So my band leader and I started to play it more and more. They all said "we've got to introduce these songs to our church!" Then we realized we were already singing Victory in the Lamb. I remember I came home from Portland, and I was hanging out with my family and I said "I don't have any energy to tell about my trip, but you've got to listen to this guy." I played your music and got emotional over it, being really tired. But I think a lot of the classic hymns didn't have refrains, just a strong verse and melody, I think that came with gospel revivals in the US more, where it was about getting people to sing at tent revivals and stuff. The idea of a chorus came later for a lot of hymns.
Yeah, that song sounds like something John Newton would have written. the two that, on that record, I think I was really trying to write a hymn, that one and 'To Christ the Ransom Sinners Run'. The songs are completely personal, but I think that wasn't what I was thinking of when I was writing. Yeah, gospel is supposed to besomething that everybody - at least within the body of believers - can connect with, you know? And I think sometimes a personal song can do that, but you have to be more careful. I think there's a lot of gospel music that isn't super personal, ? Yeah, and I think gospel music is that way too. I think of folk music as telling a story about something other than yourself Of course, yourself bleeds into them, but. But I mean, a lot of them were modelled off of folk music. I don't know if I was conscious of it or not. I think on that record, a lot of those songs I was trying to not be a part of them. I think on that record it is the most personal.
I feel like that's the one that most people comment on. And I just listened to the whole record again and again, especially after Tim Mackie recommended it. So I looked it up, thinking maybe someone at the church wrote the song, knowing its reputation.
I came back from Portland after hearing you sing Oh Perfect Love Come Near to Me at Door of Hope and I thought man, this song is describing all of things I'm going through. Over Ruben sandwiches and red ales, we talked at length about his life and his creative process. Wesley suggested that we meet at a small brewery mere steps away from his house. But since my conversation with Wesley was so enjoyable, and since I spent far too many hours transcribing the whole thing, I'm posting the entire interview here. That interview became an essay published by Mockingbird. If you are new to Wesley's music, I suggest starting there. To learn more about his faith community, his songwriting habits, and how his life has influenced the texture of his songs, I traveled to Portland to meet with Wesley. He is a genuine old school songwriter living in our late modern age. Wesley Randolph Eader's songs have become a fixture of my community's repertoire of hymns. Working on this piece greatly encouraged me in my current role of making humble music at my local chruch. We talk about his songwriting for Parsons, but most of our conversation revolves around his thoughts on writing and leading music of his local congregation. My profile on Evan got published by my friends at Mockingbird. I feel like one of the best ways to disciple artists is to try and strip away the idolatry of their art. "Artists have the tendency to think that they are a gift to the church, that the church needs artists. Last summer I met up with Door of Hope's worship pastor Evan Thomas Way, who also leads the popular and highly acclaimed West Coast indie band The Parson Red Heads.įor a church that has such an emphasis on creativity, producing some of the best church music of the 21st century, Evan is surprisingly down to earth. It's the home church of Josh Garrels and Lize Vice, and over the past two years I've attended multiple services and interviewed former pastor Tim Mackie and songwriter Wesley Randolph Eader. Over the past couple of years, I've developed a great affinity for Portland's Door of Hope church.
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