The First Work

Ready or not, Sunday is coming.

Whether you lead worship as a volunteer, bi-vocationally, or have been freed up to lead worship full-time, there are countless practical details that need to be handled before a Sunday service. I tend to be task-driven, so I find powering through a checklist quite satisfying. In fact, I even created a worship leader checklist you can download for free here. Yes, there are many things to do: set lists to build, teams to schedule, lyrics and sound to set up, planning meetings, follow up, and communication. But the longer I lead worship, the more I begin to be convinced that my first work in leading worship is not the tasks, but to become a person of prayer.

Be before do.

Be a worshiper before leading sung worship.

Be present with and to the Lord.

Serve in the secret place before a public space.

We serve out of who we are. We serve out of who we are becoming. In every area, our lives can be ruled by the tyranny of the urgent. How do we continue to choose the good portion even when our time is limited and our tasks are many?

My hope is that prayer increasingly feels more like an anchor instead of a detour to my week, my life, and my ministry responsibilities. I hope that for you as well.

21 Years of Leading

The first time I led corporate sung worship, it was a surprise.

This Fall I have been leading worship for 21 years. In 1,100 weeks of leading worship very rarely has there been a single week where I have not led sung worship at least once. It is wild to look back on that time and see how much has changed, and how much of the foundation upon which those early days were built remains unchanged.

It was Sunday night Bible study with our high school youth group. That morning I had agreed to play keys during worship that evening, but as we drove to church, I realized that the main worship leader was out of town that day. I called my youth pastor on my mom’s cell phone and asked, “Did you want me just to play tonight, or am I leading tonight?” “No, leading!” We turned the car around to get the guitar I had had for more than a year but had only seriously been playing for three months.

My mom helped me build a liturgy and set list with the handful of chords I could confidently play, and I recruited two other freshmen to play keys and sing. We practiced for an hour and led worship that evening for the first time. No microphones, no sound system, and lyrics on an overhead projector against the wall. I did not even have a strap for my guitar. I stood with one foot up on a chair - like Captain Morgan - and my guitar balanced across my leg.

There is often a humility devoid of pretense as we begin something new. There is a simplicity and innocence that mark those experiences that can be difficult to locate again as we grow and mature as people, as leaders, in our theology, and in our competence.

I heard Christy Nockels say that sometimes when she is leading worship a vision of her seven-year-old self flashes into her mind, and she sees herself as a child once again in that moment leading the crowd or congregation in worship. We should pursue excellence, we should seek to honor God and serve His people well with the gifts He has entrusted to us. But I am also learning that growth and maturity look like fighting against hardness of heart and opening ourselves to humility and vulnerability in our serving.

May the reminders of your own experience be ebeneezers of God’s kindness and faithfulness to you. Thus far the Lord has helped you.

Sound Standards

I went to school for Recording Arts and Music Business. I’ve led worship for a long time, but I am not a great sound person. But one of the things I have realized as a worship leader is that sound falls under my umbrella of responsibility, whether I am serving with a highly-trained, paid sound person, or an untrained volunteer, I cannot be hands-off with sound. Sound is critical to a service.

Like many things, sound has best practices: how to set up a system, the levels of volume needed in a space, and the kinds of equipment needed for a specific context. There are a myriad of resources available online for technical aspects of running sound that I have found helpful. Besides general training and knowledge of a particular soundboard, I have found the most helpful aspect of equipping sound people is setting sound standards.

Setting up sound standards feels like trying to help people live by the spirit of the law rather than the letter of the law. Because sound is as artistic as it is technical, I want to make space for our sound guys to bring a level of artistry to their craft, knowing that our musicians rotate and therefore the sound is produced with in itself never be ‘standard.’ Sound standards also allow space for a specific congregation and the direction of the church as a whole. A few of my sound standards:

I want the volume loud enough that people need to sing out to be able to hear themselves sing, but not so loud they cannot hear one another.

I want the vocalist leading a song to be the loudest in the mix.

I want the instruments to be defined, but well-balanced without one being louder than any other through the entirety of a set.

The instrument driving a song needs to be what is heard most clearly.

I want the sound to serve the song and the people, that might mean it needs to be louder or quieter depending on the tone of the service, the size, and make-up of the band, or the size of the congregation.

We are aiming for consistency over individuality when it comes to the mix.

Whether on a platform or behind a soundboard, we are on the same team. One of the ways I have learned to push toward unity, and toward collaboration has been spending time with a sound person before rehearsal to walk through the order of service, the dynamics I am hoping to create, who is on the team, and any pieces I would like them to be aware of moving into the service.

What would you add?

