An at least small tremor erupted within Big Evangelicalism in the last several weeks when celebrity evangelical Josh Harris announced he left the Christian faith.  Many other big named evangelicals followed his declaration with an analysis, including Albert Mohler.  I think another evangelical, Carl Trueman, makes a more accurate assessment of the relationship of Joshua Harris to evangelicalism in his post at FirstThings, called “Kissing Christianity Goodbye.”   He writes:

While Harris seems to be making a clean break with his past, the style of his apostasy announcement is oddly consistent with the evangelical Christianity he used to represent. He revealed he was leaving the faith with a social media post, which included a mood photograph of himself contemplating a beautiful lake. The earlier announcement of his divorce used the typical postmodern jargon of “journey” and “story.” And both posts were designed to play to the emotions rather than the mind. Life, it would seem, continues as performance art. 

In a sense, that is exactly how and why the YRR was so successful: savvy harnessing of fashionable idioms and marketing strategies, exceptionally clever use of social media, large and well-organized conferences, and professional-grade websites—all fronted by attractive personalities and brilliant communicators. Orthodoxy as performance art, one might say. And Harris was both a product of and a player in the YRR project.

Later he continued:

But the movement’s leadership was often arrogant. In public, critics were derided and then ignored; in private, they were vilified and bullied. An extensive informal network of individuals, institutions, and organizations who wanted a slice of the YRR action was happy to oblige the padrini by keeping critics on the margins. And one by one big leaders fell from favor: Mark Driscoll, James MacDonald, Tullian Tchividjian, C. J. Mahaney, now Josh Harris. On Friday the news broke that The Village Church, home of YRR megastar Matt Chandler, is being sued over alleged mishandling of sexual abuse.

Sing! 2019  has all the earmarks of Trueman’s words about evangelicalism, which I’m calling “A Mess” here, and with Sing! 2019 an exhibit.  It mixes many and varied contradictory characters in the name of the life of Christ and worship.  It really is the jello running into the mashed potatoes and gravy into a soupy matrix, the latter evangelicalism for a lot of reasons, but a major one because its leaders either can’t or won’t draw necessary lines between the holy, the good, the true, and the beautiful with the profane, the bad, the false, and the ugly.  Because of the confusion arising from association and toleration, most of these, like the Samaritans of Jesus day, think they really are worshiping God.

Trueman lists C. J. Mahaney, who brought Josh Harris into the “sovereign grace ministries.”  Mohler writes like he knew all along there was a problem with Harris, even though Mahaney was his close friend as part of the smash, Together for the Gospel quartet.  Mahaney seemed like an outlier in the four, because even though they were all Calvinists — Mohler, Dever, Duncan, and Mahaney — he was also charismatic.  Still working right with Mahaney is his longtime partner and still assistant, Bob Kauflin, a part of the Sing! 2019 line-up, which is packed with continuationists, who report extraordinary manifestations of the Spirit and God talking to them.

Sing! 2019 uses the world’s music, characterized by its fleshly lust, sensuality, and breathiness.  It uses ecstatic experiences as a counterfeit of the Holy Spirit, what John MacArthur has called, strange fire, the headliner of the conference.  MacArthur has allowed his image, associated with his preaching and preaching about worship, to syncretize with the worldly, entertainment spectacle of Sing! 2019, it’s rap, rock, country, and other forms of popular music.  The promotional video includes the “worship” of Irish dancing.  The Gettys, who lead the conference, promote their national tour on their website with more of the same.

MacArthur called charismatic worship, Strange Fire, an offense to the Holy Spirit and counterfeit worship.  The worship of the Sing! conference is strange fire.  Open the lid and look into what the “artists” of Sing! 2019 and you see the influences secular, godless, and pagan, just the opposite of what God accepts in worship.

There is only one true imagination of God and it is according to what He has revealed in His Word.  The god of Sing! 2019 uses the name “God,” but it isn’t the same God.  The God of the Bible would not be represented by what its adherents say is their worship.  If you are a professing Christian, who keeps the world’s music in your life and then think God accepts it in worship, you have a different God than what I have.  We are not worshiping the same God, and a different God than the true God isn’t the one who can and will save from sin and death.