Heart and Soul: Our Sacred Harp
Loading player...
Sacred Harp pioneer and former punk frontman, Tim Eriksen, takes us into the hair-raising sound of shape note singing – an American choral tradition experiencing a resurgence across the US and in Europe. All people and all faiths are welcome. As a new edition of the songbook approaches publication, Tim explores why this music is drawing more singers and how it’s managing to remain inclusive despite increasing political polarisation in the wider culture.
Sacred Harp is sung a-cappella in four-part harmony - a non-performative music where everyone takes a turn to lead and groups gather anywhere from churches to community centers and pubs. Songs were first published in a book of psalms in Georgia in 1844 and in 2025 a new edition will publish a record number of compositions submitted by sacred harp singers from all over the world.
For Tim Eriksen this is devotional music, but it will mean different things to different people - what’s special about it is the way it ‘transcends differences.’ Sociologist Laura Clawson tells us how the forbearers of the music stipulated that religion, and politics should not come into the ‘hollow square.’ Historically the Sacred Harp community has continued to sing and build bonds through chapters of political polarisation in the US. But how have recent political divides affected the community and how can it continue to remain an inclusive space?
Producer: Sarah Cuddon
A Falling Tree Production
Image: Tim Eriksen teaching at Sage Gateshead’s Summertyne Americana Festival
Sacred Harp is sung a-cappella in four-part harmony - a non-performative music where everyone takes a turn to lead and groups gather anywhere from churches to community centers and pubs. Songs were first published in a book of psalms in Georgia in 1844 and in 2025 a new edition will publish a record number of compositions submitted by sacred harp singers from all over the world.
For Tim Eriksen this is devotional music, but it will mean different things to different people - what’s special about it is the way it ‘transcends differences.’ Sociologist Laura Clawson tells us how the forbearers of the music stipulated that religion, and politics should not come into the ‘hollow square.’ Historically the Sacred Harp community has continued to sing and build bonds through chapters of political polarisation in the US. But how have recent political divides affected the community and how can it continue to remain an inclusive space?
Producer: Sarah Cuddon
A Falling Tree Production
Image: Tim Eriksen teaching at Sage Gateshead’s Summertyne Americana Festival