Introducing their review of Derek Webb’s new album Mockingbird, Christianity Today argues that Webb is “one of today’s best songwriters in Christian music, and quite possibly the bravest.” What they mean is that he is garnering for himself a reputation for stepping on toes, saying much that needs to be said, and some that doesn’t.

Derek Webb, former member and songwriter of Caedmon’s Call has been a solo artist for a little less than three years now. In that time, he’s released three proper albums and a live compilation, not only proving himself outspoken but prolific.

His album She Must And Shall Go Free profoundly affected me. A meditation on the Church, it came at a time when my wife and I were wrestling with a call to ministry. Seminary professors were tell us that if we could picture ourselves doing anything other than ministry and being content, then we should. At the same time I was becoming convicted of the central role that God has designed for the Church in the Christian life and my heart was (and still is) breaking that so few take the idea of Church seriously. Webb’s lyrics “You cannot care for me with no regard for her, if you love Me you will love the Church” were literally music to my ears.

I See Things Upside Down seemed significantly less focused both in sound and content. Suffering from bland arrangements and the lack of central focus of his previous effort, the album felt rushed. The standout track for me was The Strong, The Tempted and the Weak, but it was not a strong enough track to keep the entire album in repeat rotation.

In many ways, Mockingbird stylistically picks up where Upside Down left off. Many of the moody pop structures reappear as opposed to She Must and Shall Go Free’s stripped Americana. The significant factor is that where Upside Down added pots rattling in the background and other clangings, Mockingbird incorporates Beatles’ influenced string and woodwind elements, conjuring an almost 60’s feel to many of the tunes. One has to wonder if this was intentional given the pacifistic message of songs such as My Enemies Are Men Like Me. The track itself is inconsistent, on one hand arguing that “teaching peace through war is like teaching purity through fornication,” and then saying “I will protest the sword if it’s not wielded well” all to the chorus of “I would rather die than take your life.” Webb apparently protests the sword because, in his opinion it’s never wielded well.

Lyrically the album has other problems. Many will be uncomfortable with his poor choice of imagery, particularly on the track Please Before I Go in which he sings “like an addict to his fix, so am I to your sweet kiss, the wife of my youth, my drug of choice.” Yes, it conveys the emotion quickly but Shakespeare it isn’t. The imagery is neither helpful nor good poetry. Webb also needlessly includes a line in the song A King & A Kingdom: “nothing unifies like a common enemy and we’ve got one, sure as hell.” Yes, I understand that its there for emphasis, but I also understand that its unnecessary and in poor judgment if your goal is truly edification (which it ought to be, even when pointing out problems in the way many live their faith).

Webb takes aim at several sensitive issues. Using the motif of a mockingbird throughout the album, Webb challenges the shallow faith that far too many live, simply repeating the last song that we’ve heard. On New Law, Webb challenges, “don’t teach me about politics and government; just tell me who to vote for. Don’t teach me about truth and beauty; just label my music; Don’t teach me how to live like a free man just give me a new law.” Taking one more comical swat on his way through the china shop, Webb sings “Don’t teach me about moderation and liberty, I prefer a shot of grape juice.”

While such lyrics are certainly provocative and challenging in an artistic context, they are anything but helpful in this thing we actually call the Christian life. Such comments are the antithesis of a true understanding of liberty and anything but helpful. Like a little boy who has not quite grown into his best suit but still insists on wearing it, Webb sincerely parades several big ideas that he’s apparently not quite grown into yet. Do we lean towards legalism? Absolutely but that parading liberty is equally (if not moreso) dangerous. Do we turn the other cheek and love our enemies? Absolutely, but that does not mean pacifism is a Biblical system in the slightest. Do I love my wife and her kisses? Absolutely but that doesn’t make drug imagery appropriate.

Many of the issues tackled here are done so thoughtfully and sincerely, Webb bears his convictions strongly, even when they’re a bit misquided. We could all use a bit of his zeal. Webb presents challenging issues in a challenging way. Musically, he seems to be gaining stride formulating nice pop structures and nuanced, atmospheric production. Both he and Cason Cooley have crafted a very full warm album and ought to be congratulated for their production work.

Like David Crowder’s A Collision, we are reminded that it is often the initally difficult albums that prove rewarding in the long-term. Though I don’t agree with some of Webb’s conclusions (or the way he chooses to communicate some issues), this album is head and shoulders above anything else “CCM” or any of its derivatives is churning out. It is both challenging and rewarding; both creative and sincere.

Bottom line: highly recommended (with some theological cautions).

Read the Challies interview part one.
Read the Challies interview part two.
Read Christianity Today’s review of Mockingbird.
Visit the Derek Webb page at Christianity Today Music.
Visit Derek Webb’s official website.