The term “Christian music” has become perhaps one of the most contentious phrases in all of music. People on all sides disagree as to how it is defined and who is or isn’t a “Christian” artist. For many, the term not only breeds confusion but disappointment. Many have come to feel that the entire concept of a uniquely “Christian” music has lowered the artistic integrity as the message becomes the sole pursuit.

In the end though, it is the message that we must consider and we must do so in the context of the music itself. The content cannot be separated from the form. This becomes easier when an artist is not only clear about what they want to communicate but also does it with artistic excellence, a combination difficult to come across regardless of the genre! Jon Shirley is an artist with a clear vision, both for the ears and the heart and his newest release “Heaven Hear Us” succeeds in capturing this vision.

Shirley, formerly of Nickel & Dime, first came to my attention from a former member of that band. Grassroots Music had his first CD Hallelujah on sale and I promptly picked it up after listening to only a few short clips. That album succeeded in drawing from a warm, Daniel Lanois influenced production as the perfect setting for deeply heartfelt and worshipful lyrics. The album, however, had some significant weak spots, including a spoken-word segment that seemed to flounder admist the other songs.

Three years later, Shirley returns with his follow-up, Heaven Hear Us which includes a re-recorded version of “The Light of All Men” from Hallelujah. The album is promoted as: “Rising out of the experience of the Gathering in Kansas City come eleven new urgent, provocative, and prophetic anthems for a brave and determined generation.” Shirley himself says: “My new album is called Heaven Hear Us, because we want Heaven to know we hear the call for urgent action in the Kingdom of God on this earth. Christ IN US is the hope of Glory! Keep going - to that end!”

Musically the album is a clear outgrowth of Hallelujah, drawing from the same atmospheric rock anthem molds that have helped drive artists like Chris Tomlin and Tim Hughes. But there is an added ambience, an extra texture if you will that helps separate Shirley’s productions from some of the others in the genre. Shirley is not just concerned with music as a means to the end of the lyrics. He understands that there ought to be a connection between the form and the content and he successfully creates music that drives the lyrics themselves. The songs are firmly rooted in the “praise and worship” style with many lyrics directed to God Himself but there is also a care to the form.

Shirley understands that the power of music itself actually can help or hinder the lyrical content. He uses the familiar quite-build-to-anthem structure but in this format it works incredibly well. The content is focused heavily on God’s majesty and uses big hooks to help focus the listener. The songs are often appropriately big without being distracting using chorus backing vocals to add weight and draw out the words.

Yet while many of the songs are “big,’ they are also humble. The re-worked “Light of All Men” includes the lines “I fall on my face on the ground in the presence of Jesus.” incorporating a piano melody line the song (and perhaps the album as a whole) is sure to garner some Coldplay comparisons, but that’s not necessarily a bad thing. Artists such as Leeland and Jason Morant have also successfully incorporated the style to highlight rather than detract from the lyrical content and Shirley certainly succeeds as well if not better than do any others.

Shirley has crafted an album that is not only moving lyrically but musically. Certainly no small feat.

• Visit Jon Shirley’s official website