Because I’m Batman! No, I’m just kidding. If you didn’t get that joke, don’t worry—the millennials did, and they know they walked right into it.

Now that I’ve lightened the mood, hopefully, I believe it is paramount that we calm some people down before jumping into this subject. Take a deep breath. This is more of an essay than an article – and we’re going to talk about Hillsong, Bethel, and those other so-called “unholy hits” that many in the church today want to boycott with a level of fervour that might make John the Baptist blush.

Before we dive in, let’s address the elephant—or perhaps the golden calf—in the room. I know some of you are already sharpening your theological swords. You’ve heard this debate a hundred times, and your stance is rock-solid. Singing songs from these ministries is unwise, in poor taste, and sets a bad precedent for the church. Fair enough. But let me offer this suggestion – if you’re allowed the righteous indignation of demanding these songs be exiled to the pits of Gehenna, surely the rest of us are allowed some wit from the opposing perspective. After all, humor has a way of loosening clenched fists and softening hardened hearts – maybe.

So, let’s try to approach this with a little grace—and maybe a dash of humor. If we can’t laugh a bit while we wrestle with weighty matters, we might need to revisit Ecclesiastes. There is, after all, a time to mourn and a time to laugh—and maybe a time to sing Living Hope.

With that said, let’s jump right in. This isn’t a call to blindly endorse Hillsong or Bethel as ministries. Far from it. Their theological errors and sometimes troubling practices are well-documented. But when it comes to their music—those stand-alone songs we sing in church—we need to tread carefully. This isn’t just about avoiding error; it’s about how we discern truth, beauty, and goodness in a fallen world.

Let’s begin with what this issue is really about—whether this is a matter of sin or wisdom. Then, we’ll look at Scripture to build a theological framework for understanding music and its proper use in the church.

Wisdom vs. Sin: Getting Your Theology (and Temper) Right

Firstly, is singing a Hillsong or Bethel song a matter of sin or a matter of wisdom?

Sin, as Scripture defines it, is a transgression of God’s law (1 John 3:4). It is rebellion against God and an affront to His holiness. If we are going to call something sinful, we need to have a clear, biblical foundation for doing so. Singing “O Praise the Name” or “Living Hope” does not violate any commandment of God. It’s not idolatry, it’s not blasphemy, and it sure ain’t heresy.

But sin is not merely about the external action; it includes the motive behind the action and the manner in which it is carried out. Let me explain.

1. The Sin of Motive: A perfectly good action can become sinful when done with the wrong motive. For example, Jesus condemned the Pharisees for their prayers—not because prayer itself is sinful, but because their motive was self-exaltation (Matthew 6:5). Similarly, someone could sing the most biblically sound hymn ever written, but if their motive is to show off their vocal talent or appear pious, they have sinned in their singing.

2. The Sin of Behavior: This refers to how an action is carried out. Suppose a worship leader performs a hymn in a way that is flashy, self-centered, and distracting to the congregation. While the hymn itself may be doctrinally sound, the manner in which it is sung undermines its purpose—to glorify God and edify the body. The Apostle Paul warns against behavior that causes distraction or division within the church (1 Corinthians 14:40).

3. The Sin of the Action Itself: This is the most obvious category. Some actions are sinful by nature, regardless of motive or manner. Singing a song that explicitly denies the gospel or promotes heresy falls into this category. If someone sang a song declaring that Jesus is not God or that salvation comes through works, they would be engaging in an action that is sinful in itself.

Now, where does singing a Hillsong or Bethel song fit into these categories? Let’s consider each one:

Motive: If someone sings “Living Hope” because they want to appear trendy or align themselves with a popular movement, they may be sinning in their motive. But the same can be true of someone who sings “Amazing Grace” with pride in their heart. The problem is not the song itself, but the heart of the singer.

Behavior: If a worship leader chooses to perform a Hillsong song in a way that mimics a concert atmosphere, drawing attention to themselves rather than pointing the congregation to Christ, they may be sinning in their behavior. But again, this has more to do with how the song is used than the song itself.

