You grew up in Churches of Christ. What role did church singing play for you in your youth?

Church singing was always a part of my life – it was normal and expected, and I happily got on board. During my primary school years in Melbourne we worshipped at the Belmore Road church and they sang acappella really well. They would sing those great songs that have clearly defined sections for different parts such as echoes or a step-out little solo. I would pay attention and try to figure out how it worked and how I could join in.

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When I turned 11 we moved to Brisbane where we attended the Wynnum church. At that time the congregation didn’t sing as many songs where people took parts. However, we started getting tapes from Hallal Music by Ken Young, and that brought new life to our singing, which was fun. We held singing nights and the acapella tradition continued with renewed interest. Oh, and we had the amazing Harding and Lipscomb choirs come to visit. I wanted to sing like those guys – I was transported by the music!

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What were some of the formative influences on you as you became more interested in church singing and song leading?

My family shaped my perception of what’s normal and expected. Mum and Dad always sang: Mum was a quiet alto; Dad was a booming bass; and my sister Lindsey, closest in age to me, was always requesting her favourites and learning new songs and their harmony parts.

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At age 19, I spent a semester at Lipscomb University and had some amazing singing experiences in chapel services. One man stood out in the way he would lead: he’d share what was on his heart, what God was doing in his life, and then as he was mid-sentence his words suddenly became the lyrics of a song we knew and we all joined in singing with him. I admired that seamless transition from song to spoken words to prayer. It was beautiful. There was also a huge impact from Christian acappella recording artists such as Acappella, AVB, the Vocal Union, Rescue, Hallal, Zoe Group, and more recently United Voice Worship.  (WebNote: Pls explore these links & check accuracy)

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How did you first get involved in leading singing?

My first experience of song leading was around grade 10. It came out of the blue on a Sunday morning – someone was sick; another away. After some encouragement I gave it a go and I think it went okay, but that was it for a long while.

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The next step was in youth and young adult groups – we’d often sit around and someone would request a song and I’d help to start it off. That informal situation was an easy first step. Through that I became more comfortable leading songs in our ‘Sunday Arvo at the Point’ youth gatherings, which were a little more formal as they were held in the hall we hired for Sunday morning services. But being among high school age and young adult peers, it was less daunting. After a while it wasn’t too big of a step to do the same thing on Sunday morning, with everyone present. I’d recommend other prospective song leaders to find some version of this for themselves. It may be in smaller Bible study groups, at home or in a hall, leading a few songs before or after the lesson.

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You have attended some worship and song leading seminars in the United States. Tell us about that experience.

I was encouraged, particularly by Peter Searson, to apply for Worship Leader Institute (WLI). I was both excited and nervous to finally get there. I’m naturally introverted and avoid risks and this course asks you to step outside your comfort zone for the sake of edifying the church. They call it ‘drinking from a fire hose and spinning a dozen plates’. It was a challenging and humbling experience, but it’s one of the best things I’ve done, and I was very glad to be able to go back the following year. 

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I learned to direct both tempo and dynamics, read solfege shape notes, create medleys, move with energy and purpose, express emotion, memorise and quote scripture with passion – and so much more. I felt equipped to encourage my brothers and sisters in many of the methods I’d admired in others, as well as in new ways that would reach and connect to different people in different ways. One big take-away was that our singing and worship should be full of real emotion, so let our body language and voices convey our joy, sorrow, peace, doubt, love, hope – whatever it is – honestly before our God and one another.

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People from outside the USA have access to scholarship funding to attend the WLI, so I would highly recommend Aussie song leaders to apply.

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What do you think are some of the strengths of the acappella tradition in Churches of Christ?

The simplicity of acappella singing is wonderful – all you need are people and their voices. You can be anywhere and start singing – sitting around a lounge room, a fireplace, in a park, and of course a church hall – even with the power out! Each person is contributing their heart and voice – whether in tune or not – and the Father loves to hear the praises of his children. Even learning new songs can be as simple as listening and repeating a line, verse, or chorus until it catches on. You don’t have to read music, most people learn really well by ear.

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There’s nothing quite like a host of people lifting their voices together, but it’s even more meaningful when it’s worshippers honouring their God. There’s something unifying about it – a bond between all involved.

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Many churches are quite small and don't have many singers. What encouragement would you offer about the value of singing together?

In a congregation of any size, if singing is done simply out of duty then there won’t be much encouragement from it. Instead, try your best to be purposeful in encouraging one another and offering your genuine heartfelt worship to God. 1 Corinthians 14:26 is a helpful reminder of our responsibility for mutual edification, where each person in the assembly brings something to it, whether a song, teaching, or something else. 

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I think this can be achieved uniquely in smaller congregations in a way that’s not practical in larger ones. Encourage members to bring a song that’s meant something to them during the week, and to share that meaning. Let them share a song in connection with the Lord’s Supper or the sermon. When the hearts of members are shared, the message of the song and the bond among family with God will be more important than the music made by the voices. Some will enthusiastically sing what might normally seem strange or dull to them.

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More practically, with smaller groups, other than old classics such as Amazing Grace I often go to simple echo songs: leader and audience, or male and female. Most people are comfortable and capable of repeating something back when they've been shown how to do it.