by Dr Lucy Sixsmith, Research Fellow in English at St John’s College, Cambridge and author of When the Music Fades

To understand Soul Survivor, I think you need to know about the shirts. This will sound trivial; I realise that. Soul Survivor, from 1993 until 2019, was an organisation running summer festivals in the charismatic evangelical tradition, for teenagers and young adults. It also became (and still is) a church in Watford. The founder, leader and constant on-stage presence at Soul Survivor festivals was Mike Pilavachi, and you could tell he was Mike Pilavachi by his interesting shirts.
Mike always wore a particular style of multi-coloured shirt at the summer festivals, a West African dashiki rebranded as a trademark shirt for a Greek British youth leader at a substantially white middle-class British summer camp. My youngest brother remembers the shirts being on sale in the Soul Survivor marketplace, not as dashikis, with their own cultural history, but as Mike Pilavachi shirts. There was a Soul Survivor tradition of Mike’s Bad Karaoke; one year he sang ‘I’m too sexy for my shirt’ to ten thousand teenagers. In vulnerable moments, during preaching, he’d sit down on the edge of the stage, like it was just Mike and his youth group, one hand plucking at the patterned central panel that makes a dashiki distinctive.
In 2023, when survivors came forward and the Church of England’s National Safeguarding Team investigated allegations of emotional abuse, inappropriate relationships, wrestling, and massaging, those shirts must have seemed convenient to the people choosing pictures for news articles. For any story about this latest scandal, there was a picture with an eye-catching shirt.
Part of what I mean here is that Mike Pilavachi was a persona. A trademark shirt can be like a costume which sets the wearer apart as someone not quite like everyone else, someone likably independent, a bit of a character. A multi-coloured trademark shirt at a Christian summer youth festival belongs to a world which is not quite real. Brighter, warmer, cartoon-like, more fun, more vibrant: the holiday atmosphere of a Christian summer youth festival offered what we used to call a ‘mountaintop experience’ in charismatic circles. Kids looked forward to Soul Survivor partly as a place to have fun and partly as a place to encounter God, and Mike performed the role of lovable overseer, buffoonishly whole-hearted.
The mythology of Soul Survivor was that everything was done in chaos by faithful amateurs and it only came together because it was God’s idea. Consequently, Mike Pilavachi seemed less like a celebrity and more like everyone’s friend. I didn’t notice that the myth didn’t match the way Soul Survivor had become a model for youth ministry across the country. If it was God, it must be good. So I joined those crowds all through the noughties, from the age of fourteen to twenty-one or so, and always thought of Soul Survivor as a healthy benchmark, a useful compare-and-contrast when other charismatic movements drew out my scepticism.
In 2023, while the National Safeguarding Team investigated Mike Pilavachi’s immediate relationships with colleagues and interns, I found myself wondering about the whole entire thing. Clearly, there were investigations that needed to be made, stories that needed to be heard or held respectfully, in that smaller circle of direct impact; but there were also questions to think through for those of us who were just there, one among ten thousand, thinking it was all fine. What made us so cheerfully overlook the clues to Mike’s behaviour that seemed plain and obvious with hindsight? If it was God on the move at Soul Survivor, as people were still saying it was, how could it have been God in public and not God in private? Could it be that the public aspect was good while the private aspect was cruelly manipulative, that the one was healthy and the other was not? Was it good for all those thousands of kids to have sat at Mike Pilavachi’s feet?
And what was I going to do with all the worship songs that now sounded off-key? There were so many songs that came out of Soul Survivor about humility and brokenness, about kneeling at the foot of the cross, about decreasing and bowing down, and I couldn’t sing them any more, having learnt that the songwriters were not just humbling themselves but being humbled by their own mentor, pastor, and employer. Which led to a rather pressing question, if not the most weighty one I was asking: if I couldn’t face singing any worship songs any more, what on earth was I going to play for my own local congregation in the worship time that coming Sunday morning?
That question—the question of what am I going to do now about all those surrender songs—was the starting point for writing a book called When the Music Fades: Power, Surrender and the Soul Survivor Generation. It is a book about and for all of us who have been confused—for anyone who has been fighting through a process of questioning charismatic evangelical spirituality. If I have needed to find space to think things through, there must be lots of other people out there, similarly perplexed. When the Music Fades is an attempt to provide space, for people who are still in church, people who are now out of church, and people who are somewhere in between.
Soul Survivor is central to the book, but the book is not just about Soul Survivor. I had questions about charismatic practice, before 2023: about power dynamics, and coercion, and the temptation of putting on a show, and the difference between evangelism and bullying, and false promises, and relentless positivity, and how tiring it all is. The book is about all these things, and especially about navigating these things in teenagerhood, when you have barely learnt how to be a person yet, but you’re all the more eager to take on the duty of sharing Jesus with the world. The news about Soul Survivor, after all, was especially confronting because Soul Survivor was for teenagers. Soul Survivor had seemed so normal, so grounded, a well-balanced alternative to megachurch-style hype. Some charismatic leaders, I started to realise, I’d never trusted in the first place. I just had the habit of looking up to them, wanting their approval. I trusted Soul Survivor.
For former Soul Survivor kids, I hope, When the Music Fades will be an opportunity to feel heard, even though it’s me doing the talking. Since it’s a book about being in the crowd, it claims that whoever was in the crowd matters. When we are talking about big churches and big movements, somehow the whole is less than the sum of its parts: the story of Soul Survivor, and whether or not Soul Survivor was a ‘God thing’, is not actually as interesting to me as the individual stories of every single person who ever attended Soul Survivor, with all the good things and bad things, the hard times, ordinary day-to-day and moments of hope. We went to Soul Survivor and believed we were supposed to be history makers and a revival generation and all that, and then, probably, we felt bad about not managing it, and then we had to figure out how to do basic adulthood, which is challenging enough.
My biggest dream for the book is that those former history makers might feel recognised and valued. But I also hope, maybe, that a few church leaders might read it and realise that we took them seriously. We didn’t realise it was just a summer holiday, colourful shirts, a mountaintop. We took them at their word.
And that had consequences, and it might be worth thinking about, and it might be worth doing things differently next time.
When the Music Fades: Power, Surrender and the Soul Survivor Generation by Lucy Sixsmith (Canterbury Press, £16.99) is available from the Canterbury Press website and all good bookshops.

