Journalist Pidcock debuts with a revealing account of how white evangelical worship music "has become a servant of the political right." He traces the evolution of the worship music industry starting in the 1980s, as a few megachurches began producing the bulk of worship music, hewing to rigidly hierarchical power dynamics that reflected evangelicalism's rightward turn. Unlike Black worship songs that often emphasize themes of liberation, white evangelical worship songs tend to reinforce strict power hierarchies, "celebrate the exile of everyone who doesn't fit their definition of the saved," and depict rigid gender binaries that paint women as submissive "helpers of men."