There isn’t a worship leader in the world who doesn’t struggle with regular, persistent, frustratingly silly (but still dangerous) moments of doubt/fear/anxiety/self-consciousness/jealousy. We start to believe myths that tell us we should be different, or we aren’t talented enough, or we shouldn’t uphold certain principles. These myths weaken our ministry as worship leaders.

Here are ten common worship leading myths that come to mind:

1: Every week you have to be more creative than the last. Wrong. Every week you get to point people to Jesus again.

2: Don’t waste too much time thinking/praying about songs for Sunday. Wrong. This is your most important job.

3: You need a great voice. Wrong. If God calls you then you’re the man for the job. Sing with abandon.

4: You have to stay up-to-date with all the new stuff. Wrong. None of the stuff changes lives. Jesus does.

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Recently I was visiting a church with a non-musical friend and he commented the music wasn’t that great.

It wasn’t – and I explained to him why.

The band was good – above average, actually, but the problem wasn’t musicianship – it was worship flow.

The praise team led three songs and we only knew two of them. The first song was a slow, meandering ballad. I couldn’t tell you the name of it or what it was about except to say it dragged on for what seemed like ten minutes.

After the song finally finished the band suddenly started a super uptempo, full band rocker. The rocking continued with driving guitars through the ten second intro, then dropped down to a light groove with bass and drums. All momentum came to an abrupt halt.

After being jerked around for two songs the team concluded with a popular praise song. The congregation enthusiastically participated, as if to say “finally, a song we know!”

Each week, analyze your flow. Where are you going? How are you getting there?

If you only lead three songs in your set your options are limited: you can start fast and end slow, or start slow and end fast. For people to engage you should do at least two familiar songs. And 90% of the time I recommend starting with two upbeat songs followed by a ballad. Early Sunday mornings are not a great time to kick off with a sleeper ballad.

God inspires us to select songs for worship. But like any other creative process, worship flow is a skill that can be honed with the Holy Spirit’s guidance.

The number of megachurches may have exploded in the U.S. over the last few decades but the landscape is changing and people are seemingly less attracted to the big box churches or the “come and see” experience, two pastors observed.

“The megachurch is kind of like the great shopping malls of America,” said Dr. R. Albert Mohler, president of The Southern Baptist Theological Seminary, during a forum Tuesday. “They emerged at the same time and for the same reason and with the same mentality. And the malls haven’t disappeared but there are a lot of them being shuttered and not a new mall has been built in America of any size in the last eight years and none are now planned because the retail activity shifted to different kinds of centers.

“We’re not getting our ecclesiology by watching that but it does tell us that the ‘Field of Dreams’ vision is gone – if you build it, they don’t necessarily come and they shouldn’t.”

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NYC’s Redeemer Church Pastor Tim Keller:

One of the basic features of church life in the United States today is the proliferation of worship and music forms. This in turn has caused many severe conflicts within both individual congregations and whole denominations. Most books and articles about recent worship trends tend to fall into one of two broad categories. Contemporary worship (CW) advocates often make rather sweeping statements, such as “Pipe organs and choirs will never reach people today.” Historic worship (HW) advocates often speak similarly about how incorrigibly corrupt popular music and culture are and how they make contemporary worship completely unacceptable.

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from Tom Lawson:

Contemporary getting old? Well, certainly for some people this may be true. But there is another sense it which it is true for everyone. Contemporary music is increasingly tapping into the ancient history of worship to recover lyrics and thoughts the move beyond the “dating Jesus” lyrics of earlier decades.

The exciting song of both Christ’s resurrection and our spiritual rebirth by Matt Maher and Mia Fields, Christ is Risen, reflects Maher’s deep roots in the classic liturgy of worship. The song begins:

Christ is risen from the dead; Trampling over death by death!

At the Easter seasons, both Orthodox and Byzantine Catholic churches join in singing Christos Anesti (Christ is risen). The ancient song, with lyric still rooted in the Koine Greek of the earliest centuries of the church, begins:

Χριστὸς ἀνέστη ἐκ νεκρῶν; θανάτῳ θάνατον πατήσας!
Christ is risen from the dead; By death (is) death trampled!

From here Maher and Field turn the song is what some have found an unexpected direction:

Come awake come awake
Come and rise up from the grave
Christ is risen from the dead
We are one with Him again
Come awake come awake
Come and rise up from the grave

One person asked me, after singing this in worship, if we were trying to call Christ to wake up from the grave. I admitted this would make the song a little awkward. But, the lyrics make is clear, however, when asserting “We are one with Him again,” that the awakening called for is not His but ours. As Paul urges his readers in Ephesians, “Arise, sleeper, and rise from the dead! Let the light of Christ shine upon you.”

Matt Maher is one of a number of musicians increasingly bridging the divide between Roman Catholic and contemporary Evangelical worship. He has received numerous award from the United Catholic Music and Video Association since his first album, The End, was released in 2002. In Alive Again, he joins together with well known contemporary worship performers like Matt Redman, Chris Tomlin, and Mia Fields.

Other worship music writers, like Brooke Ligertwood (formerly Fraser), with Hillsong, also represent this broadening of themes in worship music, often by returning to more classic language of worship, in songs like Beneath the Waters. In it, somewhat uncharacteristically of Evangelical lyrics, the song celebrates themes related to Christian baptism as alluded to in passages like Romans 6:3-4:

Now here my absolution
Forgiveness for my sin
And I sink beneath the waters
That Christ was buried in.

These are merely two examples of a tendency among some contemporary worship artists to expand what has been, up to this point, the limited themes of contemporary worship music. For many years, for example, How Great is Our God was the only contemporary worship song that made direct mention of the doctrine of the Trinity (The Father, Spirit, Son; the Godhead Three in One).

In other words, contemporary music is getting old. Old thoughts, ancient lyrics, portions of liturgy, and biblical phrases are increasingly make their way into recently released contemporary songs. A few years ago, if asked to incorporate contemporary songs that focus on repentance or resurrection or the Eucharist or baptism, most worship leaders would have to look for quite awhile for examples. Increasingly, however, contemporary praise music gives every sign of moving into a more mature and theologically rich voicing of the language the church has long used in worship.

In a conversation I had with Rich Mullins several years ago (and how he is missed), he talked about how much exposure to liturgy altered and enriched his own worship and the worship music he was writing in those last years of his life. Having been raised in the typically gospel style worship of Christian Churches (Stone-Campbell Movement) and then moving into contemporary praise style worship, Rich found in the language the church hammered out over many centuries a great deal of wisdom and biblically-grounded reflection.

It is an interesting journey to pick up a CD from a popular worship band from ten or fifteen years ago and compare the music and lyrics to one produced in the past year. There are noticeable changes in overall style. But, it is in the lyrics and subject matter of the songs that you can often most clearly see contemporary worship music moving beyond the giddy days of childhood into music worthy of preservation and reflection for generations to come.