NZ: Would it be fair to say that there’s a tension you’ve experienced between writing music as an art form—as a liturgical art form—and creating it as a commodity for the marketplace?
KG: There’s always tension for anyone. There are broad level tensions. Music and business have always been uncomfortable companions. Business and religion have been uncomfortable companions. And religion and music have been, at times, uncomfortable companions. So trying to put the three together and expecting a happy result is not very realistic. But I’ve never tried to write a worship song as a commodity. I try to write a great song for a congregation and not what the industry wants. I’ve tried to write, asking, “How can I make everyone in this room stand taller, breathe deeper, and be excited to sing, and clench their fists, and raise their hands, and sing louder?” And that’s what we’re trying to achieve in our songs.