Article

Creed

Psychology

9 April 2025

4 min read

Worry: bug or feature of our lives?

The ancient root of common or garden worrying.

Andy Hood

Andy is a vicar-in-training in Durham.

A woman rubs her face in worry, while siting at a screen.

Vasilis Caravitis on Unsplash.

Climate change, smartphones, a loss of social cohesion: these are just some of the potential culprits for an oft-discussed, much worried about, anxiety epidemic. But what if our worries can’t be fully explained by any particular feature of the modern age? What if worry is in fact an ancient problem that afflicted the first century no less than the twenty-first? What would that mean for how we should respond?

I’m not a psychologist, or a social scientist, but I am a common or garden worrier. And worry worms its way into my life through the gap between responsibility and control.

I first encountered this at work. As someone who organised events, I felt responsible (and would be held responsible) for how many people signed up. But I soon came to the painful realisation that I didn’t control how many people signed up. I had responsibility but not control - and worry wormed its way in through that gap. And that didn’t seem fair to me - it seemed like a “bug” that should be fixed. Maybe my bosses just needed to relax a bit. That way my responsibility would shrink to match my control. Or maybe I needed better comms, better marketing - some way of making sure people came. That way my control would expand to match my responsibility. Either way, the gap between responsibility and control should be eliminated somehow.

And then I had kids - three of them. As a dad I am responsible for my children. But I am not in control of them - sometimes I can barely get them to eat their tea. And so worry worms its way in - through that gap between responsibility and control. But I began to realise that when it comes to my kids, I just can’t close the gap and I shouldn’t even try. To abdicate responsibility or to seek control are just two different flavours of failure. The gap between them isn’t a bug in the code of life, it’s a feature. It’s part of being human, and so human flourishing means learning to live well with, even in, that gap. But how?

In the earliest record we have of Christians trying to explain themselves, a book of the Bible called (confusingly) Acts, we follow Paul, convert to Christianity, to Athens, the cultural capital of the ancient world. And there he meets people different from us in almost every way… except that like us they are worriers. And they are worried because they feel responsible for something they can’t control. Paul finds an altar with this inscription “to an unknown god”. What makes people erect an altar to an unknown god? The worry that worms its way in between responsibility and control. We’re not sure if we know about all the gods - we’re not in control. But that god we don’t know about might hold us responsible. So let’s try to close the gap by erecting an altar to a god we don’t even know.

Paul offers a better solution - to them and to us. He’s invited to give a speech to the leaders figures of Athens, but he doesn’t present his audience with a more sophisticated technique for closing the gap between responsibility and control. Rather, he introduces them to his God, to the truth that allows us to flourish in that gap. This God, Paul says, marks out the appointed times and places of all people: that is, he is in control of all things. This God, Paul says, wants everyone to seek him and find him: that is, he wants the best for all people. This God, Paul says, doesn’t need anything from us: that is, our responsibility is his invitation to be part of what he’s doing in the world. Know this God, trust this God, Paul says, and you can see the gap between responsibility and control as a feature of life and not a bug. You can flourish in and not worry about the gap.

But how does that work in the midst of tea-time tantrums and the day-to-day worries of life? Well for me, on a good day, it works a bit like this. When I’m confronted with the reality of quite how much is beyond my control, I’m not faced with chaos. I’m just faced with the fact that I’m not God, but God is - and nothing is beyond his control. And the God who is in control when I’m not loves my kids more than I do, better than I do. And he doesn’t need me. He’s not delegated responsibility for my kids to me because he’s too busy to look after them himself. I’ve been given the responsibility of being their dad so I get to share in the joy of watching them grow into all they were made to be. The gap is still there - I’m really responsible and I’m really not in control. But maybe I’m ok with that.

There may well be certain features of the modern age that heighten our anxiety. But the people of first century Athens didn’t have smartphones or face climate change and they still worried. Because they felt responsible for something they didn’t control, just like we do. It’s an ancient problem, a feature not just of our culture, but of being human. And what if an ancient problem needs an ancient solution?

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Review

Belief

Culture

Music

7 April 2025

5 min read

Mumford & Sons search for meaning

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

Steve Dew-Jones

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

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.