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SHOUT to the LORD! Music and Change at Hillsong: 1996-2007

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SHOUT TO THE LORD! Music and change at Hillsong: 1996-2007 Submitted by Tanya Riches, BA (Psychology/ Political Economy) University of Sydney, MA (Theological Studies) Sydney College of Divinity A thesis submitted in total fulfilment of the requirements of the degree of Master of Philosophy School of Arts & Sciences (Victoria) Australian Catholic University Research Services Locked Bag 4115 Fitzroy, Victoria 3065 Australia February 12th, 2010 ACKNOWLEDGEMENTS A special thank you to Hillsong Church, particularly Pastor Brian and Bobbie Houston, George Aghajanian, and also those who assisted me in the formation of this thesis by participating in interviews, and providing their thoughts in order to help me better understand this community and its contribution to Australian music. Thank you also to Mark Hutchinson, Mark Evans, Andrew Harrison, and Sarah Aitkin for your encouragement – and for each playing a different but significant role in pushing me towards the bright light at the end of the tunnel. Thank you to Darlene Zschech. Thank you to my parents, Vivienne Riches and Rodger Riches. Thank you also to Tim Sheerman. Your heart for worship, and patience with the permanent stack of Hillsong music set up in the lounge room makes this achievement as much yours as it is mine. And to those who participate in the leading of Christian worship all over the world, in whatever denomination, may you continually seek to ―worship the Father in spirit and in truth‖ (John 4:23). ii STATEMENT OF AUTHORSHIP AND SOURCES This thesis contains no material published elsewhere or extracted in whole or in part from a thesis by which I have qualified for or been awarded another degree or diploma. No other person‘s work has been used without due acknowledgement in the main text of the thesis. This thesis has not been submitted for the award of any degree or diploma in any other tertiary institution. All research procedures reported in the thesis received the approval of the Human Research Ethics Committee. Candidate‘s Signature: ________________ Date: _______/_______/_______ iii ABSTRACT The Christian pop-rock music of Hillsong is an iconic Australian phenomenon. According to Michael Hawn, ―The music of Hillsong is undoubtedly the best-known church music export from Australia to the world‖.1 This study focuses on the years between 1996 and 2007, a time when Hillsong bands received a staggering amount of industry accolades and awards, and the church expanded from Sydney‘s Hills District into the city, and internationally to London, Paris, Berlin, Kiev and Moscow. Encompassing Darlene Zschech‘s appointment as Worship Pastor, this period saw many developments in the Hillsong musical and textual style, production and marketing strategies, resulting in the creation of Australia‘s leading Christian music publishing house. The study seeks to investigate Hillsong music within its local worship context of Hillsong Church, taking into account data collected from interviews with key leaders, and providing analysis of the content of Hillsong Music Australia‘s annually released albums in both CD and DVD form. It aims to identify and explore the many layers of change that emerge during this time particularly in the areas of repertoire, performance and production. In the song lyric for example, traditional Pentecostal theologies such as the Spirit‘s supernatural empowerment are shown to give way to themes reflective of prosperity gospel, ultimately embracing the foundations of a social gospel. Musically, the product of Hillsong can be traced from black-gospel piano ballads to complex, crafted rock songs that highlight multiple electric guitars and a talented rhythm section; with the United Youth band recordings instrumental in the experimentation and development of a Hillsong sound. The study also investigates the development of marketing strategies and the promotion of a competent, exciting and sophisticated Hillsong brand. This features celebrity artists notably the feminine Zschech and masculine United musicians Joel Houston and Marty Sampson as figureheads – however, by the end of the period, album artworks feature stylised photographs of the church congregation rather than HMA‘s earlier releases promoting glossy images of celebrity worship leaders. The thesis thus comprises a case study, which addresses important tensions inherent in contemporary Christian music. 