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Too Sick to Pray: A Theology of Outlaw Country
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August 28, 2026
Through the years, I've not been a big fan of country western music. Growing up, I chose the top 40 station (KAGO) over the country western station (KLAD, which happens to still exist). Nevertheless, I know the names of some of the leading figures, especially the Outlaws among them, people such as Kris Kristopherson, Willie Nelson, and Waylon Jennings, along with their sometimes partner Johnny Cash (especially in their Highwaymen grouping). Being that I'm a pastor, historian, and theologian, I know that these figures and others like them in the Country Western genre also have significant religious connections. The question is, how do they understand the role of religion in their lives and music?
C.M. Howell, who serves as research assistant for the Widening Horizons in Philosophical Theology project, has taken on the topic of Country Western music and theology in Too Sick to Pray: A Theology of Outlaw Country. The reference to Outlaw Country derives from the decision of Kristopherson, Nelson, and Jennings to break free of the corporate CW Nashville sound and go off on their own, something that Johnny Cash had done earlier. Kristopherson, Nelson, and Jennings weren't the only Outlaws, but they are the most well-known. In this book, they figure prominently, though others who were not known to me before reading the book are included.
The subtitle references the Theology of Outlaw Country, so the question raised by the subtitle is the nature of this theology. While Howell seeks to explore the theological elements of this music, he acknowledges that "theology played no meaningful role in the outlaws' departure from Nashville. Nor does it appear in any explicit sense in their music (p. 2). So while religious lyrics are prominent, other concerns underlay the lyrics. So, in this book, Howell uses the idea of "theological play" as the foundation for his analysis. He acknowledges that all of the Outlaws, along with almost all Country Western singers, come out of a Christian context, with Kristopherson and Jennings being Church of Christ in background, and Willie Nelson was at one time Methodist. Billy Joe Shaver, another Outlaw, was a devout Nazarene. Over the course of their lives, they drew upon these theological origins but redefined the meaning and purpose of that resource in their lives and music. Here is where the concept of play comes in, for in their work they essentially turn theology upside down by denying the theological aims of their music. He writes that the idea of play serves as a bulwark against "the tyranny of efficiency" (p. 7).
In his introduction, Howell not only introduces us to the concept of play as a lens by which to understand the Outlaws, but also sets the context of the Nashville Sound, which was very production-oriented. However, the figures who became Outlaws felt overly constrained by that methodology and broke free, thus becoming Outlaws. As for the theological components, using the concept of play, we discover that "the theological content of Outlaw Country is an echo and not a source" (p. 18).
Having laid the foundations in the introductory chapter, titled "Outlaw Theology," in Chapter 2 we begin the exploration of the different versions of this Outlaw Theology, beginning with Kris Kristopherson. The chapter is titled "Jesus Was a Capricorn," which is based on the title of a Kristopherson song. We learn here that Kristopherson, who was not only of Church of Christ background, but a Rhodes Scholar at Oxford, rebelled against the Nashville Sound after Cash but before Willie Nelson. "Jesus Was a Capricorn" was the title of his fourth album, and was produced early in the rebellion. In the course of the chapter, we learn about Kristopherson's journey, including the role religion played in that journey. The title of that album, produced in 1972, served, as Howell suggests, as a theological parody, in which he portrays himself as a wounded/crucified artist. Ultimately, Jesus' death is foundational and serves as a critique of the world around him. While he might identify his own journey with Jesus' death, in the end he comes to a sincere form of faith that is not all that far from the faith of his Church of Christ origins.
Chapter 3 focuses on Willie Nelson, and it is titled "spirit." Nelson was influenced by Kristopherson in his songwriting, as well as by the reality of being removed from his position as a Sunday school teacher at a Baptist Church in Texas. As with Kristopherson in Chapter 2, here we learn about Nelson's journey through his music, much of which has religious/theological dimensions, though again at times more parody than not. One of his songs is titled "Too Sick To Pray," which serves as the title of the Book. There is reference to God's persistent presence, but Nelson's inability to pray. What we find here is theological ambiguity.
From Willie Nelson we move to Waylon Jennings in a chapter titled "Revelation" (Chapter 4). Jennings' start came as a member of Buddy Holly's band. He just missed out on being on Holly's plane that went down, killing all on board. According to Howell, that plane crash haunted him throughout his life. But he would go on to be an Outlaw (and a Highwayman). As far as theology, that was rare in his songs, and the songs that did contain theology were largely written by others. However, Howell can dig into Jennings' life and music to discern theological dimensions. The chapter title derives from a song found on a 1972 album titled "Revelation" that has apocalyptic imagery. Ultimately, Howell suggests that one of the features of this outlaw imaginary is "that there is no consolidated understanding of God. There is no unified theological vision" (p. 91). What there is is the outlaw imaginary, the rebellious dimension. Unlike the other two, his theology remained relatively unchanged from childhood.
