Podcast appearances and mentions of morgan cryar

Britt and Steve take some time in this episode to chat with multi-instrumentalist, podcaster, and artist Monty Colvin, best known as the bassist for Galactic Cowboys. We discuss everything from his beginning as a bassist for Morgan Cryar all the way up to the kickstarter for a brand new GC album.  GC album kickstarter: https://kck.st/4d2lLZl Monty's art/CDs: https://www.montycolvinart.com/ Monty's rockcast: https://montysrockcast.com/ Christian Geeks links- website: geeksrockcast.com IG: https://www.instagram.com/geeksrockcast FB: https://fb.com/christiangeeksrockcast geeksrockcast@gmail.com 

Virginia-based singer-songwriter Heidi Riddell grew up surrounded by music as her parents led worship at her local church. She accepted Christ into her life at 6 years old, but her journey with God genuinely became her own after she stepped into motherhood.  After the birth of her second child, she felt the Lord drawing her into music and songwriting. The door opened up for her to work with CCM artist Morgan Cryar, who gave her the best advice: "Bloom where you're planted." Now, she focuses on being faithful with the resources and spaces God has given her, surrendering her dreams to God so that her will aligns with His.  Listen in for encouragement for your ministry and solid advice for your songwriting. Let God grow and refine you wherever He has you today.   

I'm honored to welcome back a previous guest on Guitar Serious Fun. She was actually our first guest ever - and she's got more to say today.Her name is Dawn Jones, and she is an International Speaker, Executive and Leadership Coach, Author, and Presenter of more than 20 published books and audio/video programs including her best-selling Top 7 Personality Challenges. She has also created and produced programs on Time Management, Supervising People, Conflict Resolution, Women in Leadership, and more.For over 20 years, Dawn Jones has empowered over 70,000 people in more than 1,700 presentations in 8 countries. Whether she is working with Leaders, Project Managers, Engineers, or Businesspeople, she is passionate about helping people achieve their goals.Dawn helps people recognize and resolve personality and communication challenges, all while helping her clients strategically reach goals, build healthy & productive teams, and increase profits.In her free time, Dawn and her husband volunteer and support non-profit groups in America and East and West Africa where they help people build a hope and a future for the next generation. I met Dawn over 20 years ago through her incredible Booking Workshop and Successful Booking curricula, the latter of which she actually allowed me to present the voiceover for her introduction. Dawn and I have both presented at Christian music conferences, and we've have crossed paths with some of the same people, including Morgan Cryar and Tom Jackson, whom I've mentioned in past episodes of Guitar Serious Fun.This is the audio from a Zoom call that I hosted with Dawn, so I invite you to listen in, listen closely, and grab some helpful tools from Dawn. You can learn more about Dawn at dawnjones.net.Dawn joined us in Episode 46: Reduce it to the Ridiculous, and provided some tremendous insights.And she's back!Because this is an interview, you will only find the discussion in the podcast audio. There's no transcript for this episode.But that's ok, because our guest's highly articulate and intentional delivery will draw you in immediately.So please stay in touch, and if you haven't subscribed, please do.  I also invite you to like this episode and to share any of these episodes with others, so that more people can experience what we are working hard to make available to you.Lastly, if you're a guitarist and you haven't yet found your tribe for ongoing education and inspiration, please check out our one-of-a-kind experience at GuitarSuccess4U.com.  I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

