Tag Memphis May Fire

Anniversary tours have become a major part of today’s concert scene, but sometimes the right lineup comes together and creates something that feels bigger than simple nostalgia. That was the case on May 28, 2026, when Anberlin, Emery, and Watashi Wa stopped at The Senate in Columbia, South Carolina.

I attended the show with Joshua Gilmore, Joshua Thomas, Joey Noyes, and my son Max, which made the night even more memorable. Concerts are always about the music, but they are also tied to the people you experience them with and the memories attached to them years later.

Watashi Wa opened the evening and immediately reminded fans why their return matters. This was the band’s first tour in a long time, and there was a noticeable excitement from the crowd to see them active again. Fans sang along throughout the set, showing that the band’s music has continued to connect with listeners even during their long absence from touring. The performance carried a positive and heartfelt energy that set the tone for the rest of the night.

Emery followed with a shorter but high-energy set that quickly turned the venue into controlled chaos. The band has always balanced melody and aggression well, and that chemistry was on full display live. Their closing song, “Walls,” became one of the biggest moments of the night. The crowd instantly erupted into a massive mosh pit, creating more pit action during that one song than the entire rest of the concert combined. Fans screamed every word while bodies collided across the floor in classic post-hardcore fashion.

The night closed with Anberlin performing on the twentieth anniversary tour for Never Take Friendship Personal. Surprisingly, this was my first time ever seeing the band live, and they did not disappoint. Much of the attention surrounding the current version of Anberlin has centered around Matty Mullins taking over vocal duties, and after seeing the performance firsthand, it is easy to understand why he was chosen.

Mullins faces the difficult task of stepping into a role strongly associated with Stephen Christian, but he handled it extremely well. What stood out most was his vocal versatility. He has the range necessary for the melodic and harmonized style of Anberlin while still maintaining the intensity fans know from his work with Memphis May Fire. Rather than feeling like a replacement trying to imitate the past, Mullins helped the performance feel both respectful to Anberlin’s history and fresh at the same time.

During the show, I also found myself reflecting on The Senate itself and how certain venues become connected to different seasons of life. This was the third memorable concert I can remember attending there. The first was Stretch Arm Strong performing the twentieth anniversary tour for Rituals of Life. The second was P.O.D.’s twentieth anniversary tour for Satellite. Now this Anberlin anniversary tour joins that list. It is interesting how venues can quietly become part of your personal music history over time.

Overall, this was an outstanding night of live music filled with nostalgia, energy, and appreciation from both the bands and the audience. Watashi Wa’s long-awaited return, Emery’s explosive ending with “Walls,” and Anberlin’s anniversary celebration all combined to create a concert experience that reminded fans why these bands still continue to matter decades later.

Mental Health Conversations in the Christian Heavy Music Scene

Mental health has become one of the most important conversations happening in the Christian rock and metal community. For years, heavy music has provided a space where people can be honest about anxiety, depression, trauma, and doubt.

Bands like August Burns Red, Memphis May Fire, Wolves at the Gate, Islander, and Demon Hunter have helped bring those struggles into the open through their music and their conversations with fans.

One phrase that has begun to resonate throughout the scene is #choosetolive — a reminder that even in the darkest moments, choosing to stay and keep fighting matters.

Several artists and advocates from the Christian heavy music community recently shared their thoughts about mental health, faith, and supporting the people who connect with their music.

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Honesty in the Struggle

For Trevor Tyson of Heal the Hurt, learning to recognize mental health struggles was a turning point.

“Awareness has become one of the greatest tools in my life. You cannot heal what you refuse to acknowledge.”

Life on the road and in a band can be rewarding, but it can also be emotionally demanding.

“Band life is both beautiful and demanding.”

To help manage that pressure, his band has made openness a priority.

“We have built a culture in Heal The Hurt where honesty is normal. If someone is struggling, we talk about it. Brotherhood is not pretending everything is fine. Brotherhood is making sure no one carries weight alone.”

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Creativity and Mental Health

For James, anxiety became a reality at eighteen after experiencing a severe panic attack. Since then, he has learned to manage it through faith and practical habits.

“Honestly, what helps me most that I’ve noticed is diet, and sleep,” he explains.

At the same time, emotional struggles often fuel his songwriting.

“During those times is when I’m the most creative… almost like my body wants to release whatever is happening.”

His album Testimonies reflects many of those experiences, exploring doubt, grief, and faith.

“As a Christian, I tie the hope of Christ into it as best I can.”

For James, the message behind #choosetolive is simple.

“#choosetolive for me means to never give up the fight.”

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Turning Pain Into Purpose

Christian solo artist Matthew Sassano has built much of his music around confronting difficult topics like anxiety, abuse, and identity.

“A large portion of my catalog centers around mental health or related struggles,” Sassano says.

He believes faith and professional help can work together rather than compete.

“Counseling, accountability, routines, and prayer aren’t in competition with each other — they’re meant to work together.”