The Action Itself: Here’s where the rubber meets the road. Is the song inherently sinful? Does it contradict Scripture or promote false doctrine? If the answer is no—and for many Hillsong and Bethel songs, it is—then we cannot call the action of singing it a sin.

This framework helps us see that the issue is not as simple as labeling all songs from these ministries as “sinful.” The same principles apply to hymns. You can sing “A Mighty Fortress Is Our God” with pride in your heart, and the beauty of the hymn does not excuse the sin. Conversely, you can sing “Still” with a sincere desire to glorify God, and the origin of the song does not negate your worship.

On the other hand, wisdom is the application of biblical principles in areas where Scripture does not provide explicit commands. Wisdom involves discernment, nuance, and grace. It’s the difference between refusing to eat food sacrificed to idols (a sin, if done in the context of idol worship) and eating the same food with a clean conscience because the idol is nothing (1 Corinthians 8).

Discernment is not about creating arbitrary rules but about applying biblical principles with wisdom and grace. If the motive is pure, the behavior is fitting, and the song aligns with Scripture, then it can be sung to the glory of God. And if someone finds their conscience burdened by the origin of a song, they should follow their conscience without imposing it on others (Romans 14:5-6).

To those who condemn all songs from Hillsong or Bethel as sinful, I would simply ask: are you applying the same scrutiny to every hymn, worship song, and even your own heart during worship? Sin is not just about what we sing but how and why we sing it. If someone thinks that singing a Hillsong or Bethel song is inherently sinful (and not a matter of wisdom), they might as well start crafting a list of every tainted hymn, chorus, and melody in history—because this is going to take a while. It would be far easier to get their theology straight than overcomplicate things. However, if it’s a wisdom issue—and I’m convinced it is—then perhaps the energy spent on condemning these songs and complaining about the churches that sing them could be redirected.

Start small. Make a cup of tea, maybe water a plant, and we can approach this discussion without needing to hold an exorcism for the worship set. We have grounds then for a reasonable conversation.

What Music Is and How It Should Be Used

Music is not an accident. It did not stumble out of the void, shrug its shoulders, and decide to stick around. No, music was spoken into being, woven into the very fabric of existence by the Word who flung stars into the night and set the cosmos spinning. The universe hums because God sings, and the rhythm of creation is the echo of His voice.

In the beginning, the Creator didn’t just make a world; He composed it. God said, and it was so. The Word that called light out of darkness also carried sound into silence, giving the void its first taste of rhythm. Let there be light, He declared, and the vibrations of His voice brought illumination to the formless deep. The act of speaking creation into existence wasn’t merely functional—it was symphonic. His words were not only commands; they were notes that struck a cosmic chord, giving form to chaos and harmony to what was once void.

Light burst forth in a crescendo, the firmament stretched like strings on a harp, and the oceans roared their applause. The stars twinkled in harmony, a celestial choir strung across the heavens. And when He formed man, He placed within him not just breath but song. The human voice—crafted to declare truth, carry love, and embody beauty—was tuned to the same key as the galaxies.

Peter Leithart sees this harmony, this eternal song, in his meditations on music – “Music is not merely an accessory to worship; it is part of the fabric of the world.”¹ . Creation itself pulses with rhythm, from the rising and setting of the sun to the ebb and flow of the tides. The very structure of our reality is musical. Every atom vibrates, every soundwave dances, every heart beats in tempo with the Creator’s design.

But music does more than reflect creation—it calls us into it. It bridges the gap between heaven and earth, between the seen and unseen. When the Psalmist declares,

The heavens declare the glory of God; the skies proclaim the work of His hands

Psalm 19:1

it is not just poetry. It is the soundtrack of reality. The world sings because its Maker sings, and we, His image-bearers, are invited to join the chorus.

The Musical Creatures We Were Made to Be

Since music is woven into the very fabric of creation, it is not surprising that we are all, by design, musical creatures. Our bodies pulse in rhythm—our hearts beat in time, our lungs expand and contract, and even the electrical signals firing through our brains move in patterns. Music is not just something we listen to; it is something we are.