I'm super excited to welcome our first guest on Guitar Serious Fun.Today's episode includes a discussion for what it means to “Reduce it to the Ridiculous.” Because this is an interview, you will only find the discussion in the podcast audio. There's no transcript for this episode. But that's ok, because our guest's highly articulate and intentional delivery will draw you in immediately.Her name is Dawn Jones, and she is an International Speaker, Executive and Leadership Coach, Author, and Presenter of more than 20 published books and audio/video programs including her best-selling Top 7 Personality Challenges. She has also created and produced programs on Time Management, Supervising People, Conflict Resolution, Women in Leadership, and more.For over 20 years, Dawn Jones has empowered over 70,000 people in more than 1,700 presentations in 8 countries. Whether she is working with Leaders, Project Managers, Engineers, or Businesspeople, she is passionate about helping people achieve their goals.Dawn helps people recognize and resolve personality and communication challenges, all while helping her clients strategically reach goals, build healthy & productive teams, and increase profits.In her free time, Dawn and her husband volunteer and support non-profit groups in America and East and West Africa where they help people build a hope and a future for the next generation. I met Dawn over 20 years ago through her incredible Booking Workshop and Successful Booking curricula, the latter of which she actually allowed me to present the voiceover for her introduction.  Dawn and I have both presented at Christian music conferences, and we've have crossed paths with some of the same people, including Morgan Cryar and Tom Jackson, whom I've mentioned in past episodes of Guitar Serious Fun.This is the audio from a Zoom call that I hosted with Dawn, so I invite you to listen in, listen closely, and grab some helpful tools from Dawn.  You can learn more about Dawn at dawnjones.net.Spoiler alert: Dawn will be back for at least one more episode in the not-too-distant future as we talk about what it means to “Read it on the Run.”So please stay in touch, and if you haven't subscribed, please do.  I also invite you to like this episode and to share any of these episodes with others, so that more people can experience what we are working hard to make available to you.Lastly, if you're a guitarist and you haven't yet found your tribe for ongoing education and inspiration, please check out our one-of-a-kind experience at GuitarSuccess4U.com.  I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…I remember my first full-length concert.  I had been playing the guitar for four years…long enough to develop some solid guitar chops, and to write some of my first songs.The concert was hosted by some of my parents' friends, in their living room.  Everyone sat in a circle with me, as I played my guitar, introducing each song before I played it.  I performed for about an hour to an audience of a dozen people.  It was clear that everyone really enjoyed what I shared.  I was a little nervous, because I was playing and singing, sharing my original music, and although I had had some performance experience as a vocalist, I had not played my guitar for a full-length set in any kind of public setting.Although this was a private concert, I'd still call it a public offering, because I wasn't just playing the guitar for myself or my parents; there were people at this concert who had been invited from various circles of friends, so I rose to the challenge to perform for this audience.This first concert was a free event.  I wasn't in a position to charge admission or even receive donations; I was just getting started and learning the ropes of a live event.Fast forward a couple decades, and I've had the privilege of sharing music on stages in front of audiences of several thousand people.  And for many of these events, there has been financial compensation.Even as I am putting this episode together, I'm in dialogue with some venues who are super excited to book me, and willing to honor my talent value, either with an honorarium, a freewill offering, or both.I won't go into detail about what I currently charge to serve at a venue, but I will say that I am now playing for pay in most of my endeavors.  One pair of resources I was blessed to discover early on was The Booking Workshop and Successful Booking by Dawn Jones.In this curriculum, Dawn puts together a spreadsheet that outlines the criteria for what to charge at which stage of your journey. Spoiler alert: I'm looking forward to hosting Dawn on a couple future episodes of Guitar Serious Fun.You may or may not aspire to playing your guitar for pay.  Perhaps you play for the joy of music, and you want to share what you've created with whomever will listen.  That's a great way to offer your gifts.Alternatively, you may be thinking about what it might take to bring in some income as you play your guitar.Some musicians I've known have full-time jobs that are not related to music, but they perform for pay and use that income to maintain or purchase music equipment. Others book their own appearances like I do, and that makes up a significant portion of their household income.  Still others are on a roster for a booking agency which takes a commission based on the events the agency books them for.I'm looking at today's discussion from the perspective of someone who now gets paid to play, but at one point did not.So, when it comes to people who play their guitars onstage, what separates the seasoned musicians from the newbies?  I can think of three things in particular: experience, skill and uniqueness.Let's look at the paradigm of an up-and-coming guitarist.  This individual has honed their craft, learned some songs (their own, or perhaps some covers), has some onstage gear, and is willing to get out and share their gifts.Where do they begin?  Well, I would literally say “anywhere someone is willing to listen.”  There are so many venues that appreciate good music, from farmers markets to coffeehouses.  This first collection of venues is not likely to offer much in terms of pay, because the performer is probably not well-known, and the venue's budget is limited.Is it worth playing some of these venues in the early years of musical development?  Absolutely.  Even if the venue can't pay at all, they are providing a place to share, and hopefully, an audience of some kind.And even if the audience is divided in their attention, meaning, they're chatting at their tables, they do still hear what's being played from the stage.From a practical standpoint, these venues are where you pay to play.  Even if they offer you a small stipend, which is generous, based on lack of experience, you are still paying with your preparation, time, and energy.  The real reward for you here consists of the onstage performance opportunity, as well as some exposure.Sure, you can leverage a mailing list, social media, and other organic channels for drumming up excitement.  Those are all good things.  At the end of the day, though, these kinds of venues are where you start, and hopefully not where you stay.In my experience, playing my guitar in my man cave practice studio is a totally different level of pressure from playing through a PA in a live venue, even if people aren't paying much attention.  The pressure goes up, because the expectation is that we play complete songs with a level of skill and commitment.  And when the pressure is on, we get refined as guitarists and performers.The more performance experience we get, the more comfortable we become as we relate to an audience.  The more relaxed we are, the more freedom there is in the room.  And incidentally, this can lead to more consistent tempos as well. Lastly, the more established our presence is onstage, the more artistic we can be as we play.Once this tier of venues has become quite familiar, it's time to start listening for people in your circles who say things like, “My church youth group would really like what you do,” or “There's a Women's Bible Study that has a summer picnic coming up and they always feature a musical guest,” or “What would you charge to lead worship for our Family Camp?”Did you catch that last one?  “What would you charge to lead worship?”  It's not common with minimal experience to be able to state an honorarium early on, but if someone opens a dialogue and there is money involved, you need to start thinking about your talent value.Reconcile what you think would make it worth your time to prepare, to travel, and to spend the necessary time to bring a quality offering…and then pitch them a monetary amount.Remember, you're taking time away from your schedule, and maybe even your family, so there is a cost.  