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It's been the compulsion of newly signed Christian artists for almost as long as Christian music has been around: Ye Olde Move to Nashville. Whether the upstart group hails from West Chester, Pennsylvania or Walla Walla, Washington, the pot of gold at the end of the rainbow is hidden somewhere in Music City, Tennessee-and the fortune hunters flock in droves to stake their claims.
The Swift-a positively rollicking, piano-based pop-rock foursome hailing from various sectors of North Carolina-has also been signed not too long ago and, like so many others, also made that familiar trek to Nashville.
But hold the phone - they didn't move for the reasons you might expect. The fellas didn't come to Nashville to advance their careers, hobnob with their rock 'n' roll heroes and other artists, or bask in the glimmer and glitz of the Ryman or the Bluebird. They're in Nashville so they can more easily fulfill one of their primary calling - and this may be a first in the history of Christian music: To uphold and challenge the Christian music industry.
"The more we got involved in the ministry side of music, the less we saw of artists actively sharing the gospel and pursuing audience members at concerts," says Britt Edwards, 26, the Swift's piano-playing lead vocalist with the unmistakable southern accent. "We felt if God could use us as salt and light, we could help raise the standards for Christian artists. I know we're new and young, but I still wanna be an example to Christian bands like other have been to us. It's a shame that some groups and singers have captive audiences every night, and the audiences are walking out the door the same. I'd love to see labels hold their artists more accountable, too. "I mean, on the one hand, we don't think we'll change the world...but on the other hand, why couldn't we?"
Such is the all-or-nothing passion for ministry and music that infects Edwards and his cohorts, guitarist Chris Byers (26), bassist/vocalist Mike Simons (21), and drummer Trae Drose (24). If it ain't about Jesus, there ain't much room for it. End of story. Given their level of commitment and mission - and more obviously given the barrelhouse, heavy-handed piano chords Edwards pounds out on catchy, '70s-infused tunes such as "'Til I Met You" (a ditty the band completely arranged in one day) - it should come as no surprise that Keith Green has been the major influence, both musically and ministry-wise, on the Swift.
"When I first heard Keith Green, his passion and his songs hit so heavy!" Edwards recalls. "Nothing really challenged me as much as his music did. So I obviously gravitated to his stuff, and then his piano style just grew on me."
In the process, what the Swift discovered was that following in Green's footsteps not only provided shape and definition to the band's message, but it also set apart the group from the musical pack. "Today's songs are based so much on sounds and studio tricks," Edwards notes, "but we focus more on the melodies and good, solid riffs. And that's a lot of what Keith did. Plus, there's not a whole lot of piano rock out these days-so there really aren't a whole lot of groups you can compare us to."
Not that the guys in the Swift are super serious all the time. Far from it. According to guitarist Byers, the mood is "absolutely lighthearted" around the Swift camp. "We're dorks 95 percent of the time!" Byers says. "We're crazy and fun and laugh a lot-definitely not artsy fartsy. I mean, we're serious about what we do, but we're serious about having fun, too!"
The Swift's split personality of seriousness and levity, in the end, is best observed through their energetic, emotional songs-steadfast, important messages (and some totally hilarious ones) supported by total abandon on their instruments. Produced by Jason Burkum-"our George Martin," says Byers-the Swift's self-titled debut comes at your ears from all directions.
Take "Come On" as an example: It prominently displays Edwards' piano in a decidedly ragtime setting, along with a stick-in-your-noodle melody and some slammin' bass, drums, and guitar-all supporting lyrics that charge believers to not wait for all conditions to be just right before they spread the gospel: "It might be your last shot...you know it backwards and forwards...get on with it."
Not that the Swift can't write a heartrending ballad or two. One listen to "More Than Gold" ("I love Your word...it speaks to me more than gold") will get you on the phone with your church worship leader, begging for this hymnlike, string-and-harmony-filled tune with the Queen-influenced guitar solos part of regular Sunday services. Then ready yourself for total wackiness as the Swift pulls the gags out of its collective hat and fills your ears with the harpsichord runs in "He's Making Sunshine" (an "Addams Family kind of song," says Edwards) and the bouncy "Moshing Machine" (about "a big kid in youth group who scares all the little kids when he wants to mosh during praise and worship," Edwards adds).
In the final analysis, the Swift knows it has a tough hill to climb when the goal is to turn around Christian music-but they're going for it full bore. "We're supposed to fulfill the Great Commission," Edwards asserts. "And either we accept responsibility for that duty now or be held accountable later. As a Christian community, we're responsible for each other. We need to encourage each other in that direction. This is what we've seen the Lord do for us-and we want to do it for others." |