When we sing, we are engaging in a uniquely human act that reflects the Creator’s own nature. Our vocal cords vibrate, shaping breath into melody, and we join the song of creation. This act is profoundly expressive, a language that conveys joy, lament, awe, and love. Tune and rhythm are the tools we use for this expression. They are the structure and scaffolding upon which the art of music is built, invaluable in shaping the sound and feel of a song. Yet, the true heart of music lies not in the tune or the rhythm but in the singer.

Here’s where we need to tread carefully. The songwriter is not in the equation when we sing. Once a song is written and released into the world, it becomes part of the cosmos—like a bird’s melody in the air or a poem etched in ink. The songwriter’s righteousness (or lack thereof) is not the primary question. Instead, the focus should be on the righteousness of the song itself in the hands of the Christian. Is the song true? Is it good? Is it useful for worship, instruction, or edification? These are the questions that matter, because music is a tool—a vehicle of expression. A song can be a good tool or a bad tool, but its usefulness is not determined by the morality of its creator. After all, a hammer doesn’t become useless if the blacksmith is dishonest, nor does a knife lose its edge if the smith harbored ill intent.

In the same way, a song should be judged by its content and purpose. When a Christian picks up a song, the question is not whether the songwriter was perfect, but whether the song aligns with the truth of Scripture and glorifies God. To dismiss every song written by flawed individuals would leave us with empty hymnals and silent sanctuaries.

So, let us evaluate music not by the failings of its composers, but by the righteousness of the song itself. Tune and rhythm are invaluable tools for the work of worship, but the ultimate expression comes from the heart of the singer, not the moral scorecard of the writer.

Music in Worship: The Language of Intimacy and Adoration

Music, as a language, is one of the most intimate expressions of devotion and adoration in our worship of God. It is more than words set to rhythm; it is the pouring out of the heart through melody, a way of aligning our emotions, affections, and thoughts with the glory of the One who created us. In Scripture, music is repeatedly tied to worship, not as a secondary element, but as a central means of proclaiming God’s glory and engaging with Him personally.

The Psalms, often called the hymnbook of ancient Israel, are perhaps the clearest example. These songs cover the full range of human experience—joy, sorrow, repentance, thanksgiving, and praise—and they were written by flawed men. King David, one of the most prominent authors of the Psalms, was both an adulterer and a murderer. Yet God chose to use David’s pen and voice to deliver some of the most beautiful expressions of worship ever written. Psalm 51, David’s anguished plea for mercy after his sin with Bathsheba, stands as one of the most profound hymns of repentance in all of Scripture. Should we reject this psalm because of David’s failures? Of course not. Instead, we see it as an example of how God uses broken vessels to create something beautiful.

The role of music in worship extends far beyond the Psalms. When Miriam led the women of Israel in song after their deliverance from Egypt (Exodus 15), it was a spontaneous and heartfelt expression of gratitude for God’s mighty acts. When Paul and Silas sang hymns in prison (Acts 16:25), their song was both a declaration of faith and a testimony to the power of God amidst suffering. And when the saints are pictured in Revelation, singing a new song to the Lamb (Revelation 5:9), their voices resound with the eternal worthiness of Christ. Music is, and has always been, a sacred language for proclaiming God’s glory and engaging in intimate worship.

Yet, both tunes and rhythm themselves are not inherently holy or unholy—they are tools, medium through which we express the song. Like any tool, it can be used well or poorly, but its moral weight is not found in the tool itself. The key question is not, “Who wrote this song?” but, “Does this song glorify God and proclaim His truth?”

Disharmony entered the world the moment Adam and Eve chose to disobey God. In the garden, creation was a perfect symphony, each part in tune with the Creator’s design. Humanity, as the crown of creation, was meant to sing in harmony with God’s will, reflecting His glory. But when Adam sinned, the melody was broken. The curse of sin disrupted the harmony between God and man, man and creation, and even within man himself. Romans 8:22 tells us that “the whole creation has been groaning together in the pains of childbirth until now,” a clear picture of the discord introduced by sin. Adam’s sin was not just a single act of rebellion; it was the opening note in a symphony of disharmony that has echoed throughout history in the lives of his descendants. This brokenness is evident in every aspect of the world—including the way we use music.

