In the late 2000s and early 2010s, a vibrant movement swept through conservative evangelical circles, particularly among the Young, Restless, and Reformed (YRR), also known as Neo-Calvinists. Dubbed “Holy Hip-Hop” or “Reformed Rap,” this genre blended theologically rich lyrics with the rhythms and cadences of hip-hop culture. Artists like Lecrae, Sho Baraka, Curt Kennedy (formerly known as “Voice”), and Shai Linne became household names in Reformed circles. Their music, packed with references to Calvinist doctrines, sermon clips from the likes of Paul Washer and James White, and bold proclamations of the gospel, captivated a generation of young, predominantly white, conservative Christians.
The enthusiasm was palpable. These artists were invited to perform at major conferences, share stages with theological heavyweights like John Piper, Tim Keller, and Albert Mohler, and even minister in churches that had never before considered hip-hop a legitimate form of worship. The novelty of seeing black rappers alongside “stuffy, old, white theologians” was undeniable. It felt like a triumph of the gospel—a moment where racial and cultural barriers were being transcended through shared theology.
Yet, as the years passed, this hopeful coalition unraveled. The rise of the Black Lives Matter (BLM) movement and the broader cultural shifts toward “wokeness” exposed deep fissures. One by one, these Reformed Rap artists began to embrace positions that clashed with historic Christianity, adopting elements of Critical Theory, endorsing leftist ideologies, and openly criticizing conservative evangelicalism. What began as a celebrated union of gospel-centered theology and urban artistry ended in division, disillusionment, and, in some cases, perceived apostasy.
Reformed Rap and its initial embrace by the YRR, the controversial NCFIC panel discussion that foreshadowed tensions, the artists’ shift toward leftist ideologies during the BLM era, and the lessons learned about the limits of theological unity in bridging cultural divides deserves a post-mortem review.
THE RISE OF REFORMED RAP
The Reformed Rap movement emerged in the early 2000s, gaining traction with the formation of Reach Records, co-founded by Lecrae, and the influence of groups like Cross Movement. Artists like Lecrae, Sho Baraka, Curt Kennedy, and Shai Linne crafted music that was unapologetically theological. Their lyrics tackled doctrines like total depravity, substitutionary atonement, and the sovereignty of God, often weaving in quotes from Reformed giants like Charles Spurgeon or Neo-Calvinist, John Piper.
Lecrae’s Rebel (2008) and Shai Linne’s The Atonement (2008) were emblematic of this era. Lecrae’s “Don’t Waste Your Life” echoed Piper’s book of the same name, while Shai Linne’s “Jesus is Alive” unpacked the resurrection with theological precision. Curt Kennedy, then performing as “Voice,” released albums like The Endorsement (2008), which included sermon clips from James White. Sho Baraka’s Turn My Life Up (2007) blended social commentary with gospel truth, earning him a spot at Southern Baptist Theological Seminary’s chapel under Albert Mohler’s leadership.
I was excited, too. Brannon Howse nixed my intro music to Polemics Report when it aired on Worldview Weekend, because it was from Curt Kennedy and Howse argued his audience demographic wouldn’t approve. I consented, but saw nothing wrong with his music. Frankly, I loved it. Instead, I ended up replacing the clip from Kennedy (which I received permission from him to play, personally over the phone while expressing my gratitude) with ‘Shelter Me’ by Tab Benoit.
Conservative evangelicals were thrilled. Here were young black men using a genre associated with secular culture to proclaim Reformed theology. Piper interviewed Lecrae, Dever hosted Shai Linne, and Paul Washer’s sermons were remixed into “sermon jams” by artists like Timothy Brindle. The movement was seen as a bridge between urban communities and suburban churches, a way to reach youth disillusioned by the prosperity gospel or secular rap.
Conferences like the Gospel Coalition and Desiring God events featured these artists prominently. Young white men in rural churches or urban seminaries blasted Lecrae’s music, reveling in the fusion of doctrinal depth and cultural relevance. The appeal was not just theological; there was a certain “cool factor” in aligning with black artists who shared their Calvinist convictions. It felt like a new era of unity, where the gospel transcended race and culture.
THE NCFIC PANEL: A WARNING IGNORED
In 2013, the National Center for Family-Integrated Churches (NCFIC) hosted a “Worship of God” conference that included a Q&A panel discussion on Reformed Rap. The panel, featuring pastors like Dan Horn, Scott Aniol, Geoff Botkin, Joel Beeke, Jason Dohm, and Joe Morecraft, was asked about the genre’s legitimacy, given its theologically sound lyrics but controversial musical style. The response was explosive.
