The lights dim. Everyone in the crowd becomes silent. The crash of several large doors closing rings in the distance. At the front of the auditorium, a blue, shimmering light begins to illuminate the stage. Two singers appear under the light with several instruments behind them. The wall behind the stage flickers with pulsating screens of blue and orange. The screens suddenly focus on the singers, and a quiet, gentle invitation can be heard: “We are really glad that you are here with us today. We just want to invite you to sing some songs with us that remind us that God is with us no matter what we are walking through, that He is strong, that He is our rescue, and we can have hope in that today, so sing with us” (Bishop).
The instruments in the background intensify as the song begins, and the crowd is awe-struck by the talent and emotion conveyed by the music. The sound of guitars, basses, and keyboards resonate throughout the room. Individuals in the crowd start to sway back and forth with the rhythm of the music. As the song closes, the crowd heartily claps in appreciation for the musicians, and a peaceful tune is played on a piano to conclude the service (Bishop).
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For many, this type of worship is appealing and uplifting. The songs, the music, the ambience, and the casual attitude of this manner of worship engage both the heart and the mind in ways traditional worship did not (Duncan 170). In these services, modern musical instruments, such as guitars and synthesizers, are used to “lead people into authentic expressions of worship and a genuine experience of the presence of God” (Zahl 102). The emphasis is not on style, but on relationship (105). In these circles, the traditional manner of worship that uses organs and choirs is viewed as boring, rehearsed, and a stumbling block to post-Christian America (102,