Contemporary worship music (CWM), also called praise and worship music, is a type of Christian music used in modern worship services. It has changed over the last 60 years and sounds similar to pop music. The songs are often called "praise songs" or "worship songs" and are usually led by a "worship band" or "praise team." A guitarist or pianist often leads these groups. This type of music is commonly performed in many churches, especially in charismatic or non-denominational Protestant churches. Some Catholic congregations also use it during Mass.
History and development
In the early 1950s, the Taizé Community in France started drawing young people from different religious backgrounds by singing worship hymns with modern musical styles.
During the middle of the 20th century, Christian groups at universities held talks to share religious messages. The Universalists and Unitarians—two youth groups—worked to join together at a meeting. In 1953, they formed the Liberal Religious Youth. Musicians from these groups began playing Christian songs in a style that was popular with young people. Some Christians believed the church needed to change its image as being too strict, formal, and boring to better connect with younger people. By using the style of popular music, which was the opposite of this image, the church explained the Bible’s message through Christian lyrics, showing that Christianity was not old or unimportant. In 1964, the U.K. gospel pop group The Joystrings became one of the first Christian pop groups to appear on television. They wore Salvation Army uniforms and played Christian beat music.
Churches started using some of these songs and musical styles during group worship. Early songs for singing together were usually simple. In 1966, Youth Praise, one of the first and most well-known collections of these songs, was published. It was created and edited by Michael Baughen and released by the Jubilate Group.
By the early 1990s, songs like "Lord, I Lift Your Name on High," "Shine, Jesus, Shine," and "Shout to the Lord" were used in many churches. Companies such as Integrity Media, Maranatha! Music, and the Vineyard began publishing newer styles of music. Some people who preferred traditional worship hoped these new styles would fade away, while younger people referred to Psalms 96:1, which says, "Sing to the Lord a new song." Before the late 1990s, many believed that hymns were only sung on Sunday mornings, with young people listening to their preferred music during other times. A "modern worship renaissance" helped churches accept any musical style if it was used by true believers to praise God. This change was influenced by music from the band Delirious?, the Passion Conferences, the Exodus project by Michael W. Smith, and the band Sonicflood. Contemporary worship music became a key part of contemporary Christian music.
Theology and lyrics
Contemporary Worship Music (CWM) is closely linked to the charismatic movement, which influences its lyrics and musical style. The charismatic movement focuses on the Holy Spirit and highlights a personal connection with God, often described as agape love.
In CWM lyrics, informal and personal language is used. Words like "You" and "I" appear frequently instead of "God" and "we." For example, lyrics such as "I am desperate for You" and "I know Your love does not run dry" show how CWM lyrics resemble popular love songs. Some songs use slang, like "We wanna see Jesus lifted high," and include commands, such as "Open the eyes of my heart, Lord." These choices reflect the friendly and personal tone encouraged by charismatic theology. Lyrics sometimes describe physical actions, such as "raise up holy hands" or "dance and sing for my king."
Starting in the 2010s, a type of contemporary worship music focused on theology began to develop. This music blends traditional hymns and worship songs with modern rhythms and instruments. It became popular mainly in Baptist, Reformed, and traditional non-denominational Protestant churches.
Artists in the modern hymn movement include groups like Keith & Kristyn Getty, Sovereign Grace Music, and Citizens, as well as solo artists such as Matt Papa, Enfield (Hymn Sessions), and Aaron Keyes.
By the late 2010s, this movement became widely accepted in many churches and was also popular on streaming services and in other cultural areas.
Performance
Technological improvements have been important in the growth of Christian Worship Music (CWM). For example, projectors allow churches to use songs that are not only in songbooks. Music styles often change with trends. The internet has made it easier for people to see lyrics and guitar chords for many worship songs and to download MP3 files. This has helped spread CWM around the world.