So, think about what you might charge.  They might counter with a lower offer, but unless it's like a $10 Starbucks gift card, I say take the gig.Remember, even if you're not being paid to play like you'd eventually like to be, the main share of your payment comes in the form of experience and exposure. And if you are a good steward with your gifts for each venue that comes along, those who host you will bring you back, and they may even tell others about you.We do need to be realistic about our expectations in the early stages of our development, though, because in those early years, we have neither experience nor skill on a level commensurate with pay.As you grow in your ability and experience, you'll get to the point where you can distinguish a “tire-kicker” from someone who truly values what you share and wishes they could pay more.  This comes with time, as you develop your ability to sense who you're interacting with and their motives. And yes, even in Christian circles, there can be examples of people who are reluctant to pay for value, who would do well to consider their conduct in light of scripture.  In Luke 10:7, Jesus says, “The worker deserves his wages.” If you're in that much need of income from a gig, you can accept it for a reduced fee, but perhaps after the event, I recommend gently letting the decision maker at the venue know that the next time you do a ministry endeavor with them, you'll need them to come closer to accommodating your talent value.  This, of course, needs to be something you feel out, based on how pleased they seem with what you did.It wouldn't hurt to have some kind of web presence, perhaps with samples of your playing (audio or video) so you can direct potential ministry hosts to it.  You'll want to have something that's available 24/7 as a marketing tool.  People are very digitally-minded these days; they will probably ask you for a link they can visit.One other thing about that – if you post examples of your music online, make sure you feel good about the quality.  You never get a second chance to make a first impression, right? I met a producer from Nashville several years ago named Morgan Cryar who said that most of the time when an artist hands him a copy of their album, they include an apology with it. Let's not put things out there that we feel like apologizing for.  Take the extra step to go with quality over quantity.A press kit can also be super helpful, with testimonials from specific people who have appreciated your ministry.  That's an episode topic of its own, that I may embark on in the future here at Guitar Serious Fun.But have some tools that can provide a hosting venue with what they need to know about you, especially if you're booking your own shows.I've never been signed to a label; that's just a personal choice of mine.  I've appreciated the freedom that comes with being independent as an artist, but the price is less exposure, because labels can provide more power to help get their artists in front of people; this benefits the label as well.I have known of artists who were signed to a label, and one of the main tasks they embarked on was to tour as an opening act for a more established artist. Opening on a tour can be rough, though, because much of the audience isn't really there to see you.  A portion of the audience may not even arrive in time to hear you.  And you need to play in venues where the headliner plays.If you've got a great performance set, you may win the hearts of some of those audience members.  But an opening act on a tour is most likely paying to play.  The funds that come from their efforts, whether CD or merch sales, are often used to help pay for their expenses on that tour. There are those who would rather pay to play and get in front of tens or hundreds of thousands of strangers and garner some following, than play for pay, but only play for hundreds.I'm of the latter disposition; I love those organic, grassroots venues that are small but captive audiences.  I like to be able to see the whites of their eyes and watch their emotional responses, rather than look out at a huge mass of people in a stadium.  I've played for both, and I know what is best for my approach.Something else to consider as you become the musician you believe the Lord is calling you to be: do something that no one else does, at least not in quite the same way.  Don't try to be totally wacky, but do carve yourself a niche so that you are known for something unique.  My tagline for my concert ministry is “Family friendly, message-driven musical creativity.”  When I take the stage, people know that they are in for an exciting time with multiple instruments, looping technology, storytelling, audience participation, and even perhaps a song where I play two guitars at once – one with my feet.It's an all-ages show that has been shaped an added to over time.  Some things work, some things are less effective.  I've made changes based on how people respond, and I cater my set to the demographic I plan to serve at the venue.Tom Jackson is an incredible performance coach from Nashville.  I had the privilege of having him coach me onstage for one of my songs, and I've taught at the Christian Musician Summit when he's been on the faculty. He emphasizes that it is crucial for performers to develop their live show, because if they don't, they'll need to learn these six words well: “Would you like fries with that?” Basically, what Tom is saying is that as a performer, there have to be things about your performance that allow you to engage with the audience, thereby helping you to stand out in the huge sea of performers out there.Now, just to be clear, I'm not talking about trying to impress people.  As I've stated previously in Episode 11 of Guitar Serious Fun which is titled “Guitar Player, Guitar Owner, or Both,” we, as followers of Christ are not in the business of impressing others.  That's not something that should be in our repertoire. But we can honor the Lord by being creative, having been made in His image.  I can still do a super fun, innovative, and highly musical show, and give God the glory.  I work hard to be musically engaging, both in the sound and the look of the performance.There are a lot of variables when it comes to putting together a show, because we have to know our audience and what their needs are.  We may be playing background music for a formal Christmas party.  We may be closing out a high-energy week of Vacation Bible School with an all-ages concert.  We may be leading worship for a couples' retreat.  Each of those audiences has very different needs.Side note: worship leading and performing are two totally different postures – that's a potential future episode that could also be a worthy discussion.There are also some venues where the currency of the realm is renown.  It's a bit of a catch-22; you need a following to increase exposure, but you need exposure to gain a following. Some artists are less skilled, but they have enough chops and enough of a presence or a brand that people flock to hear them do their thing, so they draw the crowds.  That's great – let them do what they do.Some artists are incredibly talented, but they haven't taken time to create the administrative framework necessary to get their dreams off the ground.  They may be “sittin' on go” for a long time, which could result in them remaining relatively undiscovered and not making the progress they want to make towards fulfilling their dreams.As for you, perhaps the best next step is to develop a clear vision for what success means to you in terms of the types of venues where you want to serve.  You need to sample the menu of venues a bit, of course, but you'll eventually find your ideal people. Once you know what you want to play and who you want to play for, lean into that calling.  Take action, even in small steps. Always remember that you are playing for people.  Keep it relational.  Honor those who have entrusted you with a platform.  Treat everyone, including the tech crew, with great respect.Perhaps even embark on the lost art of the handwritten thank you note.  For over 20 years, I have mailed a handwritten thank you note (or several) to the people who have made each of my appearances possible.But enjoy the process.  Stay focused, and over time, with prayer and dedication, you'll develop momentum, perhaps a following, and eventually be paid for your work.  That transition from paying to play, to playing for pay may take some time, so be patient, but diligent. As with many Kingdom-related endeavors, this may not be easy, but it will be worthy.  