know a lot personally and also musically. You
get to hear them sing in all different kinds of
settings and songs, their mic technique, stage
presence, all of those things. I think sometimes
we rush people to the stage too quickly.
So, a clear path to the platform, not just
audition and then stage, but with some sort of
development process toward the stage.
[Nicole] A lot of churches these days are
portable, and I’ve talked to some that are in a
situation where they don’t have a building they
can meet in mid-week. So, it’s coming up with
creative ways to figure out how you can do
exactly what John was talking about. Maybe
you don’t have an extra day available, maybe
you’re in a portable type of campus, but set
aside some time. Maybe in the sound check,
where you can rotate that musician in? Get to
know them, have a place where they are able to
have some reps. It’s giving them those practical
connection points, whether it’s relationally,
developmentally, or whatever.
Depending on what kind of leadership you
already have in place, it can be really simple.
At one point it’s like, “Hey, tell that bass player
to show up”, even if you just have one person
that’s interested. Going from one bassist to two
bassists is a big deal. And I think it comes down
to people wanting to be connected and wanting
to find out where their place is in the body of
Christ. I know there’s a lot of different types of
churches out there with a lot of different types of
locations, so it’s coming up with creative ways
to do that. Taking it a step further, as Worship
Pastors and Worship Leaders, just inviting
people out for coffee, dinner or whatever, that’s
Trevin Gates
not developmental, but that’s a big deal too.
music that we’re playing.” If you’re doing super [John] I think the final thing is, and Nicole
[Chris] If your worship team is really interested intricate Brooklyn Tabernacle or a lot of Kirk touched on this, you have to have a lot of
in growth, or your campuses wants more Franklin stuff, it’s harder to get deeper teams community. I think one of the things that plagues
depth in each singer or player position, the because the barrier to entry is so high. Back musicians is that they can be introverted. Some
complexity of music that you’re doing can really to that motto of ‘simple songs done well’, it’s of the most brilliant people I’ve ever met are
put a cap on that. A lot of times we’ll have a lot easier for us to take someone that’s not kind of quirky, you know? I think we’ve got to
people at conferences saying, “We’d really like a semi-pro musician and get them to a point push past some of those barriers, and there’s
to increase our volunteer base but it’s really where they’re able to contribute to what we do no substitute for the feeling of belonging. The
challenging because of the difficulty of the at a high level. feeling of belonging is one of the most powerful
March 2019
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