After discussing Kristopherson, Nelson, and Jennings, all of whom I'm very familiar with, he introduces us to Towns Van Zandt in a chapter titled "An Elegy of Empty Harps" (Chapter 5). What we discover here is theology rooted in Townes' battle with depression and anxiety that led to rather dark lyrics. Here the theology involves a hidden, even absent God, with the world left to its own devices. Interestingly, among the influences on his theology and music is the work of Nikos Kanatzakis, especially The Last Temptation of Christ. Howell concludes by noting that for Van Zandt, the only eschatological traces in his music are ones that point "to an end that cannot see God but wishes it could" (p. 115).
In Chapter 6, Howell introduces us to Billy Joe Shaver in a chapter titled "Salvation." Shaver's songs were often recorded by Waylon Jennings. While there is darkness present, his faith seems stronger and more present in his music. There is an eschatological dimension to his music. Howell brings Wolfhart Pannenberg into his discussion of Shaver's eschatology, in which the eschaton is understood to bring about the full expression of a salvation already at work in the world.
The first five figures discussed by Howell involve original Outlaws. In Chapter 7, he turns to a new group of folks who build on the Outlaw imaginary, with a focus on Roger Alan Wade and Cecil Allen Moore. He titles the chapter "New Forms of Outlaw Theology." This new version is more diverse in its reach due to changes in technology. In this chapter, they focus specifically on artists who play with theological dimensions present in the existing outlaw imaginary. Here we discern in their music a move away from religion, even as theological metaphors are present in the songs.
Howell offers a lengthy Conclusion subtitled "Theology on a Sunday Morning Coming Down." Howell notes that there is an ambivalence present in the music when it comes to theology. It is present, especially in the earlier artists who had deep roots in particular, even fundamentalist, faith communities. In many ways, these figures transgressed the theological/religious lines that they brought to their music, such as Kristopherson's envisioning Jesus as a Capricorn. As for the Christology present in this music, Jesus is understood to be a "symbol for good." He notes that "The depth of this goodness brings a positive light to even the darkest of its symbolic references" (p. 169). As for the eschatology, it is largely harmonious but again somewhat ambiguous because the end is never reached. Ultimately, this is not a formal theology but an echo of one that provides a means of reflecting theologically through music.
C.M. Howell, who serves as research assistant for the Widening Horizons in Philosophical Theology project, has taken on the topic of Country Western music and theology in Too Sick to Pray: A Theology of Outlaw Country. The reference to Outlaw Country derives from the decision of Kristopherson, Nelson, and Jennings to break free of the corporate CW Nashville sound and go off on their own, something that Johnny Cash had done earlier. Kristopherson, Nelson, and Jennings weren't the only Outlaws, but they are the most well-known. In this book, they figure prominently, though others who were not known to me before reading the book are included.
The subtitle references the Theology of Outlaw Country, so the question raised by the subtitle is the nature of this theology. While Howell seeks to explore the theological elements of this music, he acknowledges that "theology played no meaningful role in the outlaws' departure from Nashville. Nor does it appear in any explicit sense in their music (p. 2). So while religious lyrics are prominent, other concerns underlay the lyrics. So, in this book, Howell uses the idea of "theological play" as the foundation for his analysis. He acknowledges that all of the Outlaws, along with almost all Country Western singers, come out of a Christian context, with Kristopherson and Jennings being Church of Christ in background, and Willie Nelson was at one time Methodist. Billy Joe Shaver, another Outlaw, was a devout Nazarene. Over the course of their lives, they drew upon these theological origins but redefined the meaning and purpose of that resource in their lives and music. Here is where the concept of play comes in, for in their work they essentially turn theology upside down by denying the theological aims of their music. He writes that the idea of play serves as a bulwark against "the tyranny of efficiency" (p. 7).
In his introduction, Howell not only introduces us to the concept of play as a lens by which to understand the Outlaws, but also sets the context of the Nashville Sound, which was very production-oriented. However, the figures who became Outlaws felt overly constrained by that methodology and broke free, thus becoming Outlaws. As for the theological components, using the concept of play, we discover that "the theological content of Outlaw Country is an echo and not a source" (p. 18).
Having laid the foundations in the introductory chapter, titled "Outlaw Theology," in Chapter 2 we begin the exploration of the different versions of this Outlaw Theology, beginning with Kris Kristopherson. The chapter is titled "Jesus Was a Capricorn," which is based on the title of a Kristopherson song. We learn here that Kristopherson, who was not only of Church of Christ background, but a Rhodes Scholar at Oxford, rebelled against the Nashville Sound after Cash but before Willie Nelson. "Jesus Was a Capricorn" was the title of his fourth album, and was produced early in the rebellion. In the course of the chapter, we learn about Kristopherson's journey, including the role religion played in that journey. The title of that album, produced in 1972, served, as Howell suggests, as a theological parody, in which he portrays himself as a wounded/crucified artist. Ultimately, Jesus' death is foundational and serves as a critique of the world around him. While he might identify his own journey with Jesus' death, in the end he comes to a sincere form of faith that is not all that far from the faith of his Church of Christ origins.
