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With One Voice: Discovering Christ's Song in Our Worship

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We sing for Jesus. We sing to Jesus. What I particularly appreciate about "With One Voice" is Kidd's rich examination of what it means to sing with Jesus. In this book Reggie Kidd gives us a window into the kind of worship in which we all participate, whether our song is, as he says, more reminiscent of Bach-elegant and refined, "Bubba"-simple and anonymous or the Blues Brothers-passionate and on a mission.

But this book is no mere "come together for Jesus' sake" reflection. "With One Voice" is not advocating a unity from below where we try really hard to appreciate music in the church that we don't particularly like... for the sake of the Kingdom, of course. Rather, Kidd takes us deeply into Psalm 22, and helps us to hear Jesus' voice as He has sung and is singing all of our songs-whether refined or raw, controlled or full of passion. In worship we all join Jesus as He sings.

At another level, I found this book to be an expression of the very reality Kidd is writing about. For Kidd himself has several voices that all sing with Jesus. The theologian sings with his mind, the artist sings with illustrations from music, art and literature, and the man sings with honest moments from his own journey. They blend together beautifully, and for me there were moments when, even while reading, I began to hear that other voice.

This is not just a book for worship leaders. It is a book for worshippers.

It is a rare privilege to read a book and feel that you have a deep personal connection to an author that you have never met. Occasionally, after preaching a sermon I will have someone come forward and say, "I feel like you were preaching to me today." After reading Reggie Kidd's new book, With One Voice I can say, "I feel like he was writing to me." Perhaps this connection was due to the fact that I have always had a profound interest in the place of music in the Church's worship. Maybe the connection was at a deeper level, because one of the inspirational voices behind Kidd's book was the teaching of Dr. Edmund P. Clowney, and I am also one who was fortunate enough to sit under Dr. Clowney's teaching while I was attending Trinity Presbyterian Church in Charlottesville. Or it's possible I connected with this book simply because it is obvious that the author and I listen to (and like) much of the same music. Upon further reflection however, I am convinced that the connection that I felt with this book was because Reggie Kidd did such a masterful job of painting a picture of Jesus Christ as the Singing Savior, the true leader of authentic worship no matter what style it might take.
In the first chapter of With One Voice Reggie Kidd states, "Christian belief is necessarily sung because when we sing it we own it better, because we just can't help ourselves, because singing puts in the company of the Savior himself." With these words Kidd sets forth his thesis that song is not an ancillary or optional component of the Christian faith. It is deeply woven into the very fabric of our theology and practice. Unfortunately much of the contemporary discussion about worship music has not focused on this element, but instead has become sidetracked on issues related to style and instrumentation. Kidd does not fall into the trap of rehashing the same old arguments surrounding the "worship wars" in the church, but instead succeeds in elevating the conversation to the level of recognizing the voice of the Singing Savior no matter what the genre.
The symphony of the gospel is in the movement from lament to victory. Kidd shows us how David was well aware of this song and structure in the organization of the hymnbook of Israel, the book of Psalms. In addition, Kidd examines Psalm 22 as a prototypical Psalm that not only captures this movement from mourning to triumph, but also serves as a prophetic hinge that reveals to us the singing of our Savior, even from the cross. In the final four chapters of With One Voice, Kidd shows how the song of the gospel is necessarily communicated in a multiplicity of genres ranging from classical, to folk, to pop. No matter where your personal musical tastes might be most comfortable, Kidd makes a compelling case for expanding those personal tastes to allow for the incredible breadth of the song of our faith. Kidd's speaks across all three musical genres not as a mere observer, but as someone who deeply resonates with the profound insights that each musical style has to offer. He seems to be as comfortable discussing Mendelssohn or Bach as he is discussing Bono or Caedmon's Call.
With One Voice is an important book for pastors, worship leaders and theologians to read, but it is also a wonderful book for anyone interested in song, worship, or connecting on a deeper level with our Singing Savior.

Kidd writes from a rich inner landscape of worship about his experiences as a worship leader and worshipper in several different contexts. His anecdotes and examples are intimate and personal, his treatment of the Scriptural passages is engaging and accessible, and his love for his Savior is evident throughout. People who are interested in thoughtful worship, whether from the leadership point of view or that of the `person in the pew,' will find much in this book to enrich their minds and hearts.

Of particular interest are his descriptions and discussion of the various musical types or styles that are in use in worship services. Classical ("Bach"), folk ("Bubba") and whatever is culturally `current' ("The Blues Brothers") are his categories, and these are doubtless familiar to anyone who has experienced worship in a diverse setting. Kidd's reflections on the place for each of these sorts of music and the importance of recognizing all of them in the Voice of the Singing Savior are compelling as we consider our own church environment of worship. Following the lead of the Lead Singer, Jesus, is the most important thing - and our Lead Singer sings in many ways.

I found this book moving, enlightening (the discussion of Psalm 22 in relation to worship was particularly so) and engaging in a way that many books about worship are not. I was moved to worship as I read this book, I did not merely read about worship.

This book has given me this new vision of Christ as he taught the multitudes. So many times we strip the passion from his words. But certainly, to make his voice carry and to drive home his message he would have intoned his speech and laced it with song. Christ message was sung. It was sung in the hill sides and it was sung on the cross. Kidd refers to Jesus as the "Sweet Singer" who sung "nations into submission by singing them into life." He also clarified for me the connection between Christ's "death-song" and David and Psalm 22. While I have known there was a connection to the psalms when he cries out--or rather sings out--from the cross, "My God, My God. Why have you forsaken me?" But until reading this book I had never examined the context surrounding these words or the text that follows in the Psalm which then creates new meaning.

Reggie Kidd's book is the most helpful on my shelves of worship books that helps me see Christ, musical style and our mission as worshippers in a healthy perspective. Kidd's metaphor of "Bach, Bubba and Blues Brothers" is not only refreshing, it is helpful. My own worship planning and personal listening includes elements of each.

I was a student of Reggie's while this book was written. The book could have come to market several years earlier, or at least people in the publishing world thought so. However, I think Reggie had to go through personal tragedies with his father and the family dog so he could bring these chapters together. The fruit is a good read that will give you lots to chew on. I heartily recommend this book.