Review: Dan Lucarini. Why I Left The Contemporary Christian Music Movement: Confessions of a Former Worship Leader. Darlington, England/Webster, NY: Evangelical Press, 2002, 138 pp..

Reviewed by Jeffrey T. Riddle                                                              Vol. XVII, No. 9, Nov/Dec 2004

Pastor, Jefferson Park Baptist Church, Charlottesville, VA

This book is written by a self-described former “foot soldier” in the movement to drive traditional churches to accept contemporary Christian music (CCM) in their worship. He now rejects the use of CCM in evangelical churches and has written this book to expose the dangers of its uncritical acceptance. He summarizes the reasons for his departure: “Our key premises were that music is amoral; God accepts all music styles; and no one should judge another’s preferences or tastes. As I dug into the Bible to prove them right, instead I saw that they were man-centered, illogical, and misrepresentations of basic biblical principles” (34).

The author outlines his theological and philosophical objections to the use of CCM. He begins by questioning the wisdom of using contemporary music in order to meet the felt needs of or to appeal to the human worshippers. He calls this the lie of “God accepts us as we are.” He makes the serious charge that CCM presents dangers of immorality (by use of secular music), divisiveness (splitting churches between traditionalists and CCM proponents over worship styles), and deception. Among his comments: “Our acceptance of CCM into our worship services has hurt an entire generation of older Christians, has led to church splits, and has created a breeding ground for immorality, selfishness and divisive attitudes in younger generations” (46).

Central to Lucarini’s argument is the idea that musical style is not morally neutral (amoral) or merely a matter of tastes and preferences. On the contrary, he argues that CCM is based on rock music which “is clearly and unequivocally associated with immorality, especially promiscuous and adulterous sex, glorification of drugs, and rebellion against authority” (91). He thereby raises a question that is seldom heard even in our doctrinally conservative churches: “With what moral dimension is my favorite music associated?” (91).

In the closing chapters of the book, the author anticipates and answers typical objections that are raised to acceptance of CCM. These include the question of whether the use of CCM is justified in order to reach people. Lucarini concludes: “We should not accept just any worldly method to reach the lost. Instead we must discern carefully what methods are acceptable for use in the kingdom of God” (100). Based on the research of John Makujina (Measuring the Music), Lucarini also debunks as evangelical myth the frequently used argument that CCM is justified because past luminaries like Luther and Wesley adapted secular tunes to gospel use. The author further derides the use of blended services and separate services (traditional and contemporary) as a “slippery slope” that inevitably leads to “blurring” that “is almost always towards contemporary shades” (123).

In conclusion, I believe that Lucarini’s book deserves to be read and discussed by those who lead worship in local churches. Lucarini’s report is anecdotal and personal and is certainly not an exhaustive biblical and theological treatment of this subject. It does, however, raise courageous questions in a direct but not mean-spirited manner about the evangelical church’s sometimes uncritical rush to jump on the CCM bandwagon. We would do well to consider prayerfully whether or not the church has been aided or hindered in its faithfulness by making use of worldly musical styles in its services.