Remember, even if you aren't being paid to play yet, you're still doing good Kingdom work if you're pointing to the Lord with your gifts.Let's work hard to see a harvest, but also remember that treasures in heaven are what we're really storing up.  So, play your guitar, have serious fun, and be ready for where the Lord might lead you as you seek His will.P.S. If you're looking for some guitar tools in the early or intermediate stages of your playing, GuitarSuccess4U could have just what you need, in a flexible and fun learning environment.  Check out GuitarSuccess4U.com to learn more about whether this unique experience might be a good fit for you. Thanks for reading Guitar Serious Fun! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…I remember my first full-length concert.  I had been playing the guitar for four years…long enough to develop some solid guitar chops, and to write some of my first songs.The concert was hosted by some of my parents' friends, in their living room.  Everyone sat in a circle with me, as I played my guitar, introducing each song before I played it.  I performed for about an hour to an audience of a dozen people.  It was clear that everyone really enjoyed what I shared.  I was a little nervous, because I was playing and singing, sharing my original music, and although I had had some performance experience as a vocalist, I had not played my guitar for a full-length set in any kind of public setting.Although this was a private concert, I'd still call it a public offering, because I wasn't just playing the guitar for myself or my parents; there were people at this concert who had been invited from various circles of friends, so I rose to the challenge to perform for this audience.This first concert was a free event.  I wasn't in a position to charge admission or even receive donations; I was just getting started and learning the ropes of a live event.Fast forward a couple decades, and I've had the privilege of sharing music on stages in front of audiences of several thousand people.  And for many of these events, there has been financial compensation.Even as I am putting this episode together, I'm in dialogue with some venues who are super excited to book me, and willing to honor my talent value, either with an honorarium, a freewill offering, or both.I won't go into detail about what I currently charge to serve at a venue, but I will say that I am now playing for pay in most of my endeavors.  One pair of resources I was blessed to discover early on was the Booking Workshop and Successful Booking by Dawn Jones.In this curriculum, Dawn puts together a spreadsheet that outlines the criteria for what to charge at which stage of your journey. Spoiler alert: I'm looking forward to hosting Dawn on a couple future episodes of Guitar Serious Fun.You may or may not aspire to playing your guitar for pay.  Perhaps you play for the joy of music, and you want to share what you've created with whomever will listen.  That's a great way to offer your gifts.Alternatively, you may be thinking about what it might take to bring in some income as you play your guitar.Some musicians I've known have full-time jobs that are not related to music, but they perform for pay and use that income to maintain or purchase music equipment. Others book their own appearances like I do, and that makes up a significant portion of their household income.  Still others are on a roster for a booking agency which takes a commission based on the events the agency books them for.I'm looking at today's discussion from the perspective of someone who now gets paid to play, but at one point did not.So, when it comes to people who play their guitars onstage, what separates the seasoned musicians from the newbies?  I can think of three things in particular: experience, skill and uniqueness.Let's look at the paradigm of an up-and-coming guitarist.  This individual has honed their craft, learned some songs (their own, or perhaps some covers), has some onstage gear, and is willing to get out and share their gifts.Where do they begin?  Well, I would literally say “anywhere someone is willing to listen.”  There are so many venues that appreciate good music, from farmers markets to coffeehouses.  This first collection of venues is not likely to offer much in terms of pay, because the performer is probably not well-known, and the venue's budget is limited.Is it worth playing some of these venues in the early years of musical development?  Absolutely.  Even if the venue can't pay at all, they are providing a place to share, and hopefully, an audience of some kind.And even if the audience is divided in their attention, meaning, they're chatting at their tables, they do still hear what's being played from the stage.From a practical standpoint, these venues are where you pay to play.  Even if they offer you a small stipend, which is generous, based on lack of experience, you are still paying with your preparation, time, and energy.  The real reward for you here consists of the onstage performance opportunity, as well as some exposure.Sure, you can leverage a mailing list, social media, and other organic channels for drumming up excitement.  Those are all good things.  At the end of the day, though, these kinds of venues are where you start, and hopefully not where you stay.In my experience, playing my guitar in my man cave practice studio is a totally different level of pressure from playing through a PA in a live venue, even if people aren't paying much attention.  The pressure goes up, because the expectation is that we play complete songs with a level of skill and commitment.  And when the pressure is on, we get refined as guitarists and performers.The more performance experience we get, the more comfortable we become as we relate to an audience.  The more relaxed we are, the more freedom there is in the room.  And incidentally, this can lead to more consistent tempos as well. Lastly, the more established our presence is onstage, the more artistic we can be as we play.Once this tier of venues has become quite familiar, it's time to start listening for people in your circles who say things like, “My church youth group would really like what you do,” or “There's a Women's Bible Study that has a summer picnic coming up and they always feature a musical guest,” or “What would you charge to lead worship for our Family Camp?”Did you catch that last one?  “What would you charge to lead worship?”  It's not common with minimal experience to be able to state an honorarium early on, but if someone opens a dialogue and there is money involved, you need to start thinking about your talent value.Reconcile what you think would make it worth your time to prepare, to travel, and to spend the necessary time to bring a quality offering…and then pitch them a monetary amount.Remember, you're taking time away from your schedule, and maybe even your family, so there is a cost.  So, think about what you might charge.  They might counter with a lower offer, but unless it's like a $10 Starbucks gift card, I say take the gig.Remember, even if you're not being paid to play like you'd eventually like to be, the main share of your payment comes in the form of experience and exposure. And if you are a good steward with your gifts for each venue that comes along, those who host you will bring you back, and they may even tell others about you.We do need to be realistic about our expectations in the early stages of our development, though, because in those early years, we have neither experience nor skill on a level commensurate with pay.As you grow in your ability and experience, you'll get to the point where you can distinguish a “tire-kicker” from someone who truly values what you share and wishes they could pay more.  This comes with time, as you develop your ability to sense who you're interacting with and their motives. And yes, even in Christian circles, there can be examples of people who are reluctant to pay for value, who would do well to consider their conduct in light of scripture.  In Luke 10:7, Jesus says, “The worker deserves his wages.” If you're in that much need of income from a gig, you can accept it for a reduced fee, but perhaps after the event, I recommend gently letting the decision maker at the venue know that the next time you do a ministry endeavor with them, you'll need them to come closer to accommodating your talent value.  This, of course, needs to be something you feel out, based on how pleased they seem with what you did.It wouldn't hurt to have some kind of web presence, perhaps with samples of your playing (audio or video) so you can direct potential ministry hosts to it.  You'll want to have something that's available 24/7 as a marketing tool.  