Parson James and Auckland's LGBTQ Choir Take Us to Church

“He’s so authentic, this whole thing just feels really genuine, you know?” The whispered review from a nearby church pew is not one you’d associate with someone widely known for contributing to a Kygo banger. But here we are, sitting in a house of God and waiting for the Parson James show in Auckland’s St Mary’s church. Gauging from the millennials in Stan Smiths and fur, we get the feeling that this isn’t going to be a typical church-going crowd or performance.

Parson James grew up as mixed-race and gay in small town South Carolina, where conservative interpretations of biblical passage ruled, and views on homosexuality were mostly frowned upon. But James is a performer comfortable with both his sexuality and spirituality and performing with him tonight is the Auckland LGBTQ choir.

Most of the choir are between 20 and 70, some are balding while others accessorise their choir robes with chic eyewear. Some are too nervous to look up from their music folders while others wave ecstatically to their friends in the crowd. They’re here, as we all are, in solidarity for the victims of the Pulse shooting in Orlando.

James had a show scheduled at a pride event when news of the Orlando tragedy broke. For a kid that kept his sexuality hidden for fear of his community’s reaction, the news hit particularly hard. He tells the audience tonight how difficult it was for him to perform that night,“There was this weird haze over the audience because it sunk in the [victims] were just out being themselves and being proud. We can’t let anything like this happen again.”

James arrives on stage to a roaring reception (made more so by church acoustics), dressed like a minimalist Boy George. With a single cross hanging from his ear, his aesthetic and charming southern drawl, is endearing and slightly amusing.

But contradictions seem to be James’ modus operandi. Juxtaposing religious themes with the muddy experiences of his childhood in the deep South, he’s brought authenticity and depth to the sometime superficialness of pop.

His hit “Sinner Like You” is about building up courage to come out to his mother (she had him at 16 and was punished by her family for being with a black man). Speaking on religion, James describes its influence in his music because his sexuality and faith was a moral conflict.

He talks about his background throughout the set and from the opening monologue to his final song Temple, James’ performance is raw and without pretension. He often turns to the choir, thanking them and ensuring they feel the full support of the audience. They laugh at his jokes and are reaching for phones for selfie opportunities before the show is finished.

By the stripped back version of “Stole the Show”, James’ commanding vocals have the crowd captivated. When the audience rises at the end of the set it’s clear, Parson James is the Beyoncé of gospel-pop. It makes you wonder if God should put on more gigs.