The Devil’s Apologist

A Biblical Analysis of “Sympathy for the Devil”

Seduction to Destruction

The hypnotic samba rhythm pulses beneath Mick Jagger’s snarling vocals as the Rolling Stones’ most controversial anthem unfolds. Congas and percussion build to a feverish crescendo while Jagger assumes the voice of evil incarnate, recounting millennia of human suffering with unsettling intimacy. The song’s infectious groove masks a profound theological problem: what happens when popular music gives Satan a platform to plead his case directly to millions of listeners?

“Sympathy for the Devil” was written by Mick Jagger and Keith Richards and appeared as the opening track on the Rolling Stones’ 1968 album Beggars Banquet. Some of the historical events mentioned in this song are the crucifixion of Christ, the Russian Revolution, World War II, and the Kennedy assassinations, while The Rolling Stones’ “Sympathy for the Devil” can be traced back to the Soviet Union-era satire ‘The Master and Margarita.’ The track was inspired by French literature and Bob Dylan, having nothing to do with black magic, according to Jagger’s later explanations.

The song presents a fundamental theological challenge by giving voice to Satan himself as narrator, claiming presence at history’s darkest moments while demanding listener sympathy and recognition. Through its first-person devil’s perspective, the track advances several problematic theological propositions: that evil deserves understanding, that Satan’s role in human suffering merits sympathy, and that the devil functions as a gentleman worthy of courtesy rather than the enemy of souls described in Scripture.

The Problem of Evil’s Self-Justification

The song’s central conceit—Satan introducing himself as a “man of wealth and taste”—directly contradicts biblical teaching about the nature of evil. Scripture consistently portrays Satan not as a sophisticated gentleman but as a deceiver and destroyer. Jesus identifies him as “a murderer from the beginning, not holding to the truth, for there is no truth in him. When he lies, he speaks his native language, for he is a liar and the father of lies” (John 8:44). The apostle Peter warns that “your enemy the devil prowls around like a roaring lion looking for someone to devour” (1 Peter 5:8).

The song’s attempt to humanize evil by presenting Satan’s perspective runs counter to the biblical understanding that sin and its source require no sympathy but rather complete rejection. Paul instructs believers to “have nothing to do with the fruitless deeds of darkness, but rather expose them” (Ephesians 5:11). The track’s seductive rhythm and compelling narrative demonstrate precisely how evil disguises itself as attractive and reasonable—what Isaiah condemned when he wrote, “Woe to those who call evil good and good evil, who put darkness for light and light for darkness” (Isaiah 5:20).

One could argue that like C.S. Lewis’s The Screwtape Letters, “Sympathy for the Devil” employs a first-person demonic narrator to expose folly. But where Lewis uses infernal satire to illuminate Christian truth and spiritual warfare, the Stones’ track risks glamorizing evil by inviting sympathy for its source. Lewis’s Screwtape is a pedagogical tool—his lies are meant to be unmasked. Jagger’s devil, by contrast, seduces without critique, offering no theological guardrails to resist his charm.

Historical Determinism versus Divine Sovereignty

The lyrics present Satan as the driving force behind major historical tragedies, from the crucifixion to modern warfare. This narrative suggests a form of historical determinism where evil inevitably triumphs through human events. However, Scripture teaches that God remains sovereign over all history, including its darkest chapters. The crucifixion, mentioned in the song as Satan’s victory, actually represents his ultimate defeat. As Colossians 2:15 declares, through the cross Christ “disarmed the powers and authorities” and “made a public spectacle of them, triumphing over them.”

While the Bible acknowledges Satan’s temporary authority in this world (2 Corinthians 4:4), it never presents him as history’s primary architect. Instead, Scripture reveals that “the Most High is sovereign over all kingdoms on earth and gives them to anyone he wishes” (Daniel 4:25). The song’s portrayal of evil as the organizing principle of history fundamentally misunderstands both the nature of divine providence and the temporary, limited scope of Satan’s influence.

The Seduction of Moral Relativism

Perhaps most troubling, the song cultivates sympathy for evil by presenting Satan as merely another perspective worthy of consideration. The repeated plea for sympathy transforms the absolute enemy of God into a misunderstood figure deserving compassion. This moral relativism contradicts Scripture’s clear teaching about the absolute nature of good and evil. Jesus himself declared, “Whoever is not with me is against me, and whoever does not gather with me scatters” (Matthew 12:30).

The Bible provides no middle ground regarding Satan. He is not a tragic figure or a necessary counterbalance to good, but rather the sworn enemy of everything righteous. Revelation 12:9 identifies him as “the great dragon…that ancient serpent called the devil, or Satan, who leads the whole world astray.” Any theology that seeks to generate sympathy for such evil fundamentally misunderstands the cosmic conflict between righteousness and sin.

The Corruption of Cultural Worship

The song’s infectious rhythm and memorable melody have made it a cultural anthem, sung by countless listeners who may never consider its theological implications. This raises crucial questions about how music shapes spiritual understanding. When believers participate in songs that celebrate or sympathize with evil—even ironically or artistically—they risk what Paul warned against: “Bad company corrupts good character” (1 Corinthians 15:33).

The apostle Paul instructed believers to focus their minds on “whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable” (Philippians 4:8). While the song may have artistic merit and cultural significance, its content fails this biblical test for what deserves our mental attention and emotional engagement.

Assessment and Proper Use

Theologically, “Sympathy for the Devil” fails to align with orthodox biblical teaching on multiple levels. Its humanization of evil, historical determinism, and cultivation of sympathy for Satan directly contradict scriptural truth about the nature of good and evil, divine sovereignty, and the believer’s proper response to wickedness.

The song obviously has no place in corporate Christian worship, as it promotes theological error and asks listeners to sympathize with God’s enemy (I’ve seen worse at “Seeker-Friendly” services). Even for personal listening, believers should approach it with extreme caution, understanding that its artistic sophistication and cultural importance cannot excuse its fundamentally anti-Christian worldview. The track serves better as a case study in how popular culture can package dangerous theology in appealing musical forms than as entertainment for those seeking to guard their hearts and minds.

Conclusion: The Serpent’s Ancient Song

The hypnotic rhythm that first draws listeners into “Sympathy for the Devil” ultimately reveals itself as the serpent’s ancient song—the same temptation offered in Eden, now set to a samba beat. The song’s enduring popularity demonstrates evil’s continuing ability to present itself as sophisticated, reasonable, and worthy of consideration. For believers committed to biblical discernment, the track serves as a powerful reminder that not every culturally significant song deserves a place in the Christian’s playlist. Sometimes the most dangerous theological errors come wrapped in the most irresistible musical packages, requiring us to choose truth over cultural relevance, biblical faithfulness over artistic appreciation.