People are very digitally-minded these days; they will probably ask you for a link they can visit.One other thing about that – if you post examples of your music online, make sure you feel good about the quality.  You never get a second chance to make a first impression, right? I met a producer from Nashville several years ago named Morgan Cryar who said that most of the time when an artist hands him a copy of their album, they include an apology with it. Let's not put things out there that we feel like apologizing for.  Take the extra step to go with quality over quantity.A press kit can also be super helpful, with testimonials from specific people who have appreciated your ministry.  That's an episode topic of its own, that I may embark on in the future here at Guitar Serious Fun.But have some tools that can provide a hosting venue with what they need to know about you, especially if you're booking your own shows.I've never been signed to a label; that's just a personal choice of mine.  I've appreciated the freedom that comes with being independent as an artist, but the price is less exposure, because labels can provide more power to help get their artists in front of people; this benefits the label as well.I have known of artists who were signed to a label, and one of the main tasks they embarked on was to tour as an opening act for a more established artist. Opening on a tour can be rough, though, because much of the audience isn't really there to see you.  A portion of the audience may not even arrive in time to hear you.  And you need to play in venues where the headliner plays.If you've got a great performance set, you may win the hearts of some of those audience members.  But an opening act on a tour is most likely paying to play.  The funds that come from their efforts, whether CD or merch sales, are often used to help pay for their expenses on that tour. There are those who would rather pay to play and get in front of tens or hundreds of thousands of strangers and garner some following, than play for pay, but only play for hundreds.I'm of the latter disposition; I love those organic, grassroots venues that are small but captive audiences.  I like to be able to see the whites of their eyes and watch their emotional responses, rather than look out at a huge mass of people in a stadium.  I've played for both, and I know what is best for my approach.Something else to consider as you become the musician you believe the Lord is calling you to be: do something that no one else does, at least not in quite the same way.  Don't try to be totally wacky, but do carve yourself a niche so that you are known for something unique.  My tagline for my concert ministry is “Family friendly, message-driven musical creativity.”  When I take the stage, people know that they are in for an exciting time with multiple instruments, looping technology, storytelling, audience participation, and even perhaps a song where I play two guitars at once – one with my feet.It's an all-ages show that has been shaped an added to over time.  Some things work, some things are less effective.  I've made changes based on how people respond, and I cater my set to the demographic I plan to serve at the venue.Tom Jackson is an incredible performance coach from Nashville.  I had the privilege of having him coach me onstage for one of my songs, and I've taught at the Christian Musician Summit when he's been on the faculty. He emphasizes that it is crucial for performers to develop their live show, because if they don't, they'll need to learn these six words well: “Would you like fries with that?”  Basically, what Tom is saying is that as a performer, there have to be things about your performance that allow you to engage with the audience, thereby helping you to stand out in the huge sea of performers out there.Now, just to be clear, I'm not talking about trying to impress people.  As I've stated previously in Episode 11 of Guitar Serious Fun which is titled “Guitar Player, Guitar Owner, or Both,” we, as followers of Christ are not in the business of impressing others.  That's not something that should be in our repertoire. But we can honor the Lord by being creative, having been made in His image.  I can still do a super fun, innovative, and highly musical show, and give God the glory.  I work hard to be musically engaging, both in the sound and the look of the performance.There are a lot of variables when it comes to putting together a show, because we have to know our audience and what their needs are.  We may be playing background music for a formal Christmas party.  We may be closing out a high-energy week of Vacation Bible School with an all-ages concert.  We may be leading worship for a couples' retreat.  Each of those audiences has very different needs.Side note: worship leading and performing are two totally different postures – that's a potential future episode that could also be a worthy discussion.There are also some venues where the currency of the realm is renown.  It's a bit of a catch-22; you need a following to increase exposure, but you need exposure to gain a following. Some artists are less skilled, but they have enough chops and enough of a presence or a brand that people flock to hear them do their thing, so they draw the crowds.  That's great – let them do what they do.Some artists are incredibly talented, but they haven't taken time to create the administrative framework necessary to get their dreams off the ground.  They may be “sittin' on go” for a long time, which could result in them remaining relatively undiscovered and not making the progress they want to make towards fulfilling their dreams.As for you, perhaps the best next step is to develop a clear vision for what success means to you in terms of the types of venues where you want to serve.  You need to sample the menu of venues a bit, of course, but you'll eventually find your ideal people. Once you know what you want to play and who you want to play for, lean into that calling.  Take action, even in small steps. Always remember that you are playing for people.  Keep it relational.  Honor those who have entrusted you with a platform.  Treat everyone, including the tech crew, with great respect.Perhaps even embark on the lost art of the handwritten thank you note.  For over 20 years, I have mailed a handwritten thank you note (or several) to the people who have made each of my appearances possible.But enjoy the process.  Stay focused, and over time, with prayer and dedication, you'll develop momentum, perhaps a following, and eventually be paid for your work.  That transition from paying to play, to playing for pay may take some time, so be patient, but diligent. As with many Kingdom-related endeavors, this may not be easy, but it will be worthy.  Remember, even if you aren't being paid to play yet, you're still doing good Kingdom work if you're pointing to the Lord with your gifts.Let's work hard to see a harvest, but also remember that treasures in heaven are what we're really storing up.  So, play your guitar, have serious fun, and be ready for where the Lord might lead you as you seek His will.P.S. If you're looking for some guitar tools in the early or intermediate stages of your playing, GuitarSuccess4U could have just what you need, in a flexible and fun learning environment.  Check out GuitarSuccess4U.com to learn more about whether this unique experience might be a good fit for you.  This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Mark Pogue is a Christian singer/songwriter who performed with many Christian artists such as Morgan Cryar, Rick Cua, Margaret Becker, Gospel Music Hall of Famers: Degarmo & Key , The Rambos, Neal Morse and others. He had his own record deal with Word/Pakaderm records in the early 90's. His debut album Mark Pogue & Fortress, Restoration had 5 top 10 hits in CCM markets and was produced by John & Dino Elefante (of Kansas fame). Though, he left the music industry to be with his family, he never quit writing but stayed involved in church and family life playing for worship leaders such as Israel Houghton, Gary Oliver, David Baroni, and others. In 2016 he released another album: "Through the Fire" which continued in the melodic rock style with a few updates of modern technology and some songs that were more vertical in their focus on God. Mark has had some songs placed on independent projects but has emerged with new idea. The single series is aimed at bringing people together to sing and worship God. The songs that form the deepest connection and impact will be a part of a live worship experience. No force feeding here. You will decide the songs that elevate you to worship and speak your heart's cry as we overflow in His presence and change the world around us with His amazing love.

