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Over the last couple of decades, I can’t think of anything more controversial in evangelical worship circles than this topic:
“Should I sing songs from churches like Bethel, Hillsong, Elevation, etc.?”
The question carries an implied critique: These churches have engaged in problematic and at times, heretical behavior and teachings. And in the last few years, exposés have been compiled, pulling back the curtain on hiding abuse, questionable ties with controversial figures, and evidence of lavish lifestyles of leaders that seem incongruent with a posture of humility and modesty.
Here’s the thing though: Songwriters from these churches have contributed meaningful songs to the global church, transcending language barriers and generations, becoming essential means of worship in the lives of believers.
On one hand, the songs themselves provide something that cannot be ignored: truly formative spiritual expression. On the other hand, there’s another side that, again, cannot be ignored: their respective institutions are plagued by sin, false teaching, and questionable motives/means of “ministry.”
So, how do we navigate the issue of singing these songs while remaining true to a strong, biblical ethic?
The answer isn’t clear-cut, but here’s how I’ve done it over the years.
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Laying Out the Reasoning
For those who abstain from these particular songs, the reasons cited are often as follows:
Performing these songs generates royalties for these churches’ ministries, perpetuating the problems mentioned above. Abstaining from using their songs in worship starves out the ministries and in turn, eliminates some of these issues, at least at an institutional level.
At face value, the words might seem orthodox (this excludes songs with outright false teaching/heresy, or even vague teaching), but the inspiration behind the words comes from false/problematic doctrine. So for example, we might all be singing “Father, Son, and Holy Spirit,” but to churches like Bethel, where they have taught a “Son” as “emptying himself of divinity” (contradicting the Nicene view of all three persons being equal in divinity, authority, and majesty), we are actually singing of two different understandings of who who God really is. (See editorial commentary here from Murray Campbell; it’s worth noting that the original article from Charisma Today has been removed.) Other examples include Steven Furtick (Elevation Church) dipping into modalistic language in a sermon from 2020, saying that Jesus would “change forms,” thereby undermining the unique nature of the persons of the Trinity being co-existent and co-equal. (Here’s the original sermon; this is a pattern of critique that ties into his relationship with T.D. Jakes, whose ministry is even more controversial in evangelical circles.)
For those who heartily embrace these songs, I would sum up as:
They are culturally relevant, giving present-day audiences a means of modern expression reflective of current tastes. (Which I do believe is worth considering; artistic/aesthetic values should align well as culture unfolds, and we shouldn’t be married to any particular expression other than what is God-honoring.)
They are often more emotionally effective, where audiences can experience more precise expression of emotion through matching musical dynamics.
For the former group, abstaining from these songs helps them feel more true to theological formation, and for the latter, it’s all about effective participation.
Oftentimes, viewing these distinctions results in a black-or-white, “this-or-the-other” dilemma—we ONLY use songs for formation or we ONLY use songs that are peak-expressive.
But my thing is:
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My (Evolving) Solution
Years ago, I would’ve landed firmly in the camp of no Hillsong, Bethel, Elevation, etc. But post-COVID, I’ve felt conviction about ministering to congregations through songs that are equally formative and expressive. I built a priority/hierarchy system for song usage as follows:
Scripture sung verbatim or concrete biblical truth is at the top.
Theological vagueness is cut—we need deep, piercing themes.
Older hymns are programmed for their content and style accordingly, but they are not elevated to sacramental level, and they are arranged to have similar aesthetic values of contemporary songs without losing their musical identity.
For the naysayers who would rather see me completely cut out the songs from dubious sources, my response is this:
I don’t prioritize those songs above others that come from sources that have the orthodox “green light” given. (I’m talking about the Getty’s, Sovereign Grace, City Alight, etc.) Equally, I don’t elevate the latter into sacramental status.
I don’t give every song in those catalogues a pass. Only the lyrically true and melodically accessible songs make the cut.
I do believe that despite the problems, God can use songs with true words to draw His people into closer communion with Him, whether in calling, worship, or in fellowship. This is a posture adopted throughout church history, e.g., Lutherans carrying the torch of their namesake despite his anti-Semitic views; Reformed/Calvinists holding to their theology even though Calvin himself condoned capital punishment for heresy.
I do believe that churches should prioritize their own songwriting if they truly want to be free of the ethical dilemma presented by royalties/theological implication, but realistically, incorporating songs from other sources is essential for collective expression.
Royalties and theological association are fairly low-tier for me; I don’t think most people run to Bill Johnson and Steven Furtick as their go-to teachers, given the critical material out there that is holding them accountable, and the advancing of God’s kingdom outweighs any revenue generated by man that might run contrary or competes.
Will this view change as the years go by? Perhaps.
But I really do believe that God is in the business of bringing His people more aligned in expression and formation as they prioritize His Word. Problematic institutions and material will not stand the test of time, especially as people create more art that has higher fidelity to the Truth.
Be blessed 👊✌️
Derek is the founder and director of Worship Strategies and is also Creative Ministries Director Faith Family Church in Fayette, MO. Outside of ministry, he is active as a musician and entrepreneur. He is married to his wife Kaitlynn, and they have two beautiful daughters.
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