“Also that day they offered great sacrifices, and rejoiced, for God had made them rejoice with great joy; the women and the children also rejoiced, so that the joy of Jerusalem was heard afar off” (Nehemiah 12: 43 KJV).
An interesting article published by The Root discussed the loss of Choirs in the Black Church.
Asheea Smith. The Root. What Happened To the Black Church Choirs? The Answer: Praise Teams: Black church choirs are dwindling as praise teams rise across many congregations, a shift shaped by COVID-19, changing church culture, and the growth of contemporary worship. June 3, 2026.
The article cites Huan Walker, “a seasoned musician at Life Change Church with 20 years in church music ministry.” Reminiscing on what the article defines as the “good old days of Black Choirs,” the article does little more than just that, wane on what Huan Walker and Asheea Smith see as bygone days.
The rise of “praise teams” and contemporary Christian music (CCM) is contextualized due to the COVID pandemic, as the slow termination of “traditional” Black Choirs. Short on any further analysis, The Root article by Asheea Smith reads more depressing than spiritually encouraging.
The concluding paragraphs of the article begin to move the proverbial needle in a constructive direction.
“While choirs and praise teams may differ in size, style, and presentation, Huan Walker argues that the purpose of worship remains unchanged. Whether it’s a 50-person choir in matching robes or a six-member praise team backed by a contemporary band, effective worship isn’t measured by the number of voices on stage, but by the sincerity of the hearts behind them.
“As long as the person leading has their heart in the right place, they should be able to impact the spirit of worship in a great way,’ Walker said. ‘I think this new model can still be effective and serve as a great tool for worship. More than anything, it comes down to heart posture” (The Root, June 3, 2026).
This statement by Huan Walker is a juxtaposition against the opening argument of the article; the slow loss of Black Choirs is due to external conditions and the rise of a Christian music market industry. Yet, here, Huan Walker reverts back to a foundational principle of worship music: to celebrate and give thanks to God through music. Holding contrary positions is not uncommon in critical theoretical circles. However, these contrary positions are staged to give a positive mask and authoritative tone to the otherwise bleak outline of the article.
Contemporary Christian music (CCM) circumnavigates around and originates from a market faith-based industrial complex. To coin “praise teams” as a defining profile for these smaller, country/rock/quasi-alternative music ensembles (bands) who employ surface biblical context and disperse these productions as credible faith-based “worship” music is useful as a socio-religious jab, but also discriminatory to favor and privilege “traditional” Black Choirs.
The market use of faith-based context with an inept relationship to the core elements of theomusicology is the complication with contemporary Christian music (CCM), expressed through “praise teams” as noted by Huan Walker. The term applied to these smaller ensemble/bands who operate through, willinginly or unconsciously through the contemporary Christian music (CCM) market industrial complex satisfies two seemingly unrelated but mutually inclusive points: 1. The ensemble/band believes they are expressing true “worship” music, and 2. The selection of music financially promotes the contemporary Christian music industrial complex. Church audiences, as they would be in this analysis, are external observers who participate from an outside position of a non-performer seeking to internalize the “worship” selection for personal gain. This operates under the larger, unrecognized yet quite visible contemporary Christian music industrial complex. The “praise team”/ensemble/band manufactures a representation of this market industry for the church audience. Both participants are insiders-outsiders to the mechanics of the contemporary Christian music (CCM) market industrial complex. Huan Walker and Asheea Smith point in the right direction, but allow their biases to privilege “traditional” Black Choirs, missing the larger growth of a market industry which is more the rational reason for the slow erosion of the “traditional” Black Choir.
“Both the singers and the gatekeepers kept the charge of their God and the charge of the purification, according to the command of David and Solomon his son” (Nehemiah 12: 45 KJV).
Worship Another Way
If we recognize the importance of “worship” as noted by Huan Walker, without falling into a similar pitfall as argued, giving a look at what other options for “worship” are available expands the conversation.
Recognizing that Christianity foundationally comes from Judaism, it would be logical to see what contemporary “worship” options are being expressed from a Jewish perspective. “Worship” is a strongly held term with subtextual references and personal implications from a socio-religious Christian perspective. Judaism recognizes “worship” as Shachah.
Shachah (שָׁחָה, pronounced roughly shaw-khaw’ or sha-khah) is a key Hebrew verb in the Bible, meaning to bow down, prostrate oneself, or depress/low oneself. It often implies a physical act of humility, reverence, or submission — such as bowing low, falling on one’s face, or kneeling before a superior (a king, God, or even an angel) (worshiparts.net). The most common Hebrew word translated as “worship” in the Old Testament (biblehub.com). The use can range from lowering oneself to signify submission to both positive worship of God and, in some cases, negative worship of false gods.
Already, the term Shachah expands the discourse and limitation of “worship.” Where Christian “praise” or “worship” music relies heavily on a communal experience (external) which is to align one with their religious practice and discipline (internal), Shachah starts at a personal level (internal) with the expansion to the employed community (external). The difference here draws a connection to Matthew 20:27, “And whoever wants to be first among you must be your servant” (NLT).
Bible Hub notes that “Matthew 20:27 teaches that true greatness in the Kingdom of God is measured by service and humility, not by power or status. Jesus instructs His disciples that anyone who desires to be first must adopt the posture of a servant, reversing worldly notions of leadership and authority (Matthew 20:27-28 NIV). The term “servant” here is translated from the Greek word doulos, which implies complete devotion and selfless service to others, highlighting the radical nature of Jesus’ teaching in a society where slaves were considered the lowest class” (Bible Gateway, n.d.).