1 C Hawn, C. Michael. "Congregational Singing from Down Under: Experiencing Hillsong's "Shout to the Lord." The Hymn 57.2 (Spring 2006): 15. iv TABLE OF CONTENTS Acknowledgements ii. Statement of Authorship & Sources iii Abstract iv Table of Contents v Abbreviations viii 1. CHAPTER ONE: INTRODUCTION page 1 1.1. Problem Statement 2 1.2. Research Aim 2 1.3. Research Questions 3 1.4. Scope 3 1.5. Overview of the Study 5 2. CHAPTER TWO: Historical And Liturgical Background page 6 2.1. Introduction 6 2.2. Historical Overview 12 2.3. Hillsong 1983 – 1995: Music under Geoff Bullock’s Leadership 12 2.4. Crisis Leadership and Beyond 16 2.5. Hillsong Liturgy 17 2.6. Increased Symbiosis Between Preaching & Text at Hillsong 21 3. CHAPTER THREE: RESEARCH DESIGN page 23 3.1. Introduction 23 3.2. General Literature Review 31 3.3. Methodology 31 3.3.1. Pentecostal Framework 31 3.3.2. Interviews 32 3.3.3. Three Phases of Hillsong Songs 1996 – 2007 33 3.3.4. Song/Album Analysis 34 3.3.5. Branding: Product and Merchandising Analysis 40 3.3.6. Visual Analysis 41 3.3.7. Music Analysis 41 3.3.8. Rationale for the Exclusion of Data 43 3.4. Terms and Definitions 43 3.4.1. Evangelical 43 3.4.2. Pentecostal 43 3.4.3. Australian Christian Churches 44 3.4.4. Worship 44 3.4.5. Worship Song 45 3.4.6. Glossolalia 45 3.4.7. Song Sections 46 3.4.8. Theomusicological 46 3.4.9. Popular, Secular and Sacred Music 46 3.4.10. Altar Call 47 3.4.11. Song Cover and Album Cover 47 4. CHAPTER FOUR: The Evolving Theological Emphasis of Hillsong Music (1996 – 2007) page 49 4.1. Introduction 49 4.2. Chapter Questions 50 4.3. Literature Review 51 4.3.1. Contemporary Worship Text and Style 51 4.3.2. Trinitarian Address 52 4.3.3. Emotionalism, Love and Feminisation 54 4.3.4. Testimony 56 4.3.5. Expected Transformations 58 4.4. Methodology 61 4.4.1. Quantitative Measurements 61 v 4.4.2. Qualitative Measurements 62 4.5. General Features of Text 62 4.6. Trinitarian Address in HMA Text 69 4.7. Use of the Word “Love” in Hillsong Text 72 4.8. Testimony in Hillsong Text 78 4.9. Expected Transformation 81 4.9.1. Personal Development 81 4.9.2. Supernatural Empowerment 84 4.9.3. Evangelism 85 5.9.4. Prosperity 86 5.9.5. Presence in Suffering/Trial 88 4.9.6. Revival 90 4.9.7. Social Transformation 90 4.10. Chapter Conclusion 92 5. CHAPTER FIVE: THE DEVELOPING MUSICAL SOUND OF HILLSONG page 94 5.1. Introduction 94 5.2. Chapter Research Questions 94 5.3. Literature Review 95 5.3.1. “Praise and Worship” Music and its usefulness in Liturgy 95 5.3.2. Contemporary versus Traditional Music “Worship Wars” 98 5.4. Methodology 99 5.4.1. General Album Analysis 100 5.4.2. Quantitative Measurements 100 5.4.3. Time and Tempo 101 5.4.4. Range Analysis 101 5.4.5. Qualitative Analysis 101 5.4.6. Interviews 101 5.5. General Features of Hillsong Songs/Albums 102 5.5.1. Tempo 102 5.5.2. Track order 103 5.5.3. Title Tracks 103 5.5.4. Structure and Performance Practice 104 5.6. Phase One (1996–1998) Album Analysis 104 5.7. Phase One (1996 – 1998) Song Analysis 106 5.7.1. HB: “God Is In The House”, God Is In The House (1996) and HB: “All Things Are Possible”, All Things Are Possible (1997) 106 5.7.2. HB: “Holy Spirit Reign Down”, Touching Heaven Changing Earth (1998) 109 5.8. Phase Two (1999-2003) Album Analysis 110 5.9. Phase Two Song Analysis 113 5.9.1. HB: “By Your Side”, By Your Side, (1999) 113 5.9.2. UB: “Everyday”, Everyday, (1999) and HB: “Everyday”, For This Cause (2000) 114 5.9.3. UB: “My Best Friend”, Best Friend (2000) 116 5.9.4. HB: “You Are My World”, You Are My World (2001) 117 5.9.5. UB: “I Adore”, King of Majesty (2001) and HB: “I Adore”, Blessed (2002) 118 5.9.6. UB: “To The Ends Of The Earth”, To The Ends of The Earth (2002) and HB: “To The Ends Of The Earth”, Hope (2003) 120 5.10. Phase Three (2004 – 2007) Album Analysis 121 5.11. Phase Three Song Analysis 124 5.11.1. UB: “One Way”, More Than Life, (2004) 124 5.11.2. UB: “Salvation is Here” Look To You, (2005) / HB: “Salvation Is Here” God He Reigns, (2005) 126 5.11.3. UB: “Take It All”, United We Stand, (2006) 128 5.11.4. HB: “Mighty To Save”, Mighty To Save, (2006) 129 5.11.5. HB: “Saviour King”, Saviour King, (2007) / UB: “Saviour King”, All of The Above, (2007) 130 5.12. Chapter Conclusion 132 vi 6. CHAPTER SIX: Changing industrial mechanisms of Hillsong Music 1996 – 2007 Page 134 6.1. Introduction: Music Marketing 134 6.2. Chapter Research Questions 134 6.3. Literature Review 134 6.4. Methodology 139 6.5. Service and Event Advertising 141 6.6. The Annual Hillsong Marketing Roll-Out 141 6.7. Hillsong Publishing and HMA Structure: The Church the Artist 144 6.8. Openness to Secular Models 146 6.9. Components of Branding 149 6.9.1. Competence 149 6.9.2.
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