About this Piece

A metaphysical miracle critical mass  

materially pressed of human flesh  

God breath and star dust 

Hallowed be... 

—poetry from Good News Mass (2025) by Marc Bamuthi Joseph  

“God is here!” These three words resound as both proclamation and invitation in Carlos Simon’s Good News Mass, a groundbreaking orchestral composition with choir, soloists, and spoken word artist that merges gospel fervor with the liturgical structure of the Catholic Mass. With libretto by Courtney Ware and poetry by spoken word artist Marc Bamuthi Joseph, this work navigates the deep waters of human experience—loss, thanksgiving, joy, and hope—asking us to reflect on the divine presence in life’s struggles and triumphs. Infused with the rich traditions of African American spirituality, Good News Mass elevates the sounds of praise, storytelling, and supplication into a transcendent musical experience. 

   Simon, a multi-genre composer shaped by his Pentecostal upbringing and Western-style conservatory training, creates a dialogue between his gospel music heritage and the traditions of the Black Catholic community. Drawing from his gospel roots, he joins a lineage of African American composers who have reimagined the Mass form, from Mary Lou Williams and Florence B. Price to contemporary artists like Kim Harris, M. Roger Holland, Robert Ray, and Damien Sneed. In Good News Mass, Simon not only honors this legacy but also pushes it further, blending sacred traditions with multi-genre ingenuity to craft a Mass of and for our time. 

As Simon explains, Good News Mass “explores the ups and downs of being human and finding God in the midst of it all. What does it mean to question the existence of God? Where is God during our seasons of loss? How is God experienced in times of joy and hope?” The composition is both deeply personal and universally resonant, offering listeners a liturgical journey of introspection and celebration. 

Unfolding in 16 movements across three acts, Good News Mass begins with the “Introit” and culminates in “God’s Love.” It includes reimagined liturgical staples—“Lord’s Prayer,” “Prayer of Confession,” “Lord, Have Mercy”—as well as vibrant gospel declarations like “Oh, Give Thanks” and “The Greatest of These....” Simon’s hallmark ability to weave together diverse musical idioms shines through, combining gospel harmonic syntax, choral grandeur, spoken wordsmithing, and orchestral brilliance. Moreover, a unique feature of Good News Mass is its emphasis on orature, that is, the oral literatures central to Black religiosity. Joseph’s poetry recalls the West African griot tradition, enriching the performance’s narrative depth. This storytelling is amplified by visual art from filmmaker Melina Matsoukas, creating a multisensory experience that bridges the sacred and the contemporary. 

The multi-genre soloists, spoken word artist, and choir infuse the performance with the textures of traditionally versatile “Black church” worship: Hammond B3 organ, congregational singing, gospel choir antiphony, and altar-call zeal, all underscored by Simon’s orchestral mastery. 

Commissioned by the Los Angeles Philharmonic, National Symphony Orchestra, Sphinx Symphony Orchestra, and Boston Symphony Orchestra, Good News Mass stands as a testament to the vitality of Black sacred music in contemporary classical spaces. Simon’s work not only affirms the divine in our midst but also reminds us that music itself can be a vessel of healing, hope, and love. —Alisha Lola Jones