June 12, 2006 - Shut Up and Listen to Phil Wickham

weekly fodder for the flock...

Join our e-mail list!

Just type your e-mail address below and press submit.

Print
Shut Up and Listen to Phil Wickham

Phil Wickham, Sony, 2006
Reviewed by Chris Anderson
June 12, 2006

With the look of a man reeling as he tries to recover from a bad drunk, Phil Wickham cries his melodies of God’s redeeming grace. If it weren’t for the word, “LOVE,” Sharpie-etched across the back of his right hand, Wickham’s image would carry the appearance of a lost soul, and perhaps he still is.

Disheveled bed-head. An unkempt week-old shadow-beard. Perhaps this wayward appearance lures the unsuspecting sinners when Wickham performs on the California boulevards. Melancholy seduction beckons one to hear his story of a God who will shine on those who call to Him out of their grayness. The lyrics are strong, and the message patient. But where, Phil Wickham, is the joy?

His image and sound reflect a man still mired in the riddles of self, washing his imperfections in the precious blood of his Savior. In a “groomed-to-clean-cut-perfection” Christian world that is frequently enamored by the three-minute pop star, Wickham’s act might be a little too real. The Christian walk is not always accompanied by a straight set of whitewashed teeth, and in this lies the poetry that is uniquely Phil Wickham. As grace and sadness intertwine, the listener yearns for him to break through and conquer the haunting sadness, and, in a few glimmering instances, a hint of Christ’s triumph emerges.

He Sounds like Who?
The listener is first struck by a lilting croon that somewhat resembles DC Talk’s Kevin Smith (Max). As the self-titled album unfolds, it reveals what Queen’s Freddy Mercury may have sounded like had he found grace in Christ. Wickham’s voice is soft, melodious, and almost spell-binding. Peter Kipley’s production has skillfully captured the essence evoked by Wickham’s muse. Perhaps Blake Panter provides the album’s mesmerizing undercurrent with his additions of “Melodica” and “Ambiance.” Underneath the simple acoustic rhythms, bass guitar, and drums, Panter’s aural pool tactically draws perfect attention to Wickham’s message.

Called to be a youth worship leader since age 12, tracks like “Divine Romance” and “I Will Wait for You” give the onlooker a glimpse into what would probably be a magical live acoustic performance. (Unfortunately, most of Wickham’s shows are scheduled on the West Coast). Every aspect of the debut is solid, but lacking brilliance. His lyrics speak of Jesus in familiar terms; never twisting to regain the listener’s ear after a song begins. Wickham has fully grasped grace, and his style has been established. Now he needs to grasp and establish the songwriter’s hook.

His soulful praise and heartfelt worship please the ear, but, due to the high keys brought by the strange nature of his voice, singing with Phil Wickham’s music is nearly impossible. In the wake of a recent listen, you may find yourself humming a line or two, but when the album returns to the CD player, you will find yourself sitting again in rapt attention.

What He Is and What He Isn’t
This is not the album for uplifting Christian music. Wickham never pretends to have a corner on holiness, and the joy of the Lord rarely enters his voice. The song with the most potential to spill into contemporary worship circles is track eight, “Always Forever,” which could become an excellent wedding song. His debut single, “Grace,” which can be downloaded free, represents the album well.

Barring reinvention, Wickham will likely make a splash, but not stay afloat. The strength of the album lies in its wholeness. At the end of 11 tracks, the first track, “Grace” beckons for another listen from top to bottom.

For a sincere cry from the heart, shut up and listen to Phil Wickham. You may not be able to sing along, but, in its entirety, Wickham’s debut album aptly paints a somber portrait of a flawed world still awaiting the perfect Messiah.

ninetyandnine.com

-------

Before his conversion in 1999, Chris Anderson served as Program Director and deejay for several Central Illinois radio stations, including the Classic Rock, Modern Rock, Country, and Top 40 formats. During this time BC, he also managed several rock, folk, and death metal bands, while also performing in a heathen rock act called Joyhammer. Chris is also a recent graduate of Urshan Graduate School of Theology. If you tickle him right, he will tell you stories about when Ozzy Osbourne, Danzig, and Bob Zany cussed him out on separate occasions for no particular reason.