Jesus Walks - Critical Reception

Critical Reception

The single received immense praise from critics for its open embracement of faith in the face of the oft-secular music industry, with many expressing their astonishment that such an overtly religious song was embraced by radio. In a review of The College Dropout, Village Voice synopsized the song as a "desperate masterpiece." Stylus Magazine music reviewer Josh Love cited "Jesus Walks" as the best song on the entire album, saying "Kanye makes his spiritual toil sound like triumph thanks to martial drums and a little gospel choir fervor, sounding a clarion call of salvation to all would-be doubters and haters. He swears that he's not trying to 'convert atheists into believers,' but listening to The College Dropout might just convince you that Kanye West is the Second City's Second Coming." The Los Angeles Times similarly considered "Jesus Walks" to be the highlight of the album, stating, "Its pulsating drums serve as the perfect backing for West's reflections on his own mistakes as well as hip-hop's tendency to focus on negative subject matter." PopMatters, which hailed "Jesus Walks" as the year's best single, listed the song as one of the primary tracks which exemplified the thoughtfulness and scholastic complexity inherent of The College Dropout as a whole, commenting that, "On 'Jesus Walks' Kanye proclaims his devotion to Jesus as seriously as the most devotional hymn singer would, while illustrating the way he falls in and out of what he perceives as the good path to follow. 'I wanna talk to God but I'm afraid cause we ain't spoke in so long,' he confesses, but then he goes ahead and asks us all to join him in that conversation, to push the song onto radio and push the divine into the heart of public dialogue. Extra dimensions are added to the song by the intense, cinematic presence it has, with all of the drama of a gangster film's climactic scenes, and by a Curtis Mayfield drop that makes the song ripe for a study of intertextuality."

Alongside its subject matter, the production quality of the track received equal acclaim, with Garry Mulholland of The Observer chronicling it as " towering inferno of martial beats, fathoms-deep chain gang backing chants, a defiant children's choir, gospel wails, and sizzling orchestral breaks." Kelefa Sanneh of The New York Times, who classified "Jesus Walks" as a gospel song, concurred with this sentiment, describing the song's choral arrangement as "clever". Blender likened the beat of the song to a "phantom marching army", and Entertainment Weekly testified that the "lush, intricate" production of the track gave off an "uplifting" presence. Time magazine critic Josh Tyrangiel declared "Jesus Walks" as "one of those miraculous songs that you hear for the first time and immediately look forward to hearing on a semiregular basis for the next 30 or 40 years." Sasha Frere-Jones of The New Yorker asserted that the song, "sounds simultaneously like V-Day and like a funeral” and concluded his review stating, "In a different year, 'Jesus Walks' might register as an eccentric's conflation of faith, commerce, and war. In 2004, it's a popular state of consciousness."