Review
Awe and wonder
Culture
6 min read

A Sky Full of Stars: lessons on awe from Coldplay's concert

Unexpectedly finding herself among a sea of 90,000 people at a recent Coldplay concert, Belle Tindall reflects on what the experience taught her about the nature of awe and wonder.
A singer struts a stage pointing to the spotlight as coloured orbs float down.
Coldplay's Music of the Spheres tour.
Stevie Rae Gibbs, CC BY-SA 4.0, via Wikimedia Commons.

Coldplay are about to wrap up the European leg of their Music of the Spheres tour; their multi year-long and (literally) world-wide spectacle. When I say spectacle, I really mean it. The three-hour long show is nothing short of an audio-visual marvel, one that they’ve played to millions of people over the past year or so, and a couple of weeks ago, I was (rather unexpectedly) one of them.  

Hold your personal tastes for a while, leave your ‘Coldplay make me cringe’ critiques at the door (you can pick them back up at the end), and allow me a moment to paint the picture for you.  

The band adorn alien masks, they duet with a puppet, they dance upon a stage that changes colour beneath their feet, they release a tidal wave of giant beach balls, they dance through a downpour of confetti, and they bring it to an end under a canopy of fireworks. That’s not to mention their most infamous party-trick, the wristbands that turn the audience themselves into the lightshow. The result is, as you can imagine, utterly breath-taking. The crowd become a panoramic murmuration of colour that dances around the stadium.  

Aside from the long queues for the bathroom and the sticky folding seats, the escapism is all-encompassing, it doesn’t falter for a moment. All of it made all the more wholesome for knowing that its being powered (at least in part) by the kinetic dancefloor and the spin bikes towards the back of the stadium.  

And I know what you’re thinking, I haven’t even mentioned the music yet. 

There is something innate within us that is awoken when we are faced with something great, something that transcends us as an individual, that resides outside of ourselves. 

What is there to say? Hearing 90,000 people belt out words as heart-wrenchingly vulnerable and honest as ‘nobody said it was easy, no one ever said it would be this hard’ on a cloudy Wednesday evening was as powerful as you would expect. Strikingly countercultural too, where does all that emotional honesty hide when it is not coaxed out by nights like these? But that’s a question for another article. Watching those same 90,000 people put their arms around the ones they love as they sing the words of the cosmically-minded love song Yellow, and then in the next moment dance with abandon to Adventure of a Lifetime was a joy to behold, a people-watcher’s paradise, a true case study in human nature and emotion.  

And that leads me to the premise of this piece, which is not wholly to gush over Coldplay.  

As I observed these 90,000 strangers, many of whom had travelled a considerable distance to commune together in this place at this time, I was reminded that humans are made with an inherent need for awe and wonder. There is something innate within us that is awoken when we are faced with something great, something that transcends us as an individual, that resides outside of ourselves – and that is exactly what I witnessed. More interesting than any firework display was the sight of 90,000 people who had pressed pause on the daily rhythms of their lives and gone on a pilgrimage in search of awe and wonder.  

Awe and wonder are admittedly elusive emotions, notoriously hard to define and harder still to analyse. As a result, they have been largely understudied and overlooked. However, the one thing we do know about awe and wonder is that they are among the most precious and powerful emotions a person will experience. Dacher Keltner, a psychologist at the forefront of a surge of research into the complexities of awe, proposes that awe is distinct; it is not interchangeable with joy or fear, ecstasy, or horror. Rather, raw awe is a particular state that comes as a result of experiencing vastness. As Keltner writes, 

‘Awe arises in encounters with stimuli that are vast, or beyond one’s current perceptual frame of reference. Vastness can be physical, perceptual, or semantic and requires that extant knowledge structures be accommodated to make sense of what is being perceived.’ 

In short, awe is an emotional reminder that we are small.  

It is perhaps surprising that coming face-to-face with our minute nature equates to mental and spiritual wellbeing. Our individualistic society would have us believe that such a reality should bring forth feelings of desolation or a fear of oblivion, that awe must therefore be a gateway to some kind of existential crisis. But not so. Numerous studies tell us that is simply not the case.  