Through performances at recovery events, prisons, and outreach festivals, he has seen how universal these struggles are.

“What I’ve learned is that pain is universal.”

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Breaking the Stigma

For Matt Davis, founder of The EHAMIOTAID Project, the biggest barrier to healing is often silence.

“Know, acknowledge, and accept that you have mental health issues,” Davis says.

His work encourages people to talk openly about what they are facing and seek help when needed.

“Come out of hiding. To come out of denial and into acceptance is a great place for healing to begin.”

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Choosing to Live

Mental health struggles affect people everywhere, including the Christian music community. What makes this scene unique is the willingness of artists to talk honestly about those struggles and encourage others to seek help.

As Trevor Tyson reminds people who may feel alone:

“You are not too far gone.”

Sometimes the most powerful step a person can take is simply choosing to stay.

Choose to live.

Metal has always been a place of honesty. From the beginning, Christian musicians have stood within heavy music and addressed the full range of biblical truth. Scripture speaks openly about suffering, hope, warfare, judgment, deliverance, salvation, resurrection, and the holiness of God. These themes are not foreign to heavy music. They are part of its emotional vocabulary. Across decades and genres, Christian metal artists have written lyrics that treat theology with seriousness and conviction. Some quote Scripture directly. Others paraphrase biblical passages or explore doctrine with depth and clarity. Together, these bands demonstrate that the Gospel does not merely exist within heavy music. It is powerfully expressed through it.

It is important to clarify what this article is and what it is not. Many well-known bands throughout rock and metal history have drawn inspiration from biblical stories, imagery, or historical events rooted in Scripture. Artists such as Metallica, Megadeth, Helloween, Pink Floyd, Iron Maiden, Black Sabbath, Sabaton, and Sonata Arctica have incorporated biblical references, spiritual themes, or religious symbolism into their work. In those cases, Scripture often serves as inspiration, allegory, or narrative framework.

The bands highlighted in this article operate from a different foundation. These artists intentionally engage with Christian theology in their songwriting. They study Scripture, wrestle with doctrine, and seek the guidance of the Holy Spirit as they write lyrics meant to speak directly to people. Their purpose is not symbolic storytelling or philosophical reflection alone. Their goal is proclamation. The theology in their music is not incidental. It is central. Each band included here uses biblical truth with the express intent of pointing listeners to Jesus Christ and communicating the Gospel through heavy music. This is not an exhaustive list, but a curated cross-section highlighting different genres where theology is intentionally proclaimed.

Theocracy (Power Metal)
“I AM” from As the World Bleeds reflects God’s self-identification in Exodus 3:14 and Revelation 22:13. “Easter” from Ghost Ship follows the resurrection narrative of Matthew 28. “Laying the Demon to Rest” from Mirror of Souls reflects the inner struggle described in Romans 7.

Wytch Hazel (Heavy Metal / Hard Rock)
“He Is the Fight” from III: Pentecost echoes Psalm 18:2. “Dry Bones” from IV: Sacrament directly reworks Ezekiel 37. “Spirit and Fire” from II: Sojourn reflects Acts 2 imagery.

Tourniquet (Technical Thrash / Progressive Metal)
“Ark of Suffering” from Stop the Bleeding is rooted in Proverbs 12:10. “Bearing Grief” from Pathogenic Ocular Dissonance reflects Isaiah 53. “Vanishing Lessons” from Vanishing Lessons explores Romans 12:2 and spiritual transformation.

Disciple (Modern Metal / Hard Rock)
“God Is With Us” from Horseshoes and Handgrenades reflects Romans 8:31. “Invisible” from Scars Remain parallels Psalm 139. “Dear X” echoes Ephesians 4 and the transformation of identity in Christ.

Saint (Traditional Heavy Metal)
“In the Night” from Time’s End reflects Matthew 24 and Revelation 19. “Space Cruiser” from Warriors of the Son draws imagery from Ephesians 6. “Holy Rollin’” from Too Late for Living aligns with Romans 10:9.

Bloodgood (Heavy Metal)
“Crucify” from Detonation retells the crucifixion narrative as presented in the Gospels. “The Messiah” from Bloodgood references Isaiah 9:6. “Top of the Mountain” from Rock in a Hard Place reflects Revelation 21.

Chaotic Resemblance (Hard Rock / Heavy Metal)
“Jesus Is King” from Chaotic Resemblance EP reflects Philippians 2:11. “Sound of the Saints” from Get the Hell Out draws from Revelation 12:11. “Caged” reflects Romans 6 and spiritual freedom in Christ.

W.A.S.P. (Heavy Metal)
On Golgotha, W.A.S.P. delivers a lyrically direct, Scripture-centered album focused on the crucifixion, repentance, and redemption through Christ. The title track “Golgotha” reflects the Gospel accounts of Jesus’ suffering and sacrifice, while the album as a whole engages themes of sin, forgiveness, judgment, and grace.

