Op-Ed By Charity Nicholson
Charles Spurgeon became a preacher at the age of fifteen. By nineteen he was leading what would become the largest church in the world outside of the Church of England. For three decades he was a prolific sermon writer whose words spread across the British empire and around the globe. He could have easily rested on his laurels and enjoyed the last years of his life in comfort. But, in 1887, Spurgeon set out to “Defy the Downgrade” he saw taking shape within the Baptist Union. The four main contentions were the denying of: the inerrancy of scripture, substitutionary atonement, the reality of hell, and the deity of Christ.
Spurgeon openly called out those within the Baptist Union ascribing to these heretical ideas. He similarly called out those who, while agreeing with him in private, lacked the courage to speak up publicly. Ultimately, his calls went unheeded and he voluntarily left the Baptist Union in 1887. He was censured by them in 1888 and was still in the shadow of the Downgrade Controversy when he passed away in 1892.
One hundred thirty-nine years after Spurgeon’s efforts, and one hundred eighty-two years after the initial publication of their beloved tunebook, Sacred Harp singers today find themselves confronted with a similar downgrade of their tradition - from fervent worship in spirit & truth to non-religious, all-inclusive folk music.
“Folk Music”
In the 1970s some prominent singers sought to spread the Sacred Harp tradition beyond its ancestral boundaries where interest had begun to wane. It was promoted at folk festivals where it was dubbed “folk music”. By definition folk music is passed down orally, without attribution. While Sacred Harp does not meet these criteria, labeling it as folk music served to interest singers who did not ascribe to its Christian foundations.
Thus, the downgrade subtly began. These early non-traditional singers were respectful, seemed to honor the tradition and wished to get the practice just right. Sacred Harp was growing! What could go wrong?
“No Religion or Politics”
With the influx of non-traditional singers, a new mantra arose within parts of the community: “no religion or politics in the hollow square.” These topics were not historically banned from Sacred Harp. In fact, singings were predominantly held in churches, and Christian faith was often openly proclaimed from the hollow square where singers sit in vocal parts.
Traditional singers allowed this mantra to persist in hopes that through hearing this music unbelieving singers would be converted. In taking a clear-eyed look, this mindset has borne little good fruit over time.
Doctrine-Free
As time went on self-proclaimed “experts” began to teach that the Sacred Harp was not doctrinal, another obvious error. The Sacred Harp was compiled for low-church Protestants who agreed on many fundamentals, including the doctrine of the Gospel. Sacred Harp songs point to Christ, the son of God, the spotless Lamb, who died on a cross for the transgressions of sinful men, and rose again on the third day that we who believe might spend eternity with the Lord.
Traditional singers, wanting to extend a welcome and not cause offense to new singers, began to allow that the religious words didn’t really matter.
Inclusivity Achieved
The downgrade, paved with the good intentions of generational singers, reached its peak through the summer of 2020 and with the 2025 revision of the Denson Sacred Harp tunebook. It seems that the ban on discussion of religion and politics now only applies to conservative Christians, who have been openly lambasted for their beliefs. A dissertation was published with a chapter on ‘queering the Sacred Harp’. Lectures on pronoun usage have been offered at singings, and lists distributed dictating which “offensive” songs were not to be sung. Sacred Harp songs are used as ICE protest anthems, and queer affirming poetry is set to the tune Holy Manna. There is mounting evidence that the 2025 revision intentionally favored songs written by unbelievers over Christians: making choices based in diversity rather than merit. On social media a singer declared the golden rule to be b— s—, while another singer publicly mocked the murder of Charlie Kirk at the 2025 book’s debut event.
The few traditional singers who dare to speak out are accused of divisiveness, bigotry, and racism.
“For my part, I am quite willing to be eaten of dogs for the next fifty years; but the more distant future shall vindicate me.”
When Spurgeon issued his warning of the downgrade, the Prince of Preachers did so knowing the personal toll it would exact. Though he suffered greatly, he remained steadfast in faith that the passage of time would vindicate him.
And so it has! Though in the sunset of his life he lost friends and his reputation suffered, he became the most published preacher in history. His courage in “Defying the Downgrade” still inspires Christians today. As is written on his tomb: “He fought the good fight, finished the course, and kept the faith.” Traditional singers, are you willing to defy the downgrade and take a stand for this beloved tradition at the risk of loss, knowing that one day you will be vindicated upon hearing the words “well done, thou good and faithful servant”?
