiopia; ancient churches hewn from rock. In an interview with Forbes magazine, Bailey Rae said:

"On one of the pages of this book, it said, it was a picture of a throne that had been made. So it was carved into the wall, solid stone wall. There was a throne and this is where God was meant to sit when God was in the temple. But I really loved that line, the Throne to the invisible God. I thought, before the throne of the invisible God, what else is there to do but kneel? What is the invisible God? What is the thing, the reason, the way we get here, the how, the why, the infinite, the eternal, the thing that makes us all connected?"

This is where Black Rainbows ends. Through its tracks, Bailey Rae takes us on a journey from the rock hewn churches of Ethiopia, to the journeys of Black Pioneers Westward, from Miss New York Transit 1957, to how the sunset appears from Harriet Jacobs' loophole, in order to explore Black femininity, Spell Work, Inner Space/Outer Space, time collapse and ancestors, the erasure of Black childhood and music as a vessel for transcendence. Yet, 'Before the Throne of the Invisible God' is where her energised and empathetic, wracked and anguished, celebratory and creative journey through Black history and the continuing legacy of racism finds its resolution. In a place not of simple submission, but of living the questions raised by a capacious faith where responses to prayer are both the actions of life and also the explorations found on this album.

Article

Comment

Economics

Politics

Trust

9 April 2025

5 min read

Tariffs destroy trust so where do we go next?

Blunt weapons cause a mess in markets and lives.

Paul Valler

Paul Valler is an executive coach and mentor. He is a former chair of the London Institute for Contemporary Christianity.

A gold coin with the DOGE dog on it, lies over the face on a $50 bill.

So doge-y.

Kanchanara on Unsplash

‘When America sneezes the rest of the world catches a cold’ quipped economists almost a century ago after the Wall Street crash. A comment that might equally apply to the more than 10 per cent drop in stock markets caused by President Trump’s sudden raised tariffs on imports to the USA. The impact of the American economy on the world is inescapable. It represents almost a quarter of global GDP and the dollar is the leading reserve currency, accounting for around 60 per cent of international foreign exchange reserves. Size is what enables America to bully the rest of the world.

For decades the American trade deficit has been an elephant in the room and Trump is to be applauded for recognising it and addressing the problem. Unfortunately, the way he has gone about it has caused another, bigger problem. Changing the direction of the global economy is like turning a tanker, it cannot be done easily or quickly, but Trump’s style is to attack, like hammering at a nail. Every issue in geopolitics looks like another nail, waiting for him to hammer out a negotiated deal. Full marks for courage, but not for wisdom. The blunt weapon of trade tariffs is designed to bring wealth and power back towards the USA, but blunt weapons often cause a mess, and sure enough a global mess is what we now have. A US/China trade war with higher prices that could end up stoking inflation and a government own goal.

Panic selling of government bonds signalling a loss of confidence following Trump’s dramatic tariff boost is reminiscent of the impact of Liz Truss’ sudden and radical UK tax cuts, which were also driven by an ideology, but ended up as a wrecking ball. Even some of Trump’s backers have warned of an economic nuclear winter. In the long run, Trump has done the world a favour by highlighting a structural issue that needed correction, but his economically violent methods of addressing it look increasingly unwise. If a global depression does happen on the back of all this, then coupled with the rise of autocratic and belligerent leadership, we would face a worrying parallel to what happened in the 1930s when the world eventually slid into war.

Tariffs are like walls, barriers to cooperation and the epitome of economic selfishness. Make America Great Again is selfishness writ large - a society pursuing wealth and power without the cohesive framework of values that are so essential to cooperation and community wellbeing. A psychology of self-centredness that damages relationships at the national level. This is what I find most concerning about Trump’s approach; not just the economics but the long-term legacy of relational damage that could last well beyond his Presidential term.

Our fears reveal just how much we trust in wealth above everything else, and how much the fear of scarcity affects our mental health.

Michael Schluter in his book The Relational Lens defines five principles, or measures, of relational health. They are directness, parity, common purpose, continuity and breadth. Applying those five measures helps us see why Trump’s tariffs are the polar opposite of relational. He introduced these escalating penalties remotely and not in face-to-face negotiations. Exploiting the power of America instead of showing respect for the status and needs of other nations. Tariffs have no common purpose with other countries, only a selfish agenda. There is no continuity with previous trading protocols. And it is all purely financial, with no reference to the broader holistic impact. All in all, a relational disaster.

Despite living in the ‘first world’ we remain gripped with fear of loss. Our fears reveal just how much we trust in wealth above everything else, and how much the fear of scarcity affects our mental health. Markets are not entirely rational; they are driven by algorithms that stem from this psychology of greed and fear. Emotions and trading swing wildly with a herd instinct that often drives behaviour. As Rabbi Jonathan Sachs said:

‘Markets have no moral compass; we have outsourced morality to legislation by the State.’

But the worry now is that the current US administration shows signs of ignoring morality and even riding roughshod over the courts. No wonder people feel afraid.

Where can we find hope in all this turmoil? Is there a better response than gritted teeth and the mantra: ‘this too shall pass’? I think so. There is life beyond the market. Jesus said: ‘life does not consist in an abundance of possessions.’ We can choose to step back and look at all this with the true perspective that money isn’t everything. We can cultivate gratitude for what we do have. We can learn contentment. Yet I feel for those who have experienced financial loss, and don’t want to minimise the reality of hardship. In fact, something important and practical all of us who are privileged can and should do is to be vigilant in watching out for those who are poor and disadvantaged. To look after those with a real need for the basics of life and help them through this tough time when economic disruption could make life even harder. For those with a faith this is part of working out how our faith makes a positive difference where we are.

Perhaps the supreme irony of this crisis is President Trump’s insistence that Americans must trust him. Ironic, because the one thing that his tariff actions seem to have undermined more than anything else is trust. The trust that is essential to the functioning of both markets and civilisation as a whole. Face to face discussions must be the way forward now, to rebuild trust and find more nuanced, mutual approaches to solving America’s trade deficit.

There is one person we can always trust though, and his name is written clearly on the American One Dollar bill. In God we trust. Let’s pray that Trump and his America returns to that imperative and turns back to a more Christ centred philosophy of loving our neighbour as ourselves, reflected in a more bilateral approach to diplomacy and agreement.

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