A Sermon for Bloomsbury Central Baptist Church
Sunday 23 August 2026
Exodus 20.3–11 · Luke 13.10–17
I was playing that guitar a few minutes ago,
and before I played it,
I tuned it.
You can tune a guitar entirely from the inside.
Finger on the fifth fret,
tune the next string to match,
then the next,
until every string is in a
proper relationship with every other string
and the whole thing is
beautifully in tune.
And it's fine.
It's fine right up until the
piano joins in.
Because relative tuning tells you how the strings sit against each other;
it can't tell you where any of
them ought to be.
Concert pitch has to come from outside
– a fork, a pipe, an app –
a note the guitar could never
have made for itself.
For those of you who don’t know this building inside
out,
my office is just up there, in
that top corner,
on the other side of the wall
where the organ pipes are.
Usually this is a perk of the job:
somebody practises
and I get an hour of Bach for nothing
while I answer emails.
But once a month,
before the recital,
the organ is tuned.
Thousands of pipes,
one at a time.
And it is not beautiful.
It's hours of a single note held and worried at and held again,
that horrible wavering beat
as two pitches slide towards each other
and don't quite arrive.
There are mornings when I have to get my coat
and find somewhere else to be.
Two things I've learned from the wrong side of that
wall.
The first is that tuning is not a pleasant experience.
We talk about being in tune
with God as though it described a mood;
but from where I sit it sounds
like an ordeal.
The second is stranger.
Nobody decides to go out of
tune.
The organ doesn't choose it.
It drifts – temperature,
humidity,
the heating coming on in
October.
It goes out of tune
by standing perfectly still in
a room where the weather changes.
Which is exactly how it happens to us.
Nobody here woke up one morning
and resolved to start
worshipping something else.
We just sat still in a warm room
while the weather changed.
So: the first four commandments.
Not a moral audit.
A tuning note.
The list you can't get God onto
Last week we spent our time on the fact that
nineteen comes before twenty
– God rescues first and
legislates afterwards.
These aren't the terms of entry.
They're the shape of a life
that's already free.
So: "You shall have no other gods before
me."
I've heard that preached,
and preached it myself,
as a question about
priorities.
What's number one in your life?
Is God top of the list?
But the phrase translated "before me"
means something closer to in
front of my face
– in my presence, over against
me.
It isn't a ranking.
It's a spatial image.
Which means the first commandment
isn't asking to be at the top
of your list.
It's declining to be on the
list at all.
A tuning note isn't competing with the organ for
attention;
it's a different kind of
thing.
And the moment you treat it as one item among others
– God, family, work, health,
let's see if I can get God up to third this year –
you've misunderstood what it
is.
Luther put it as well as it has ever been put:
whatever you set your heart
upon and put your trust in,
that is properly your god.
So the question was never whether you worship,
but what you've tuned to.
And the alternatives aren't private spiritual
preferences.
These people have just walked out of Egypt,
where the god they served
had a name and a face and a
building programme,
and his name was Pharaoh.
What competes for our undivided attention
is rarely another religion.
It's a system.
It's what our diaries have
already decided
before we've prayed about
anything.
The image that's already been made
Then: "You shall not make for yourself an
idol."
No carved thing,
of anything in heaven above
or on the earth beneath.
Which is far more interesting than a suspicion of art.
In the ancient Near East
a divine image did a
particular job.
The statue in the temple was where the god was locatable
– fed, housed, consulted,
tied to a place and a throne.
And the living image of the god,
in Egypt and Assyria and
Babylon alike,
was the king.
The king is where you look
to see what the god is like.
Now hold that next to Genesis 1.
Let us make humanity in our image,
according to our likeness.
The whole species,
not one royal man.
Israel takes the most exclusive claim in the ancient
world
and hands it to everybody.
To the slave.
To the woman.
To the stranger passing through.
So the second commandment
isn't God being precious about
representation.
It's God refusing to be owned, localised,
carried at the front of
somebody's parade
– because the image has
already been made,
and it's your neighbour.
Where do you look for the likeness of God?
Not up there.
But across the aisle.
Or two doors down.
Sleeping in a doorway on
Shaftesbury Avenue on a Tuesday night.
Every idolatry narrows that.
It says the image is here and not there,
in us and not them,
in this nation and not that
one.
Idolatry is always a shrinking
of who counts as the likeness
of God.
Which is why what we do in this room
and what we do outside it
cannot be pulled apart
– and I'd rather show you that
than argue it,
because Luke shows it to us,
in a synagogue,
on a sabbath.
The name you carry
But first, the third: "You shall not make
wrongful use
of the name of the Lord your
God."
Most of us were taught this was about swearing.
But it isn't, or not mainly.
The verb underneath it
means to lift, to carry, to
bear
– you shall not carry the name of the Lord your God
emptily, to no purpose.
So the question isn't whether you say the word.
It's what you carry it onto.
Whose banner. Whose policy. Whose war.
And I could name the obvious offenders,
and we could all agree
comfortably about people who aren't in the room.
I'd rather not.
Because we're the ones who
carry the name.
That's what the word Christian means
– a nametag,
his name, borrowed and worn in public.
And no institution is better placed to hollow it out
than a church,
because we say it so often and
so fluently
that it costs us nothing.
To say "Lord, Lord" beautifully at eleven
on a Sunday
and mean nothing by it on
Monday
is precisely what the third
commandment is worried about.
Not blasphemy. Fluency.
The commandment with the guest list
And then the sabbath,
which gets more words than any
of the others
– more than murder, more than theft –
and which we've most
thoroughly reduced to personal wellbeing.
Read the guest list.
You shall not do any work
– you, your son or your
daughter,
your male and female slave,
your livestock,
and the alien resident in
your towns:
the migrant,
the one without papers or
protection.