Panelists expressed deep skepticism about Reformed Rap. Geoff Botkin called the artists “disobedient cowards” who were “serving their flesh” and “following the world.” Scott Aniol argued that rap was “inherently denigrating” and incompatible with Christian aesthetics, even if the lyrics were sound. Another panelist described rap as “the death rattle in the throat of a dying culture.” These remarks, rooted in concerns about worldliness and cultural conformity, were met with immediate backlash.
Social media erupted. Bloggers like Owen Strachan and Thabiti Anyabwile condemned the panel’s comments as culturally insensitive, if not implicitly racist. Strachan called the remarks “beyond the pale” and demanded that NCFIC repudiate them. Anyabwile labeled the panelists’ statements as “escalating idiocy” and questioned whether they even viewed Reformed rappers as brothers in Christ. The outcry was so intense that NCFIC pulled the video, and several panelists issued apologies.
Scott Brown, the conference director, apologized for “springing a controversial subject” without warning, admitting the panelists were unprepared. Geoff Botkin expressed regret for his “strong language,” clarifying that he didn’t believe all rappers were cowardly but remained concerned about cultural compromise. Joel Beeke and Ligon Duncan also distanced themselves from the panel’s tone, with Duncan affirming his appreciation for Shai Linne’s “doctrinally solid raps.”
At the time, the YRR largely sided with the rappers. The panelists were seen as out-of-touch, their critiques dismissed as cultural snobbery or veiled prejudice. The apologies seemed to vindicate the movement, and Reformed Rap continued to flourish. Yet, in hindsight, the NCFIC panel’s concerns about worldliness, however poorly articulated, foreshadowed the tensions that would soon emerge.
THE BLACK LIVES MATTER TURNING POINT
The rise of Black Lives Matter in 2014, following the death of Michael Brown (the thug, not the charismatic apologist), marked a pivotal shift for Reformed Rap artists. As racial tensions gripped the nation, Lecrae, Sho Baraka, Curt Kennedy, and Shai Linne began to address issues of systemic racism, police brutality, and white privilege in their music and public statements. While some of their critiques were grounded in biblical calls for justice supposedly, their rhetoric increasingly aligned with secular ideologies like Critical Theory, which emphasizes systemic oppression and power dynamics.
Lecrae, the most prominent figure in the movement, was the first to signal a shift. In 2014, he published an op-ed in The Huffington Post criticizing “white evangelicals” for their silence on racial injustice. He later tweeted support for BLM, distancing himself from the “All Lives Matter” counter-narrative. His 2016 album All Things Work Together included tracks like “Facts,” which tackled “systemic inequality” and criticized conservative talking points. By 2020, Lecrae was openly endorsing progressive politicians like Stacey Abrams, who supports abortion rights, and appeared on platforms with secular activists, blurring the lines between gospel witness and political activism.
Sho Baraka followed a similar trajectory. His 2013 song “Jim Crow” used the n-word and critiqued racial hypocrisy in the church, sparking debate among evangelicals. By 2016, Baraka had parted ways with Reach Records, citing creative differences over his increasingly political content. His 2016 album The Narrative leaned heavily into themes of Black identity and systemic racism, with songs like “Kanye, 2009” mocking conservative evangelicals. Baraka also endorsed texts like Jemar Tisby’s The Color of Compromise, which argues that evangelicalism has historically propped up white supremacy, a claim that alienated many of his former conservative supporters.
Curt Kennedy, once celebrated for his sermon-jam collaborations with James White, also shifted leftward. By 2020, he was vocal on social media about “Black Power” and “systemic racism,” criticizing conservative Christians for their “colorblind” approach to race. His music began to reflect these themes, moving away from the doctrinal focus of his earlier work. Kennedy’s embrace of BLM and rejection of conservative evangelicalism marked a stark departure from the artist who once opened podcasts with his tracks.
Shai Linne, long regarded as the “Isaac Watts of urban Christianity,” was perhaps the most heartbreaking case for many YRR fans. His 2013 song “Fal$e Teacher$” had called out prosperity gospel preachers like T.D. Jakes and Joyce Meyer, earning him accolades from conservative circles. Yet, by the late 2010s, Linne was critiquing evangelicalism’s handling of race. Linne retweeted articles questioning Lecrae’s salvation (good for him) and later apologized (which was unfortunate), but his growing emphasis on “racial justice” aligned him with progressive voices, distancing him from his Reformed roots.
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