When we use these tools—melody, rhythm, and lyrics—to dishonor God, we contribute to the disharmony in the broken symphony of this fallen world. But when we use these tools to glorify Him, to proclaim His truth and beauty, we join in His great work of redemption, restoring the music of creation to its intended harmony. Each note, each word, becomes part of the eternal anthem that resounds with His glory and grace.

This truth liberates us from the need to overanalyse the personal lives of songwriters while still holding the content of their songs to a high biblical standard. When we sing, we are using a language that speaks to the deepest parts of our being. The act of singing is an offering, a way of surrendering our hearts to God. It engages our minds with truth, stirs our emotions with beauty, and moves our wills to align with His purposes. Music has a unique power to unite the intellect and the affections, elevating simple words into something that resonates eternally.

Evaluating the Content, Not the Composer

One of the primary arguments against singing songs from Hillsong or Bethel is guilt by association. The reasoning goes something like this: since these ministries are theologically compromised, anything they produce must also be rejected. And not only that—when theologically stable saints or churches dare to sing these songs, they too are lumped in with the error, condemned as wishy-washy, weak, or compromising.

No, my friend. Quite the opposite. I do not believe that those who sing these songs are the weaker brothers. In fact, I believe we are the stronger ones precisely because we are able to sing them appropriately. We are not stumbling over every perceived impurity but are discerning enough to separate what is true and good from what is flawed.

This guilt-by-association logic crumbles under scrutiny. If we were to reject every song, book, or sermon based on the flaws of its author, we would have to discard much of the church’s heritage. Consider Martin Luther, a champion of the Reformation who also penned troubling and harmful writings about the Jews. What about Augustine or C.S. Lewis? They’re all celebrated figures in Christian history, yet their perspectives on various doctrines would be considered problematic by many standards. Should we, then, abandon their contributions to the faith? By this logic, every hymn, commentary, or theological work would have to be subject to an impossible standard of purity that even the authors of Scripture themselves would not pass if measured by their personal failings.

The strength of the mature believer lies in discernment, not in fear. To sing a song that aligns with biblical truth while rejecting the errors of its author is not compromise—it is wisdom. It is the ability to use the tools at our disposal for God’s glory while standing firm in sound doctrine. We are not swayed by the name of a ministry but anchored by the truth of God’s Word, which enables us to worship freely and rightly. Weakness avoids the challenge; strength engages it with wisdom and conviction.

To dismiss a song simply because it comes from Hillsong or Bethel is to misunderstand the nature of music itself. A song is not a systematic theology textbook. It is a vehicle of worship that stands on its own merits. The question we must ask is, “Does this song proclaim biblical truth?” If it does, then it can—and should—be used to glorify God, regardless of its origin.

A Hard Look at History

Throughout church history, many beloved hymns have been written by individuals whose personal lives or theological views were complex and, at times, controversial. Yet, these hymns continue to inspire and edify believers worldwide.

Robert Robinson authored the cherished hymn “Come Thou Fount of Every Blessing” in 1758. Despite his early fervor, Robinson later faced significant spiritual struggles and periods of doubt. Accounts suggest he wandered from the faith he once proclaimed, though details about his final spiritual state remain uncertain. He was prone to wander. Nonetheless, his hymn endures as a profound expression of the soul’s yearning for divine grace.

Horatio Spafford, known for “It Is Well with My Soul,” endured profound personal tragedies, including the loss of his four daughters in a shipwreck. In the aftermath, Spafford and his wife, Anna, moved to Jerusalem and established a religious group known as the “Overcomers.” This sect held unorthodox beliefs, diverging from mainstream Christian doctrine. Despite these theological deviations, Spafford’s hymn remains a testament to steadfast faith amid suffering.

John Newton, a former slave trader, penned “Amazing Grace” after his conversion. However, even after embracing Christianity, Newton continued his involvement in the slave trade for several years before fully renouncing it and becoming an advocate for abolition. This timeless hymn was forged in the heart of the slave trade.