Mark Pogue is a Christian singer/songwriter who performed with many Christian artists such as Morgan Cryar, Rick Cua, Margaret Becker, Gospel Music Hall of Famers: Degarmo & Key , The Rambos, Neal Morse and others. He had his own record deal with Word/Pakaderm records in the early 90's. His debut album Mark Pogue & Fortress, Restoration had 5 top 10 hits in CCM markets and was produced by John & Dino Elefante (of Kansas fame). Though, he left the music industry to be with his family, he never quit writing but stayed involved in church and family life playing for worship leaders such as Israel Houghton, Gary Oliver, David Baroni, and others. In 2016 he released another album: "Through the Fire" which continued in the melodic rock style with a few updates of modern technology and some songs that were more vertical in their focus on God. Mark has had some songs placed on independent projects but has emerged with new idea. The single series is aimed at bringing people together to sing and worship God. The songs that form the deepest connection and impact will be a part of a live worship experience. No force-feeding here. You will decide the songs that elevate you to worship and speak your heart's cry as we overflow in His presence and change the world around us with His amazing love.

Geoff Cooper from Classic Christian Rock Radio interviews Mark Pogue. Mark was a member of the backing bands for Morgan Cryar and DeGarmo & Key. Mark has also worked with a number of other artists, and has released two albums of his own.