Postures in Worship

Shout

Sing

Silence

Fall down

Lift hands

Kneel

Dance

These are just some of the physical postures of worship we see throughout Scripture. But often it is not Scripture, but denominational affiliation or culture (family, church, city, country) that carries a greater influence on our physical posture during the gathering.

Let me be clear: our outward posture does not (always) equal inward posture of heart. And very clearly in Scripture, we see wild, exuberant postures of worship, as well as stillness, and awe. Too often as worship leaders, we use external signs as validation that we have done our jobs. Some people are naturally expressive, and others are naturally reserved. Certainly, there are days, songs, seasons, and times when our congregations respond in ways that we would not expect - in expression, volume, general engagement, and enthusiasm. Do we encourage silence without feeling the need to fill with pads, or piano, as much as we encourage people to sing out and raise their hands? Physical posture is not the sole indicator of true worship, but it may be a window into the hearts, lives, and cultures of our community.

How can you encourage a fuller understanding and expression of postures of worship in your gathering? How might you invite people to move out of their comfort zone (whether toward silence, or expression) not in response to the worship leader, but in response to God?

Connecting the Gathering

I live and serve in the South. Cultural Christianity is alive and well in the Bible Belt. Having the external appearance of faith without a heart that grasps and truly responds to the Gospel is my short-hand description of cultural Christianity. It has the external appearance of goodness, or morality with a compartmentalized heart and understanding of the way our faith should influence and impact everything about the life of a believer:

Our desires and affections.

The way we view and spend our money.

Our thoughts and actions.

The words we speak, and the way we use social media.

Our interactions with our family, our neighbors, and our enemies.

Our engagement within our communities and around the world.

What we treasure, and what we reject.

To some extent, this is not a unique reality for Americans living in the South. Every human lives a compartmentalized life. We divide ourselves across work, family, friends, free time, money, and faith. But if we are called to be and make disciples, that is a call that must pervade every area and aspect of our lives.

When I started to see worship leading as a place of discipleship, I began to see the gaps between what we do on a Sunday, and how we live the rest of the week.

Sunday worship is the overflow of Monday through Saturday worship.

Sunday worship fuels and propels the people of God to live as worshipers throughout the week.

In gathering with the people of God are reminded that God is much bigger than we are, that we are never alone, and we encourage one another to live as followers of Christ.

In gathering with the people of God we are reminded of our dependence upon God and the gift of His Body.

In gathering with the people of God our attention and affection are refocused around the person and work of Christ rather than the desires of the flesh or the culture.

May our lives, and the lives of those we lead look increasingly less compartmentalized.

Other posts that might be of interest:

All of Life Worship.

How to respond to Current Events.

Growing as a Communicator

Connecting Songs and Sermons

Questions To Consider

One of the things that our team has spoken about is the need for a deeper dive into our songs and services apart from a weekly service evaluation. And that would open up questions, and facilitate discussion for our whole team around the purpose and movement of our gatherings, apart from song choice, and how each of us can play a part in moving our services in the same direction.

One of the things that sparked these categories in my mind is Mike Cosper’s 10 Questions to Consider at the end of every year. I appreciated how he was able to open a view of the gathering wider than song choice and simply judge a service. The categories below are certainly not exhaustive, but will hopefully fuel deeper thought:

SONGS

• What new songs are we singing, and how are people responding?

• Which songs consistently have high responses (loud singing/participation, comments, humming in the bathroom)?

• What holes are in our master song list (content)?

• What are we singing too much (themes, songs, style)?

• Is the liturgy balancing an awareness of the people, while continuing to lead toward a direction that more closely embodies our values and mission?

COMMUNICATION

• Is it clear?

• Are we equipping our verbal communicators to understand and navigate the movement, tone of the morning, and the moment while still being themselves?

• Are the announcements leading people in worship, and moving them toward mission, not just giving them information?

• What has been confusing?

• Where have we dropped the ball (for the congregation, for the team, with visuals, with helping equip those on the platform knowing how to effectively communicate)?

FORMATION

• What is missing?

• What is stale?

• Are the ordinances being thoughtfully navigated (within the service and by the communicator)

• What has been surprising?

What would you add?

Here are some other similar resources you may find helpful:

Don’t Judge The Service.

Service Evaluation.

10 Questions to Consider.

Choosing A Key

Choosing a key is a tricky business in this world of corporate sung worship. Trying to land on a key that allows men and women, young and old, competent and tone-deaf to sing out their praise to the Lord is nearly impossible. Like many things, you can likely find resources online that coach you through the key-to-key range that is best suited for congregational singing, but I am not a theory teacher, and this is not that post. Rather in this post, I want to offer a few points to consider when it comes to choosing a key:

1. What is comfortable for your range? Who is going to be leading this song? If something is out of range (low or high) for the vocalist who will be leading the song, it will automatically become more difficult for the congregation to follow along.

