The paper looks at new ways of understanding the sacred and how synergies between the tangible and intangible can be generated in repurposed buildings. To explore this, the paper considers the evolving role of music and film in Evangelical material culture, examining two churches that have adapted space to foreground performative worship practices and music. The paper presents two case studies of churches in former secular buildings, to explore this phenomenon. The first example is St Luke's Anglican parish church which operates in a listed nineteenth-century former gas retort house in Birmingham. Here, architects were engaged to configure the internal space around the performance of music which is written specifically for this church and live-streamed during services. In addition, the building is significant for the congregation in the way that it anchors the church to the industrial and social history of the area and emphasises local rather than religious traditions. The second example is a listed former cinema in London, which has restored the building to its original spatial layout, including reinstating the cinema organ, raked floor and fixed seating. As with St Luke's, the reordering of the internal space has provided a stage for musical instruments and choirs, screens for displaying biblical readings and responses and a pulpit for sermons. The paper builds on research undertaken by the theologians David Goodhew and Anthony-Paul Cooper's into the reuse of secular buildings as churches in the English city of York. However, while Cooper and Goodhew suggest that new churches repurpose secular buildings out of economic necessity, this paper explores communities who have expressly chosen to reuse buildings that can accommodate performative worship. In doing so, the paper elucidates a long tradition of interweaving tangible and intangible cultures in charismatic Evangelicalism.