Shamash (Melodic Extreme Metal)
“Sanctify the Temple” from Hallowed Be Thy Martyr reflects Isaiah 6 and the holiness of God. “Voice of the Covenant” draws from Deuteronomy 4 and the call to faithfulness.

Schaliach (Melodic Death / Doom Metal)
“A Father’s Mourning” from Sonrise reflects the crucifixion accounts in Luke 24 and John 20. “You Maintain” echoes Philippians 3:9.

Extol (Progressive Extreme Metal)
“Pearl” from Burial references Matthew 13:45. “Gloriana” from Undeceived reflects Ephesians 1:7 and redemption through Christ’s blood.

Antestor (Unblack / Extreme Metal)
“The Return” from The Return of the Black Death reflects Matthew 6:13 and Psalm 140. “A Sovereign Fortress” from The Forsaken reflects Psalm 46:1.

Mortification (Death / Thrash Metal)
“Terminate Damnation” from Scrolls of the Megilloth reflects 2 Timothy 4:1. “This Momentary Affliction” from Post Momentary Affliction parallels 2 Corinthians 4:17.

Paramaecium (Doom Metal / Death-Doom)
“The Unnatural Conception” from Exhumed of the Earth recounts Luke 1. “Injudicial” reflects the resurrection narrative of Matthew 28.

Crimson Thorn (Brutal Death Metal)
“Your Carcass” from Unearthed directly quotes Romans 3:23. “Unearthed” reflects 1 Corinthians 15:52.

Discern (Death Metal)
“The Narrow Mind” from Redeemed reflects Matthew 7:13–14. “Foolishness of the Wise” from To Praise with Perpetual Silence echoes 1 Corinthians 1:25.

Bond of Iniquity (Death Metal)
All three albums: Revelation Metal, Let Us Also Go, That We May Die With Him, and The Great Commandment consists entirely of Scripture-based lyrics drawn from Psalms, Proverbs, Isaiah, and Revelation.

Pulpit Vomit (Death/Grind) “The Filth” reflects humanity’s internal corruption and creation’s decay as described in Jeremiah 17:9 and Romans 8:22, while echoing God’s persistent call amid ruin in Isaiah 30:21. “Spewing Vomit from the Pulpit” directly confronts false spiritual leaders, drawing from Isaiah 28:7–8 and Christ’s warning about blind guides in Matthew 15:14.

Living Sacrifice (Metalcore / Groove / Thrash)
“No Longer” from Conceived in Fire reflects Romans 6 and Galatians 2:20. “Reject” from Reborn centers on repentance and separation from sin. “Bloodwork” from The Hammering Process reflects sanctification rooted in Hebrews 12.

For Today (Metalcore)
“Devastator” from Breaker reflects Revelation 12:11. “Foundation” from Ekklesia reflects Matthew 7:24.

Sleeping Giant (Hardcore)
“Tithemi” from Kingdom Days in an Evil Age reflects John 15:13. “Eyes Wide Open” from Sons of Thunder echoes Romans 12:1.

Wolves at the Gate (Post-Hardcore / Metalcore)
“East to West” from Types and Shadows quotes Psalm 103:12. “The Bird and the Snake” reflects Matthew 10:16.

Oh, Sleeper (Metalcore)
“Son of the Morning” from Son of the Morning draws from Isaiah 14 and Revelation 12.

The Great Commission (Hardcore)
“Draw the Line” from And Every Knee Shall Bow reflects Philippians 2:10.

With Blood Comes Cleansing (Deathcore)
Recent material emphasizes biblical martyrdom, reflecting Revelation 6:9–11 and Acts 7. Earlier work such as “Golgotha” recounts the crucifixion.

I Am Terrified (Post-Hardcore)
“To the Service” from I Am Terrified EP quotes Psalm 121:1.

Memphis May Fire (Metalcore)
“The Redeemed” from The Hollow reflects John 8:36.

Irae (Hardcore)
“War Psalms” from War Psalms reflects Psalm 144:1. “Banner of the Most High” reflects Psalm 60:4.

Closing Thoughts

Scripture does not glorify darkness. It brings light into it. Throughout the Psalms, Job, Lamentations, the prophetic writings, and Revelation, the Bible confronts suffering, judgment, persecution, warfare, and death in order to reveal the holiness of God and the hope found in Him. Heavy music is uniquely suited to carry that tension because it allows biblical truth to be expressed with emotional honesty rather than abstraction.

Across every style represented here, theology remains central. Whether expressed through melody, aggression, sorrow, or proclamation, these artists anchor their lyrics in Scripture and point consistently to Christ. Even the heaviest expressions ultimately proclaim redemption, truth, and the authority of the Gospel.

Christian metal is more than a genre. It is a testimony. Rooted in Scripture and centered on Christ, it remains one of the most uncompromising and faithful expressions of biblical truth in modern music.

As heavy music continues to evolve, so does the way Scripture is expressed through it. The artists highlighted here represent only a portion of a much larger movement. What bands or artists would you add to this list?