This commandment isn't addressed to the exhausted.
It's addressed to whoever has power to make other people work,
and it tells them their rest
is worthless
if bought with somebody else's
labour.
It's a labour law before it's a spiritual
discipline,
and Deuteronomy says so out
loud
– remember you were a slave in Egypt,
therefore keep this
day.
Notice, too, who isn't on the list.
The "you" addressed is a male householder,
and his wife appears nowhere.
Hold onto that,
because Luke is about to hand
us
a woman nobody had counted.
Which is live rather than historical,
because the person with power
over somebody else's time,
on any given day,
is nearly all of us.
It's the email I send at half past ten at night,
knowing perfectly well what
that does to whoever reads it.
It's the thing I ordered on a Sunday
because I wanted it Monday,
which is somebody's shift in a warehouse
and somebody's van on my street.
The economy that never stops
isn't run by a Pharaoh in a
palace.
It's run by all of us,
one entirely reasonable
decision at a time.
Egypt, it turns out,
is a collective effort.
The woman who could not look up
So to Luke 13,
a synagogue on a sabbath
morning,
and a woman bent double for eighteen years
who cannot stand up straight.
Start with what she is doing there.
Eighteen years bent towards the floor,
eighteen years of feet and
paving
and the hems of other people's
clothes,
and she is in the synagogue,
on the sabbath,
keeping the fourth
commandment.
Nobody in this story has been more faithful to it.
Nobody has got less out of it.
And Jesus sees her
– which is worth pausing on,
because to be seen by someone who cannot lift her head,
you have to come to her
and get low enough to be seen.
He calls her over.
He tells her she is set free.
He puts his hands on her,
and she straightens up,
and the first thing she does with a body that works
is praise God.
Which is what worship looks like
when the tuning has done its
work.
Not a mood.
A posture.
Then the leader of the synagogue objects,
and on impeccable grounds.
There are six days for work.
Come on one of those.
He isn't a monster,
and he isn't a stand-in for
somebody else's religion
– he's a religious professional
protecting good order in a
building he's responsible for,
and if you want to know who he most resembles in this room,
it's the man in front of you.
His mistake isn't that he loves the commandment too
much.
It's that he's taken it for a fence
when it was always a rescue.
And notice he doesn't say it to Jesus.
He says it to the
congregation.
Which is a very churchy sort of cowardice,
and I've done it myself.
And so Jesus answers with an argument about knots.
Every one of you unties your
ox or your donkey on the sabbath
and leads it out
to water
– and in Luke's Greek
the word for
untying that animal
is the same word
used for what has just happened to this woman.
Loosed. Untied.
You do it for livestock without thinking twice.
She has been tied for eighteen
years.
Ought she not to be untied,
on the sabbath day of all
days?
And then he calls her a daughter of Abraham.
Nobody else in scripture is called that.
There are sons of Abraham all over the place,
but she is the only daughter,
and he says it out loud
in a building where the
commandment she has kept so faithfully
was written in words that
didn't quite have room for her.
The image had already been made.
It just took somebody willing
to look down to see it.
So the sabbath is not a fence around God's day.
It's the day the knots come
off.
And that argument in the synagogue
isn't religion against
freedom;
it's an argument inside the tradition
about what the tradition is for,
which is the only argument worth having,
and the one we are having here
this morning.
Because here is the thing that ought to keep us
awake.
It's entirely possible to keep all four of this morning's commandments
– no other gods, no idols,
the name honoured, the sabbath
guarded –
and still be the man in that story.
Beautiful worship.
And a woman still bent double.
Piety that leaves the world exactly as it found it.
And it's just as possible the other way round:
to love your neighbour on
willpower alone,
running on your own supply
until there isn't any.
That's tuning the guitar to itself.
Fine, right up until somebody
else joins in.
When you can't hear the note
Let me finish honestly,
because I don't want to leave
you thinking
that being tuned into God is a feeling of being in tune.
Some of you came in this morning
and could not hear the note.
You've done the tuning
– the prayer, the turning up,
the trying –
and there's been nothing on
the other end for a while.
That isn't failure.
It's most of the Psalms,
and it's the sentence from the
cross.
And it was, for eighteen years,
the experience of the most
faithful person in this morning's Gospel.
So notice what the women do at the end of Luke's
story.
They watch him die.
They see where the body is laid.
They go home and prepare spices and ointments
– and then, chapter 23, verse
56,
on the sabbath they rested
according to the commandment.
On the day when God had,
as far as they could tell,
gone silent for good,
they kept the fourth commandment.
Not because they felt anything.
But because it was the day,
and it was the commandment,
and it was what you did.
That's Holy Saturday,
and it may be the most honest
thing
the New Testament says about
faith.
Sometimes tuning isn't an experience.
Sometimes it's just turning
towards where the note is
supposed to come from,
and being here again next week
– bent double, if that's what
it takes,
but here.
The practice holds you
when the feeling doesn't.
And then it's the first day of the week,
and they go to the tomb,
and everything is different
– and they only found out
because they'd kept the
sabbath first.
We're about to sing
"Take my life, and let it
be."
Havergal wrote it as a list
– hands, feet, voice, silver,
gold, will, heart –
and it can sound like an
inventory of things surrendered.
I'd rather you sang it as a tuning:
every part of the instrument,
one at a time,
turned towards a note it could never have made for itself.
That note has been sounded.
It was sounded early on a Sunday morning
at the mouth of a tomb,
it hasn't stopped since,
and it isn't ours and never
was.
All that's asked of us
is that we turn towards it,
and let it do its slow and unlovely work,
one pipe at a time,
until we can stand up straight.
Amen.