Some churches, such as Hillsong, Bethel, and the Vineyard, have created their own music publishing companies. There is a strong Christian music industry that works like the secular music industry, with recording studios, music books, CDs, MP3 downloads, and other items for sale. The way people buy and use CWM has led to both praise and criticism. As Pete Ward explains in his book Selling Worship, every progress brings both good and bad effects.
Criticisms
Critics have raised concerns about contemporary worship music (CWM). Gary Parrett worries that the loud volume of this music makes it hard for the congregation to join in singing, turning worship into a performance rather than a shared experience. He refers to Ephesians 5:19, where Paul tells the church in Ephesus to "speak to one another with psalms, hymns, and songs from the Spirit." Parrett questions whether a worship band, often amplified and playing like a rock band, replaces the congregation’s participation instead of supporting it.
Seventh-day Adventist author Samuele Bacchiocchi is concerned about the use of rock music in worship. He argues that music influences people’s thoughts and feelings on a deep level, and that rock music’s style, which can be disorderly or negative, conflicts with Christian values. He points out that the physical reactions caused by drums in worship settings may distract people from thinking about the song’s meaning or focusing on God. Bacchiocchi believes rock music can be harmful to the church.
Some people have also criticized the theological focus of CWM. Martyn Percy notes that there is too much emphasis on having a close, personal relationship with God. He criticizes the use of words like "I" and "You" instead of "we" and "God," as well as the use of emotional and physical language in worship. Percy argues that this focus on emotion may lead to creating an artificial atmosphere of excitement instead of allowing God to act naturally.
Despite using Bible verses like Ephesians 5:19 to support CWM, critics say that its culture often avoids using psalms in weekly worship, especially sad or difficult psalms called "psalms of lament." The focus on praise and always being positive about worship can cause churches to ignore more serious or challenging themes in the Bible. Michael Vasey explains that the Bible includes many sad songs, which are powerful because they address difficult truths. He notes that modern worship often avoids these themes. Traditional churches often follow a weekly schedule of Bible readings that includes a wide range of texts, but CWM churches usually do not have such a schedule, leading to less variety in their worship themes.
Pope John Paul II emphasized the importance of proper training for musicians and worship leaders. He said that musicians, composers, and others involved in church music must receive serious and thorough training. He stressed that their work must be respectful of artistic quality and meaningful, helping to express the mystery of faith through sound during worship.
Some critics argue that CWM lyrics reflect a cultural trend toward focusing on personal experiences with God rather than community. In a 2011 interview, T. David Gordon noted that CWM is not necessarily easier to sing or better in music than traditional forms, but its familiarity makes it appealing to church members. He observed that churches often choose songs based on their modern sound rather than their theological depth or musical quality. Gordon also mentioned that some churches are bringing back old hymns in worship services, showing that new music has not always been the main goal in worship.
In 2014, Gordon expanded on these ideas, saying that CWM cannot match the depth of music traditions developed over many years. He pointed out that many modern worship songs are simply updated versions of older hymns. Gordon noted that creating new worship songs that are both theologically strong and artistically rich is difficult. He also said that the novelty of modern music has decreased, making it less effective as a way to attract people or grow a church. Gordon argued that the performance-focused style of praise teams might go against biblical teachings about the congregation participating in worship together.
Popularity
Some modern songs are now included in traditional hymnals. The hymnal Evangelical Lutheran Worship, published in 2006 by the Evangelical Lutheran Church in America, features the song "Lord, I Lift Your Name on High" by Rick Founds and "Shout to the Lord" by Darlene Zschech. The United Methodist Hymnal, published in 1989, includes "Thy Word Is a Lamp" by Amy Grant and "Take Our Bread" by Joe Wise.
Songs by contemporary Christian worship groups, such as Hillsong United, are among the top ten on Billboard and other national music charts. These songs are also mentioned in pop culture publications. In the United States, some Christian radio stations now play music formats that focus on worship songs, including networks like Air1 and Worship 24/7.