Believe it or not, we humans benefit from coming face-to-face with our smallness. It has recently been suggested that cultivating awe on a regular basis can ease stress, depression, and anxiety. It can improve our sleep, increase our creative capabilities, and even reduce inflammation. It is a core premise that underlies the Twelve Step programme, an acknowledgment that there is something bigger than oneself, and therefore stronger than one’s addiction, continues to aid countless people in their recovery. Referring once again to Keltner, he proposes that when awe is notably absent from a person’s routine, narcissism, materialism, and a deep sense of disconnection from anything that resides outside of themselves become its inevitable substitutes. 

And what’s more, we actually enjoy awe. We crave it. We go out of our way to seek it out.  

We build telescopes and gaze into space, we flock to areas of outstanding beauty, we take pictures of sunsets, we visit ancient ruins, we study pieces of art, we sing our hearts out in stadiums brimming with complete strangers.  

It’s fascinating. The more you allow yourself to dwell on the nature of awe, the more interesting it becomes. How remarkable that even in a society which is largely built upon premises such as Albert Einstein’s - ‘everything that is really great and inspiring is created by the individual’ - we seem to have a biological afront to this, something ingrained that tells us that this is not true.  

Of course, I imagine you have been waiting for me to bring God into all of this? To say that any awe the world can offer is but a mere glimpse, to allude to something similar to what C.S Lewis said, that  

‘if you find yourself with a desire that no experience in this world can satisfy, then the most probable explanation is that you were made for another world’

and subsequently suggest that the seen cannot compare with the unseen. 

I suppose it could absolutely be argued that our craving for bigger things is a symptom of our craving for the bigger thing. That our wonder at all things transcendent is a taste of the wonder on offer from the transcendent. And that is certainly an intriguing thought. That’s the kind of thought that has led the likes of Paul Kingsnorth into Christianity, and David Baddiel to oppose it. Do we crave vastness and need awe because we crave and need God? Or do we crave (or as Baddiel would argue, create) God because we crave vastness and need awe? Such a thought could be pondered for a lifetime, and I suppose now would be as good a time as any to start.  

But for now, I shall return to where I started, sitting on seat M22 at a Coldplay concert, just one of a sea of 90,000 people, all listening to a set list of songs that have become cultural artefacts. Each tune that bellowed from Cardiff’s Principality Stadium during Coldplay’s residency there gathered countless individual stories and bound them together into a wonderous collective sound. It both belonged to every person there and transcended them.  

If you ever found yourself in need of a lesson in awe, I would heartily recommend.  

Article
Culture
Mental Health
Music
5 min read

Dark, sweet and subtle: recovered music orientates us

The alt-folk music seeking inspiration from forgotten hymns.

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

A woman stand at a mixing desk playing a small keyboard.
Lleuwen Steffan plays.

In 2012, musician Lleuwen Steffan first came across a trove of lost Welsh folk hymns preserved in the sound archive of St Fagan’s Museum. Knowing they were not in current hymn books, she undertook further research and discovered they had been excluded from earlier hymn books by the then all-male hymn book committees of their time. Instead, they had been passed on orally, and, although recorded for St Fagan’s by the historian Robin Gwyndaf, had become lost with time and secularization. 

Steffan was particularly attracted to these hymns as many dealt with the dark side of the psyche including addiction and mental distress. She has said that many of these hymns, some of which date back to the eighteenth century, are “conversational and the lyrics feel so current”. She is currently taking these hymns back to where they were born through a tour of 50 chapels in Wales but this is not an exercise in nostalgia as her focus is on their contemporary resonance: “Musically, I’m not interested in recreating something from the past. That’s missing the point. Yes, the words are old but the message is always new. The music is free form.” 

Although the subject matter of these hymns will have been part of the reason for their exclusion from the hymn books of their day, that same subject matter has been part of worship songs from the time of the Psalms to the present. The Psalms are the worship songs of the people of Israel as recorded in the Old Testament and are the first occasion in ancient literature where the voice of victims is heard and valued.  