2. The original key. Many worship songs these days end up on the radio, which means they are likely pitched higher than even the worship artist would play or lead them live. Just because you can sing something in the original key doesn’t mean you have to. That being said, sometimes putting something in the original key can make it a lot easier for musicians and vocalists to learn their parts.

3. What else are you playing? A larger consideration for me in choosing a key to a song is the other songs surrounding it in the setlist. Now, this is not something I have to worry about as much using tracks and pads to smooth transitions, but I want to be able to move seamlessly from one song to another. As a guitar player this means thinking about things like - will I need to change a capo? Retune my guitar? If it is not in the exact same key, what are the transition chords I need to play to move me into the next song?

4. What key will be on the edge? Where can I pitch this song to encourage people to be right on the edge, and have to really sing out, but still be singable enough that they simply stop singing because it feels completely out of reach. I think about this with lighting in the worship gathering as well - I want it to be bright enough that people can see one another, but dark enough that they don’t feel exposed in their worship.

5. Consider the song. People will often give modern songs a hard time about the anthemic octave jump from one part to the next, but truthfully, if you sing a lot of hymns, the melody range can be just as significant. The only difference is that we have become familiar with these melodies in such a way we do not notice the jumps.

Ultimately, there is trial and error involved. One of the reasons I like Co-Leading, especially with men and women on the team, is that you can choose keys for a man to lead that will be comfortable for men, and choose keys for a woman to lead that will be comfortable for women. We need to be willing to serve our congregations, serve the song, and be willing to sacrifice some artistry - just because you can sing that high doesn’t mean this is the right place to make that known.

The Most Important Part Of The Gathering

What is the most important part of the worship gathering?

My Anglican friends would likely say the Eucharist.

My extroverted friends would likely say the time of fellowship.

My musical friends would likely say sung worship.

My worship-leading friends would likely say sung worship as well.

My reformed, gospel-centered friends would likely say the preached word of God.

Most pastors would likely say the sermon.

My charismatic friends would likely say what is unexpected, or surprising.

Whether we realize it or not, every portion of our corporate gatherings is formative. We are shaped in subtle and significant ways by years of repetition. What we emphasize, and where we place the most resources (time in the service, staff, money, etc) is likely what the churches we serve value most. But if everything portion of our gathering is retelling the gospel story, if every part of our gathering is intentionally placed to form our people, then each component has a role to play in the importance of our formation.

What is the most important part of the corporate gathering? It all is important.

Quotes [Part 4]

I like to spread out my ‘quotes’ posts - but these were too good to hold on to for much longer!

WINFIELD BEVINS

“In many ways, worship is theology in motion.”

JOHN ELDREDGE

“Modern worship bands not only need to be extraordinarily talented musicians, young, and beautiful, but their live events employ multimedia to keep your attention as well. Now church service compete with concert-level staging, lighting, special effects, and films. The terrible, unspoken assumption creeping in is this: if you’re going to find God, if you’re going to have more of God, it’s going to come through some amazing experience, something totally wild and over the top. Or we think that once we have God, the proof will be an over-the-top life. Not true. So unhelpful, and immensely unkind. This expectation actually makes those deeper experiences of God seem inaccessible for most of us.”

OSWALD CHAMBERS

“We have the idea that we can dedicate our gifts to God. However, you cannot dedicate what is not yours. There is actually only one thing you can dedicate to God, and that is your right to yourself. If you will give God your right to yourself, He will make a holy experiment out of you - and His experiments always succeed.”

ROBERT E. WEBBER

“Worship does God’s story! In worship, we remember God’s story in the past and anticipate God’s story in the future.”

Part 1 | Part 2 | Part 3

Scheduling a Team

If you are leading in a context where you have enough musicians to serve on a rotation, then considering how to schedule a team will become an increasingly more regular part of your weekly responsibilities gearing up for a weekend.

Of course, you need to think through the practicalities of how you communicate with a team. What kinds of rhythms and expectations to set with the team, you will also need to think through some of the intangibles.

Intangibles like:

What voices sound the best together?

What team members can complement one another’s style of playing?

How can I balance stronger musicians with less experienced musicians?

What are the rhythms for serving that work best in the lives of our team?

How will these songs work with the specific team that will be tasked with leading the setlist in a weekend?

As my team has grown, my month has a similar outline:

• Two weeks before a new month, I send my whole team an email letting them know to enter any blockout dates for weekends they will not be available to serve.