Chapter 3 focuses on Willie Nelson, and it is titled "spirit." Nelson was influenced by Kristopherson in his songwriting, as well as by the reality of being removed from his position as a Sunday school teacher at a Baptist Church in Texas. As with Kristopherson in Chapter 2, here we learn about Nelson's journey through his music, much of which has religious/theological dimensions, though again at times more parody than not. One of his songs is titled "Too Sick To Pray," which serves as the title of the Book. There is reference to God's persistent presence, but Nelson's inability to pray. What we find here is theological ambiguity.
From Willie Nelson we move to Waylon Jennings in a chapter titled "Revelation" (Chapter 4). Jennings' start came as a member of Buddy Holly's band. He just missed out on being on Holly's plane that went down, killing all on board. According to Howell, that plane crash haunted him throughout his life. But he would go on to be an Outlaw (and a Highwayman). As far as theology, that was rare in his songs, and the songs that did contain theology were largely written by others. However, Howell can dig into Jennings' life and music to discern theological dimensions. The chapter title derives from a song found on a 1972 album titled "Revelation" that has apocalyptic imagery. Ultimately, Howell suggests that one of the features of this outlaw imaginary is "that there is no consolidated understanding of God. There is no unified theological vision" (p. 91). What there is is the outlaw imaginary, the rebellious dimension. Unlike the other two, his theology remained relatively unchanged from childhood.
After discussing Kristopherson, Nelson, and Jennings, all of whom I'm very familiar with, he introduces us to Towns Van Zandt in a chapter titled "An Elegy of Empty Harps" (Chapter 5). What we discover here is theology rooted in Townes' battle with depression and anxiety that led to rather dark lyrics. Here the theology involves a hidden, even absent God, with the world left to its own devices. Interestingly, among the influences on his theology and music is the work of Nikos Kanatzakis, especially The Last Temptation of Christ. Howell concludes by noting that for Van Zandt, the only eschatological traces in his music are ones that point "to an end that cannot see God but wishes it could" (p. 115).
In Chapter 6, Howell introduces us to Billy Joe Shaver in a chapter titled "Salvation." Shaver's songs were often recorded by Waylon Jennings. While there is darkness present, his faith seems stronger and more present in his music. There is an eschatological dimension to his music. Howell brings Wolfhart Pannenberg into his discussion of Shaver's eschatology, in which the eschaton is understood to bring about the full expression of a salvation already at work in the world.
The first five figures discussed by Howell involve original Outlaws. In Chapter 7, he turns to a new group of folks who build on the Outlaw imaginary, with a focus on Roger Alan Wade and Cecil Allen Moore. He titles the chapter "New Forms of Outlaw Theology." This new version is more diverse in its reach due to changes in technology. In this chapter, they focus specifically on artists who play with theological dimensions present in the existing outlaw imaginary. Here we discern in their music a move away from religion, even as theological metaphors are present in the songs.
Howell offers a lengthy Conclusion subtitled "Theology on a Sunday Morning Coming Down." Howell notes that there is an ambivalence present in the music when it comes to theology. It is present, especially in the earlier artists who had deep roots in particular, even fundamentalist, faith communities. In many ways, these figures transgressed the theological/religious lines that they brought to their music, such as Kristopherson's envisioning Jesus as a Capricorn. As for the Christology present in this music, Jesus is understood to be a "symbol for good." He notes that "The depth of this goodness brings a positive light to even the darkest of its symbolic references" (p. 169). As for the eschatology, it is largely harmonious but again somewhat ambiguous because the end is never reached. Ultimately, this is not a formal theology but an echo of one that provides a means of reflecting theologically through music.
October 3, 2026
Too Sick to Pray presents a distinctive theological exploration through the lens of outlaw country.
C. M. Howell brings together theology, Christianity, and a musical-cultural tradition with a strong identity of its own.
The unusual subject creates an opportunity to reach both theological readers and audiences interested in music and culture.
At 268 pages, the hardcover offers room for sustained engagement with its central theological theme.
Published August 24, 2026, the book has an opportunity to build continued discovery among readers beyond conventional theology audiences.
C. M. Howell brings together theology, Christianity, and a musical-cultural tradition with a strong identity of its own.
The unusual subject creates an opportunity to reach both theological readers and audiences interested in music and culture.
At 268 pages, the hardcover offers room for sustained engagement with its central theological theme.
Published August 24, 2026, the book has an opportunity to build continued discovery among readers beyond conventional theology audiences.
Displaying 1 - 2 of 2 reviews