The founder and frontman of Princeton Revival, Gregg’s love for music expressed itself at a very early age. Deeply influenced by his father’s jazz vinyl collection, he picked up his first pair of drum sticks at age two and eventually won first place all-state jazz drummer in his home state of New York. After High School Gregg toured as a founding member of His Band with best friend, Bill Randall. His Band played with several acts including Amy Grant and David Meece. Gregg also wrote the #1 CCM single “Father” with Morgan Cryar and “If He Goes Before Me” with Barry Graul—a #2 hit for White Cross. He earned a Master of Divinity in Pastoral Studies from Southern Seminary and served as the Senior Pastor of two churches. He was a founding board member of The Augustine School, a Christian Classical school in West Tennessee, and also served as the Dean of the Emerging Leaders Program in Southwest Florida. Gregg’s burden is that men discover how the Gospel transforms their lives and roles by growing in their knowledge of God through His Word and in community (with a fine cigar and microbrew whenever possible)

The founder and frontman of Princeton Revival, Gregg’s love for music expressed itself at a very early age. Deeply influenced by his father’s jazz vinyl collection, he picked up his first pair of drum sticks at age two and eventually won first place all-state jazz drummer in his home state of New York. After High School Gregg toured as a founding member of His Band with best friend, Bill Randall. His Band played with several acts including Amy Grant and David Meece. Gregg also wrote the #1 CCM single “Father” with Morgan Cryar and “If He Goes Before Me” with Barry Graul—a #2 hit for White Cross. He earned a Master of Divinity in Pastoral Studies from Southern Seminary and served as the Senior Pastor of two churches. He was a founding board member of The Augustine School, a Christian Classical school in West Tennessee, and also served as the Dean of the Emerging Leaders Program in Southwest Florida. Gregg’s burden is that men discover how the Gospel transforms their lives and roles by growing in their knowledge of God through His Word and in community (with a fine cigar and microbrew whenever possible)