The Old Testament scholar Walter Brueggemann in his book Spirituality of the Psalms provides an insightful and structured overview of the Psalms using three categories: orientation, disorientation, and new orientation. Orientation is the establishment of structure and order. Disorientation is a place of imbalance and nonsense, which is potentially unjust. New orientation is moving forward away from what was and toward new possibilities. As a result, the Psalms provide us with expressions of suffering and hope in the seasons of everyday life. In his book, Brueggemann explains how Psalms of negativity, cries for vengeance, and profound penitence are foundational to a life of faith, and establishes that the reality of deep loss and amazing gifts are held together in a powerful tension. 

“This eerie, intriguing and enchanting music... is infused with echoes of the past two centuries’ beliefs and threads of spirituality and song.”

Rupert Loydell 

With such a collection of worship songs as the foundation of worship in churches, and with plainsong in Western churches providing a means by which to chant the Psalms on a daily basis, it should not be surprising that later hymns, such as those being reimagined by Steffan, tap into the dark side of the psyche. The success of albums such as Officium by saxophonist Jan Garbarek and The Hilliard Ensemble, together with Steffan’s own collaboration with pianist Huw Warren and saxophonist Mark Lockheart on Welsh hymns Duw A Wyr (God Only Knows) which is in a similar vein, show how such music can be made relevant to contemporary audiences.  

Ghostwriter’s latest album, Tremulant, inhabits similar sonic territory to Steffan’s current Tafod Arian (Silver Tongue) music. Created over several years by Mark Brend, Suzy Mangion, Andrew Rumsey and Michael Weston King, this album has also been borne out of a shared love of antique evangelical hymns and spiritual songs. Using English, Welsh, Scottish and American source material from the nineteenth and early twentieth centuries, the quartet pieced together their reconstructed hymnal through remote collaboration – creating an album that sounds both ancient and modern. 

In his review of Tremulant, Rupert Loydell says it is “a strange ambient gospel album, where what used to be called spirituals and hymns are subverted by echo, wheezing organ and spacious musical interludes, which recontextualise, reimagine, stretch and mutate the very idea of song”.  This, he says, “is eerie, intriguing and enchanting music” with “echoes of classic Nico (the cold beauty of Desertshore)”. It's ”declamatory poetry, alt-folk, noise and gentle discord” combined with “calm vocals” is “infused with echoes of the past two centuries’ beliefs and threads of spirituality and song”. As such, it's not what you’ll hear the local worship band playing, more’s the pity! 

“Something kept bringing me back. That something has always been there. For that I am extremely thankful and am listening to it more and more.” 

Lleuwen Steffan 

Like buses, other revisiting’s and reimagining’s of old hymns and gospel songs are also coming along together. Hymn Time In The Land Of Abandon by Over the Rhine is “Music that we grew up singing, music as present in our formative years as the air we breathed”. Their recordings of hymns have been described as “spare, sweet and subtle renderings that transform the familiar into something fresh and new”.  

The musical reimaging involved in Over the Rhine’s reinterpretations of hymns takes them into the space that Brueggemann defines as new orientation, while the sounds and, in some cases, content of the hymns chosen by Steffan and Ghostwriter are more in the realm of his disorientation category. The music making of Lleuwen Steffan, Ghostwriter and Over the Rhine takes us to places not commonly accessed by the music used in many church services. As is indicated by the story of hymn book committees omitting hymns that tap into the dark side of the psyche, much of the music used in church services can be located firmly in either the orientation or, sometimes, the new orientation categories.  

Given that the arc of Christ’s life, death and resurrection takes us on a similar journey to that which Brueggemann sees occurring in the Book of Psalms, when our music and liturgy fail to go on a similar journey, we are only encountering part of the meaning and message of faith. The recent music of Lleuwen Steffan, Ghostwriter, and Over the Rhine is therefore profoundly helpful in beginning to redress that loss of balance in worship by taking us back to a fuller appreciation for the original songbook of the faithful, the Book of Psalms.  

In speaking about why she has been drawn again and again to church music, Steffan described her teenage experience of drinking with her “mates in Bangor on the Saturday night” then getting “the last bus back home” and rolling “out of bed the following day to go to Sunday School”. She concluded: “That’s a strange paradox but, you see, something kept bringing me back. That something has always been there. For that I am extremely thankful and am listening to it more and more.” It may well be that that something is the arc of orientation, disorientation and new orientation we encounter and experience in the Psalms.