• I start listing out songs that I think will work with the sermon text, determine any new songs, and begin to get a 30,000-foot view of the services a month at a time. This helps me keep an eye out for things like Baptism, Communion, or special announcements that need to be included in our gathering and will shift the time, or amount of songs in a service.

• The week before a month begins I schedule my team via Planning Center. As people confirm or decline, I know there will be specific spots to fill, and as this happens I have a better sense of how to tailor the set list to fit the team.

• Every Tuesday I email the team who is serving to confirm for them the set list and song keys.

This pattern has taken time to develop, and in every place I have served as found a unique rhythm. Consistency is key in your scheduling and communication. But because people are not widgets, you have to invest time into being a student of your team, to serve them well in your scheduling.

If you’re looking for other resources for your team, you may find these posts helpful as well:

How to build a team without musicians.

A team of worship leaders.

Identifying and developing new leaders.

Making space for new leaders here and here.

Trust In Worship

There is a tremendous amount of trust required in leading people in sung worship. Most people are only singing aloud during a commute to work or their morning shower. Apart from singing ‘Happy Birthday,’ when are the vast majority of people singing corporately?

But sung worship is not just a physical act - it is spiritual as well. We are putting words in the mouths of our people for them to know, understand, and respond to the person and work of Christ.

When God’s people are gathered in sung worship they are following our lead - are we trustworthy? Have we invested in the secret place before coming to this public platform? Have we spent time with these songs to be able to lead them with as few distractions as we can manage? Will we provide the people with enough direction that they can relax and follow, or will they feel consistently unsettled because we seem to be unaware of anyone besides ourselves?

As it does in any relationship, trust is built over time. Time and familiarity will either serve to strengthen or undermine the trust you have with the people you lead. So be consistent in your serving on and off the platform. Be gracious with and toward your people knowing that there is a significant amount of trust required in their relationship with and toward you.

Using Tracks

For a long time, I was against using tracks.

Not for any justifiable reason, mainly because I didn’t like being told what to do. And it felt like tracks could potentially determine the structure, style, and progression of a song I appreciated the flexibility of being able to change key or tempo to suit the setlist. But more than that, using tracks felt like lying or cheating - creating something that you were not actually able to reproduce with your given team.

You are likely familiar with tracks, but if not, they are pre-recorded elements that play along underneath the live band. They are often called backing tracks, loops, or simply tracks. They are not necessarily meant to replace instruments, but to enhance and compliment your team, as well as fill in musical holes. This is not a post about the technical side of setting up tracks - there are resources available with far more detail and skill than I could offer in that department. This is not even a post about selling you on using tracks, they are likely not right for every team and every church. What I hope to offer in this post is how to consider and implement tracks if you, like me, had never used them before.

Over the last 18 months, our church has been incorporating tracks into almost every song. And it has surprised me how much I have enjoyed using them. Like most things, there is a learning curve, and it has taken me some time to find the rhythm which works best for our team and our church, but overall, I am really happy with the decision to be using them regularly. There is far more flexibility in use than I had anticipated, and the fuller sound and the opportunity to introduce songs I would not have considered because of the way the production supported the song has outweighed my fear about tracks as lying or cheating.

Using in-ears.

If you are going to be using tracks, at least one person will have to be using in-ears. Because tracks are being played back with a click track (metronome to keep you in tempo and time), at least one person (usually the drummer or worship leader) needs to be able to hear the tempo to follow the track. And because you usually don’t want the congregation to hear a click track along with the song, the best application of tracks is with in-ear monitors. Tracks are just audio being played back, and therefore are not reacting dynamically to the live musicians - they are not slowing down or speeding up based on what other people are playing. You hit play on a track, and you’re into the song.

Start with a click track.

Before you invest a lot of time, energy, money, or effort into backing tracks, start with a click track. Backing tracks will include cues that will count into each part of a song. This is a significant adjustment. So starting with a standard click track will help the team get comfortable with hearing something in their ears apart from one another. It is also fairly low risk - if the team gets off the click, they just need to keep playing until they can find the pocket again - and generally, the congregation won’t be able to tell.

Start small.

Try adding a track to one song in the setlist. How does the team like using the track? Does the sound person feel equipped to be able to mix the song well? Does this feel like something that will work well in your context and with your congregation?

Like many things, there can be a temptation with tracks to go over the top and overboard very quickly. But a good song is a good song is a good song. My encouragement is to let the track complement the song, not overwhelm the song. As worship leaders, we want to utilize technology to enhance and adorn our worship gathering, but never to become the center of the gathering.