This analysis brings to light how Shachah operates from the individual (the servant – doulos) to inform, support, and serve the community. This draws a varied approach to how religious music is applied from a Jewish perspective than the Christian assumptive perspective noted previously. If we follow the servitude identity of Shachah, there is no “worship” or “praise” music. Each musical moment is a prayer, not isolated for personal consumption, managed through a market industrial complex, or objectified socio-religiously. Each time music is engaged, the individual is transformed into servitude, to bow low in reverence.
Where the Black Choir music leader and author of The Root article emphasized a musical traditional privilege which allows for personal inclusion as a secondary principle, Shachah gives immediate attention to personal inclusion first, with the community available to organically follow. This is not to say that Christian “worship” or “praise” music does not entertain a profile of servitude. Rather, the archetype of contemporary Christian music (CCM) comes from a market-influenced industrial complex that emphasizes the contact point of contemporary Christian music (CCM) to be navigated, produced, and sustained from a defined market-influenced industrial complex. In contrast, Jewish music, traditional and contemporary, following the historical narrative and understanding of Shachah, defies a market-influenced industrial complex. The music supports the community by way of the religious discipline.
The relationship between these two musical trajectories does have convergent points as much as divergent points. One central difference would be how congregations retain and entertain music as a biblical discipline in their daily lives. Christian communities are more apt to reference religious music in their daily activities less as a moment of prayer but more as one of temporary comfort; a recollection of a phenomenological moment of happiness (read: personally and temporarily defined) rather than joy (read: personally and permanently defined). Whereas music from a Jewish, Shachah perspective is an act of joy (read: personally and permanently defined) which then brings happiness (read: personally and temporarily defined).
It may appear as an inverse application of the same point. However, anyone who is invested in their faith-based journey will recognize the depth and breadth difference between happiness and joy. Joy is the height one seeks to attain in a life of prayer and devotion to God. Happiness comes by the minor moments which move one from low points to temporary higher points. Further, Huan Walker’s lament of “traditional” Black Choir music expression is a voice of missing happiness. Shachah knows only joy, with the lament being how one misses multiple opportunities in their days to bow low and serve God through music.
Scriptural references of Shachah speak to the embedded understanding of this theomusicological discipline.
Genesis 18:2 — Abraham “bowed himself” (shachah) to the ground before his visitors.
Exodus 4:31 — The people “bowed their heads and worshiped” (shachah).
Psalm 95:6 — “Come, let us worship and bow down” (using shachah).
Living Humility In Song
To see how Shachah is contextualized in contemporary Jewish and Christian socio-religious music disciplines, the selected works below outline a theomusicological profile and execute the core agency of Shachah.
These examples take advantage of pop alternative trip hop bound by the joy Shachah illustrates. Then there’s a vocal-centered, scaled-back, heart-stopping song, highlighting the intent of Shachah that words fail to express.
The notes published on the YouTube page underscore the solemnity and humility heard in the track.
“Shachah” (שָׁחָה) means to bow low, to kneel, to surrender before the King. This song is a callback to biblical worship — not performance, not hype, not emotional spectacle — but obedience, sacrifice, humility, and lives fully yielded to YHWH. This video is intentionally simple: music, lyrics, and no distractions. No flashing lights. No concert atmosphere. Just a raw reminder that worship was never supposed to stop when the song ends. Real worship looks like: • loving your neighbor • serving quietly • forgiving when it hurts • carrying your cross • walking in obedience • becoming a living sacrifice. Shachah was never merely sung… it was lived. Close your eyes. Listen carefully. Bow low before the Father” (YouTube, May 2026).
This is profound to read in the general notes for a minimalistic music video. What stands out is the importance of devotion. The notes themselves are simple, direct, and listed with pointed rhetoric. Worship music, or simply “worship” as some prefer, is known for its power to open the heart and prepare the mind to receive biblical truth, knowledge, and learning. This track, “Shachah,” reminds the listener of this process regardless of their position or time of day. This gives voice to the discipline of “praying without ceasing.”
“Rejoice always, pray without ceasing, give thanks in all circumstances; for this is the will of God in Christ Jesus for you” (1 Thessalonians 5:17 ESV).
“For in the days of David and Asaph of old there were chiefs of the singers, and songs of praise and thanksgiving to God” (Nehemiah 12: 46 KJV).
Making Sense Of The Unification In Sound
The tradition of Black Choir music may have endured a slow erosion as stated by Huan Walker and Asheea Smith, but the history, intent, and discipline of socio-religious theomusicology has not faded. Shachah does not stand as an alternative counterpoint to the traditions of Christian “worship” or “praise” music. Rather, the commonalities between these two disciplines need to be read to help balance the scales.
Where the unfolding tradition of contemporary Christian music (CCM) seeks to embrace momentary religious involvement, Shachah strives to broaden this perspective. One starts externally, working toward a personal, internal involvement. The other begins internally with the external expression to follow. The articulation of theomusicological core elements is invested differently, with the overarching intent of bringing these elements to life for all those involved.
Regardless of what musical trajectory is preferred, the scope, intent, and experience that music affords personally and communally is not to be overlooked, as a means to give thanksgiving to the Lord, daily and without ceasing.
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