William Cowper, the author of beloved hymns such as “God Moves in a Mysterious Way” and “There Is a Fountain Filled with Blood,” wrestled with severe depression and mental illness throughout his life. He endured recurring bouts of despair and made multiple suicide attempts, often plagued by doubts about his own salvation. Yet, despite his struggles, Cowper’s hymns are rich with a deep trust in God’s sovereignty and goodness, providing solace and hope to countless believers who face similar battles.

I could keep going on and on, but I’m sure you get the point.

These examples beautifully illustrate how God, in His sovereignty, chooses to use imperfect individuals to create works that profoundly impact His Church. Broken vessels often sing the most glorious songs, and rather than being ashamed of their flaws, we should rejoice all the more, for it is through their brokenness that God’s power and grace are magnified.

But he said to me, “My grace is sufficient for you, for my power is made perfect in weakness.” Therefore I will boast all the more gladly of my weaknesses, so that the power of Christ may rest upon me.

2 Corinthians 12:9

This truth means that when weak and broken people write hymns of faith, hope, and love, the glory goes entirely to God. The strength, beauty, and lasting impact of their songs are not a testament to their perfection but to the sufficiency of God’s grace working through them. These hymns endure because they point away from the flaws of the writer and toward the perfection of Christ.

Instead of discrediting these songs because of their authors’ weaknesses, we should marvel at the way God redeems brokenness for His glory. The profound truths in hymns like “Amazing Grace” or “God Moves in a Mysterious Way” shine brighter because they were written by men who personally wrestled with sin, doubt, and suffering. When we sing these hymns, we are reminded that God doesn’t call the perfect to display His glory—He calls the weak, the struggling, and the flawed. Their songs reflect the redemptive work of God, showing us that His grace can bring beauty even from the depths of human imperfection.

This recognition should fill us with gratitude and awe. It encourages us to see the depth and richness of these hymns not in spite of their authors’ struggles but because of them. Each note, each line, becomes a testimony to the Gospel—the power of God to redeem and restore. When broken people write glorious songs, it is a picture of the very grace we sing about. So let us not diminish their works by focusing on their flaws. Instead, let us lift our voices with joy, proclaiming the truth that God’s power is made perfect in weakness, and His grace is sufficient for all.

What about Heresy?

The critique often leveled against songs from Hillsong or Bethel is not simply that they come from broken people but that they come from heretics—unregenerate individuals producing unholy works. This is a serious charge, but one I am hesitant to make in such broad strokes. Those who use this standard would likely have rejected the Corinthian church outright, the very church that Paul laboured to correct and persuade despite their severe errors (1 Corinthians 1:4-9).

It is true that God is fully capable of removing the lampstand from any church that strays too far from Him (Revelation 2:5), and it may be that He has already done so with some of these ministries. The theological issues within Hillsong and Bethel are not minor—they often propagate distorted views of God, worship, and the Christian life. Such errors must not be overlooked or excused, and the broader Church is right to take them to task for their harmful teachings and practices.

However, the discussion often lacks nuance. Many Christians fail to recognize that there is a category for “genuinely Christian, but in serious error.” These churches are not inherently God-haters or Christ-revilers. Instead, they are profoundly broken, erring in significant ways that need to be addressed with clarity and truth. They often mix sound doctrine with emotionalism or prosperity theology, resulting in confusion and spiritual harm. Yet, this does not necessarily mean that every member or leader in these movements is unregenerate or beyond hope.

Some of their songs reflect the theological problems that plague these ministries, and such songs should rightly be avoided. If a song promotes false views of God, centers on self rather than Christ, or subtly reinforces heretical ideas, then it has no place in our worship. Discernment is not optional—it is a biblical mandate (1 John 4:1).

But discernment works both ways. When someone like Darlene Zschech takes a Psalm and adds a beautiful melody to it, there is no reason to cringe. A faithful Christian does not need to reject such a song simply because of its origins. Instead, we need to do a better job of singing it from a place of sound theology. We don’t allow the flaws of the songwriter’s context to dictate our worship; we let Scripture and truth shape how we approach the song.

This balance is crucial. We must avoid both uncritical acceptance and blanket rejection. Not every song from these ministries is inherently heretical. Some can be sung to the glory of God when handled with care and theological grounding. The key is to evaluate each song individually, judging its content against the truth of Scripture. In doing so, we can worship with integrity, glorify God, and avoid unnecessary division over matters that require wisdom and discernment.

