Chris Tomlin's "Hello Love"

From time to time I will post my thoughts on some [relatively] new music that captures my interest for one reason or another. The subject of today's post is worship leader Chris Tomlin's latest album, "Hello Love." Those of you who are into modern worship, or attend a church that worships in virtually any contemporary style, have undoubtedly sung songs that Tomlin has written or recorded. Every album that Tomlin has released thus far has yielded worship anthems sung across the country and even around the world.

The first two tracks on "Hello Love," Sing Sing Sing and Jesus Messiah will undoubtedly be two more Tomlin songs that will (and already have) find their way into many churches. In classic Tomlin style, the simple melodies and straightforward lyrics in these songs make them easily adaptable for any worship team. Next comes You Lifted Me Out, a rock anthem that seems meant to be this album's Let God Arise (the unlikely hit off Tomlin's last effort, "See the Morning"). But as is often the case, the copy doesn't quite live up to the original.

The real gems of the present album are God of this City and I Will Rise. These songs display the theological thoughtfulness and biblical faith that I wish were evidenced in more modern worship songs. There are many worship songs--and this goes for both contemporary and ancient styles, that are what could be referred to as 'praise vomit.' Surely the best kind of vomit, but vomit nonetheless. While these songs surely express heartfelt worship, I think it would be beneficial to the church if we were a bit more thoughtful and discerning regarding the lyrics we sing. Language we use in worship, both spoken and sung, shapes the way we picture God and our faith. If we continue to use the same thoughtless, unconnected platitudes in worship, the content of our faith will be reflective of that. I digress. More on this another time. The point is that these two songs (GotC & IWR) possess a theological weight that the earlier songs lack.

God of this City, which was originally written and recorded by the Irish band Bluetree, is a song that reflects the ideas of the missional church. If you haven't been to seminary or read much ecclesiology lately, that might not mean much to you. Basically, the concept of 'missional church' is that the church is always in a state of mission--it is the church's identity. We never reach a state of Christendom, or get to a point where we say, "we've done it--we have completed our task." The church that ceases to welcome the stranger or reach out to those in need has ceased to be the church, and begun being a social club. God of this City celebrates this identity, motivating us to get out into the world, where God is already at work: "Greater things have yet to come, greater things are still to be done in this city..." While Bluetree's original recording of the song might be more interesting, Tomlin here offers an Americanized mainstream version.

Tomlin's own I Will Rise takes its cue from the book of Revelation, which contains the clearest scriptural picture of what worship will look like in the Kingdom of God. Having recently spent five months working with children who have cancer and other long-term or terminal illnesses, this song is especially poignant for me. The chorus, "I will rise when He calls my name/no more crying, no more pain/I will rise on eagles' wings/before my God fall on my knees and rise" is enough to bring me to tears. The verses are equally powerful, and will no doubt bring to mind some of the most powerful hymns you might have sung growing up. The song finally culminates in a rousing bridge that will certainly have faithful people raising their hands wherever it is sung. And if you can't tell already, I love this song.

Following that song is Love, which standing on its own brings to mind one of those cheesy '80s world hunger fundraiser all-star recordings, complete with an African children's choir. Taken in the context of the album, however, it can be accepted as a joyful expression of Kingdom unity. All accept for the regretful bridge lyric, "love is the answer/love will find a way," which has me giggling the first time I hear it, then shaking my head when it is repeated.

The rest of the album is more of the solid, if not spectacular, Tomlin-led worship we've become accustomed to. Praise the Father, Praise the Son is a beautiful hymn that includes a female harmony that I wouldn't mind hearing more of throughout the album. God Almighty contains the coolest intro I have heard in some time, but for me, the rest of the song doesn't quite live up to the hype that it creates. Not a bad song, but by the time the intro comes back at the end you've forgotten you were listening to the same song. With Me sounds like it belongs on a Hillsong United album, which is not a bad thing. Exalted (Yahweh) is another song that takes its cue from the worship of Revelation, and could easily find its way into a worship set for a service that included a text from this book.

Overall, another solid album of worship from Tomlin. While it might not spawn the worldwide worship anthems the way "Arriving" did, and won't change the landscape of modern worship the way "Not to Us" did, there are definitely some worthwhile listens for the corporate worship leader.