Of course, much of what goes on at your average pub gig is out of place in church. There is a difference between secular and sacred musicianship. Yet I want to suggest that there might be more to it than the simple performance/service dichotomy suggests.

The performance/service distinction confuses two related, but very distinct, issues. The first is how we play. Not a single bar goes by without a hundred little decisions: what style, how loud, how complicated, which notes, and when. The second is why. Why are we playing? What is our motivation? Are we considering the interests of others above ourselves? Do we want to be respected or do we long for Jesus to be glorified? You’ll notice that these are exactly the same questions which the preacher has probably being struggling with all afternoon. No matter how we serve, it will always be a battle to align our vain, proud hearts with God’s will.

Clearly the issues are related. Our motivations will inevitably influence how we play. If we are seeking our own glory this might be reflected in how we play (ostentatious guitar solos spring to mind), thus giving others convenient occasion to quietly judge us.

Yet that’s not the whole story. I’m reminded here about C.S. Lewis’ distinction between pride and vanity. The vain musician plays too many notes because he’s seeking approval. The prideful musician might play exactly what’s needed – yet still have his or her heart far away from God. The first is immature. The second is something far worse. Something I often struggle with.

We will always struggle to keep our hearts pure at every second. And we can’t always keep our hearts in line by playing more simply (although sometimes I’ve found it to be good discipline). How we play may be a good diagnostic test, but not always. Let’s tackle the two issues individually. Let’s get out hearts sorted out through prayer and a good dose of honesty. Then let’s sit down, work out what is the best way for us to play, and just get on and do our job.

Imagine one week at church we paid five of the best session players we could find to come and accompany our singing. They might not sing along, and they certainly wouldn’t share in our fellowship in the same way. Their motives would have nothing to do with humbly serving the congregation – they’re just doing their job. They would play professionally. Doing exactly their job. No more, no less.

The performance/service distinction is a good starting point, but it doesn’t go far enough. In fact sometimes it goes too far in the wrong direction, and we are left with boring music. Now, I don’t have anything against boring music. But if you are going to be tempted to yawn while singing about Jesus’ death, then please just stop.

Moving forward: Some suggestions

Thanks

“What do you say to a musician who has done a really good job?” someone asked me recently. You don’t want to build their ego’s. But encouragement is a great blessing in a church.

Personally, what I’d find most encouraging after spending hours battling to get everyone in tune and in time is “thanks, I found singing together tonight really encouraging”.

Prayer

If you are not starting your band practices with a time of prayer and sharing you need to. I know music teams who spend 30 mins together talking about their lives and praying for the service every week. Not a second of that is wasted.

Singing along

I remember playing in a band at KCC recently and having Willow (the sound guru) come up to us and thank us for singing along while we played. Apparently everyone found it encouraging. We didn’t notice, because we were so caught up in the words which we’d played a thousand times but never sang past verse 2 until then. Try it! (Flautists are excused, reluctantly).

Policy

Work out how you play before you play. What is most helpful?

Take some time off

Everyone should have at least one week off every month. Our church barely has enough musos to make a full band (let alone two or three), so we just have heaps scaled back music on the fourth Sunday of every month. I’m prepared to have no singing (or use backing tracks/organ) if it means giving the musos a break.