The Legitimate Pastoral Caution

There may be several valid pastoral reasons why churches choose to avoid songs from a particular ministry, individual, or even specific songs. For example, in some cultural contexts, a congregation might be heavily influenced by ministries like Hillsong or Bethel in ways that lead to theological confusion or an unhealthy emotionalism. In such cases, a pastor might wisely decide to refrain from using their songs to prevent further influence.

Similarly, consider a situation where a church that formerly embraced New Apostolic Reformation (NAR) theology reforms its beliefs and embraces sound doctrine. Out of a desire to break ties with their past errors, such a church might reject the songs associated with their former theology to preserve their new identity and convictions. Another example could involve a local church struggling with idolatrous views of celebrity pastors or musicians, where avoiding certain songs could help redirect the congregation’s focus to Christ alone.

Other scenarios might include congregations that want to prioritise a specific theological or stylistic direction, or even cases where the use of particular songs could cause unnecessary divisions among church members. Pastors and churches are free to discern and decide how best to govern these situations in their own context, seeking to shepherd their congregations with wisdom and care.

But this article is not aimed at those pastors making thoughtful decisions based on their specific circumstances. It is addressed to those who appoint themselves as moral policemen, pulling their hair out over songs sung in other churches while inadvertently drawing more attention to problematic ministries through their constant rhetoric than any of their songs ever would.

Let’s be honest, how many people in our congregations are truly being led astray by these ministries? In most cases, the only reason they even know about Hillsong or Bethel is because of the repeated warnings from the pulpit or social media diatribes. If someone does end up following these ministries, it is rarely because of a single song—it’s because the church failed to provide a robust theological foundation in the first place.

If a person is so easily swayed by a song that they fall into bad theology, it reveals a deeper issue. It is not Hillsong or Bethel that led them astray; it is the lack of discipleship in their own church. A healthy church, firmly rooted in Scripture and sound doctrine, will produce believers who can discern truth from error—even when exposed to imperfect sources. Rather than focusing on uprooting every “dangerous” song, we should strive to cultivate a congregation grounded in the Word and capable of engaging the world with wisdom and maturity.

Conclusion: A Call to Discernment, Not Division

The church is called to be discerning, but that discernment must be rooted in love and truth, not fear or reactionary judgment. To boycott all songs from Hillsong or Bethel without evaluating their content is to fall into the very legalism we often critique. Instead, let us judge each song on its own merits. Does it glorify God? Does it proclaim biblical truth? Does it edify the body of Christ? If the answer is yes, then let us sing with joy and gratitude. And if the answer is no, then let us reject it—not because of its source, but because it fails the test of Scripture.

The church’s music should be as wide and deep as creation itself, encompassing the full range of human experience and divine truth. Let us not limit ourselves by rejecting songs solely based on their origins. Let us be a people who sing with discernment, grace, and above all, a passion for the glory of God.

So here’s the bottom line. Sing with your eyes wide open. Sing like you know the Maker of the stars and the Writer of the story. Don’t fear the notes or the chords or the melodies—they belong to Him. The devil didn’t create the G chord, and he doesn’t own the tune. But sing wisely. Discern the words, test the spirit, and judge the song by the weight of Scripture. Sing to make the mountains shake, the seas roar, and the heavens echo with the glory of God.

If the song points to Him, sing it like you mean it. If it doesn’t, toss it like yesterday’s trash. But don’t waste your breath worrying about where it came from. Worry about where it’s going—to the throne of grace, or into the void of self-centered noise. Let the Church be a people who sing bold, fearless, truth-soaked songs that cut through the darkness like light through a stained-glass window.

So sing, Church. Sing like warriors in the midst of battle. Sing like saints gathered at the feast. Sing like sinners redeemed by grace. And let the world hear the echoes of a redeemed creation, one hymn at a time.

1. Peter J. Leithart, Blessed Are the Hungry: Meditations on the Lord’s Supper (Moscow, ID: Canon Press, 2000), 65.
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