4th of July Celebration featuring America Rocks Compilation. – Frontline Records Rewind Episode 21 celebrates the 1-year anniversary of the show. Since Episode 1 has a patriotic theme, re-releasing it around Independence Day in the U.S.A. is a perfect fit. It features radical, edgy patriotic-theme tunes from the “Frontline -America Rocks” collection. Artists include Bloodgood, American Made, EDL, DAS, Morgan Cryar, The Insyderz, Liaison, etc.

Some classic Jesus music including: Wise Up – Amy Grant I've Been Freed – Doug Howell Hollow Eyes – Petra Come On Elaine – Rob Frazier D.O.A. – Connie Scott One Good Man – Rossington Collins Band Old Man – Vision I Get Carried Away – Morgan Cryar Backslider – Louisiana's LeRoux To Live For The King – Kerry Livgren You Can Go – David Meece

Some classic Jesus music including: Wise Up – Amy Grant I’ve Been Freed – Doug Howell Hollow Eyes – Petra Come On Elaine – Rob Frazier D.O.A. – Connie Scott One Good Man – Rossington Collins Band Old Man – Vision I Get Carried Away – Morgan Cryar Backslider – Louisiana’s LeRoux To Live For The King – Kerry Livgren You Can Go – David Meece

Some classic Jesus music including: Wise Up – Amy Grant I've Been Freed – Doug Howell Hollow Eyes – Petra Come On Elaine – Rob Frazier D.O.A. – Connie Scott One Good Man – Rossington Collins Band Old Man – Vision I Get Carried Away – Morgan Cryar Backslider – Louisiana's LeRoux To Live For The King – Kerry Livgren You Can Go – David Meece

Some classic Jesus music, focusing on divine attributes, including: You! - Keith Green, Dr. Jesus - Michael & Stormie Omartian, Guardian Angel - Randy Matthews, Can I Get To You From Here - Benny Hester, Everywhere I Go - Amy Grant, Hardened Hearts - Allies, Breaking Through - Silverwind, Keep No Secrets - Morgan Cryar, Cut It Away - Rob Frazier, Miracles - The Imperials, I Know Power - Fireworks

Some classic Jesus music, focusing on divine attributes, including: You! - Keith Green, Dr. Jesus - Michael & Stormie Omartian, Guardian Angel - Randy Matthews, Can I Get To You From Here - Benny Hester, Everywhere I Go - Amy Grant, Hardened Hearts - Allies, Breaking Through - Silverwind, Keep No Secrets - Morgan Cryar, Cut It Away - Rob Frazier, Miracles - The Imperials, I Know Power - Fireworks

Some classic Jesus music, focusing on divine attributes, including: You! - Keith Green, Dr. Jesus - Michael & Stormie Omartian, Guardian Angel - Randy Matthews, Can I Get To You From Here - Benny Hester, Everywhere I Go - Amy Grant, Hardened Hearts - Allies, Breaking Through - Silverwind, Keep No Secrets - Morgan Cryar, Cut It Away - Rob Frazier, Miracles - The Imperials, I Know Power - Fireworks

Some classic Jesus music, with a tribute to Maria Sue Chapman, and special guest David Meece, including: Never Gonna Serve Anyone Else But You - David Meece, I Will Be Here - Steven Curtis Chapman, Safe Harbour - Marvin & Gentry, Rest - Kelly Willard, Emily - Randy Stonehill, See You On The Other Side - Morgan Cryar, Take Me To The Comfort - Albrecht, Roley & Moore, Be In Time - Phil Keaggy, ... David Meece, pt 1 ..., Peace - Barry McGuire, ... David Meece, pt 2 ..., Learning To Trust - David Meece

Some classic Jesus music, with a tribute to Maria Sue Chapman, and special guest David Meece, including: Never Gonna Serve Anyone Else But You - David Meece, I Will Be Here - Steven Curtis Chapman, Safe Harbour - Marvin & Gentry, Rest - Kelly Willard, Emily - Randy Stonehill, See You On The Other Side - Morgan Cryar, Take Me To The Comfort - Albrecht, Roley & Moore, Be In Time - Phil Keaggy, ... David Meece, pt 1 ..., Peace - Barry McGuire, ... David Meece, pt 2 ..., Learning To Trust - David Meece

Some classic Jesus music, with a tribute to Maria Sue Chapman, and special guest David Meece, including: Never Gonna Serve Anyone Else But You - David Meece, I Will Be Here - Steven Curtis Chapman, Safe Harbour - Marvin & Gentry, Rest - Kelly Willard, Emily - Randy Stonehill, See You On The Other Side - Morgan Cryar, Take Me To The Comfort - Albrecht, Roley & Moore, Be In Time - Phil Keaggy, ... David Meece, pt 1 ..., Peace - Barry McGuire, ... David Meece, pt 2 ..., Learning To Trust - David Meece