Alexa: How can we tell when we are listening to something from the gospel genre or to help our singers execute an authentic gospel sound using those distinct nuances? 

 Joining me this week is a Nashville based music producer and vocal coach who is currently collaborating with music producers on Nashville's Music Row. He is also one of our wonderful BAST graduates, and that is Amos Evans.  

Amos chats with me about the traditional and contemporary gospel sounds, the different chords and vocal qualities that we might hear in gospel music, how he defines gospel music and some of the exercises that he goes through in sessions with singers here. 

And not to mention that Amos gives us the most delicious gospel vocal demonstration. So without further ado, Amos Evans. 

Amos have you ever tried a bush whacker?  

Amos: I don't think I even know what that is.  

Alexa: I was just doing my research [00:01:00] for today and something came up that Nashville has a popular cocktail known as a bush whacker, which is described as like a boozy milkshake, that seems potentially quite enjoyable.  

Amos: Now I'm ashamed for not having tried it, although I don't take part in too much booze around here. 

But I'll ask my friends for sure.  

Alexa: Ask your friends or maybe ask them to give you like a non-alcoholic one 'cause I'd love to know what they're like. But surely a non-alcoholic one is just a milkshake.  

Amos: Yeah, I mean, it kinda reminds me about maybe a lawnmower or a weed whacker, so I don't know what the taste is gonna be. 

Alexa: Oh, wow. Okay. Yeah, I've never heard of those. I've got some research to do on those ones, then.  

Before you moved to Nashville, you were living and working in Washington doing all sorts of vocal work. So can you tell us a little bit about you, your background, and all the little bits that you do? Or should I say big bits, 'cause they're actually really quite impressive.  

Amos: [00:02:00] Sure. Yeah. So I am from Washington, DC I was raised in, in PG County, Maryland, but I have lived in DC proper so I can claim DC. There I was doing lots of things. My career has been pretty multifaceted. Now I am pretty focused on vocal production and helping lots of artists here in Nashville. 

But in DC I was doing sort of a bi-vocational thing. Um, I've worked everywhere. I've worked for, for the government, I've worked for consulting firms, I've done business management. And on the music side I've done a lot of work in churches helping to lead worship, helping to direct music teams and bands, and then also doing lots of background vocal work, mostly in the studio. 

So my passion has always been helping artists to find their sound, to develop it, and to release that music into the world, which I did some of my own as well.  

Alexa: Wow. So I'm interested in the government side, but this is not the podcast for it.  

Amos: I'm trying to do better with telling my whole [00:03:00] story.  

Alexa: I like that there's, there's more strings to your bow than I, than I knew about. 

Amos: Yeah.  

Alexa: What sort of music would you say that you are involved in primarily?  

Amos: So, primarily now I'm focused on working with indie artists that are- a lot of 'em are in the gospel industry. Um, they're doing Christian music, CCM, Christian Contemporary Music, radio Gospel. And then I also partner with a lot of other producers that are working with new pop and RnB artists as well. Lots of them are in LA or Atlanta, so those, those tend to be my two different main categories.  

Alexa: When we think about Nashville, maybe a lot of us might think country music, cowboy hats, and maybe who knows after this: bush whackers. But what actually is the music scene like in Nashville, and where does gospel fit into that? 

Amos: Yeah, the music scene in [00:04:00] Nashville is growing, expanding, diversifying. There, of course, is a lot of country music. There are a lot of country artists here that have developed roots here for a long time, but even country. Is making more way for country pop, and country RnB and different styles that are connected to it. 

So there are lots of country artists. There's also a lot of, um, Christian artists. A lot of those labels are here too. And then there's sort of a scene for the RnB and pop artists that are finding their ways into all these different indie genres. So, using sounds that aren't so typical for classic RnB, maybe adding some country guitar, um, or maybe adding some, piano ballads to styles that were typically more folky. 

And so long story short, there is lots of growth and expansion in Nashville.  

Alexa: Forgive my ignorance if this is already a thing or whether it's too wacky to be a [00:05:00] thing, but do you see gospel and country merging? Is there a crossover there at all?  

Amos: You know what's funny? I just had an opportunity to sing background vocals for Jelly Roll, who is obviously a country artist, and he asked for a gospel choir on his new record with Brandon Lake, who is typically a CCM artist, amazing artist. And so there you have a top country artist working with a top Christian artist with a gospel choir.  

Alexa: Amazing. There are no boundaries to music and what we can do with it. So I mean, that's why we love it. We can do anything to be creative in our field. Totally. 

Amos: Totally. 

Alexa: So you moving to Nashville from Washington, you mentioned that you were doing some business marketing strategy work, so I can imagine that you felt quite equipped to re-establish yourself in a new state. So what did you do to pull [00:06:00] on those skills that you have from that part of your life to what you did building yourself in Nashville and, and what you continue to do as all the things you are? 

Amos: Yeah, that is such a great question. I don't know if I've been asked that question in that way before, but it's so important because as artists and creatives, we are humans, right? We have so many facets to our lives, whether, whether to our lives, whether it's family, work, play, all the things. And so I think I found myself trying to make connections between the left and the right side of, of my brain in this season in a new way. 

And so coming here, I did lots of networking. I learned a lot of, a lot of that, you know, through my, my corporate career or even through college, learning how to, tell your story and connect the little experiences that you've had to the big needs that someone else has. And so I did a lot of connecting with other artists [00:07:00] online, connecting with producers, connecting with vocal producers. 

I basically reached out to any, any and everyone that had similar directions to me. And so I knew, I knew that I wanted to do a lot of vocal work. I knew that I wanted to work in the studio. I knew that I wanted to help write songs, et cetera. And so for me, a huge part was building relationships and thinking of myself as. 

A company or as an organization or a brand, and figuring out what sort of team I needed. And so that is, you know, advice I would give to anyone pretty much in any .... But especially if you're moving, think about the team. You need the mentors, you need the colleagues you need, the advice you need. 

And surround yourself with those people and you'll get to where you need to go.  

Alexa: When you say you reached out to people, was it literally dropping them an email or reaching out on social media, or was there another avenue.  

Amos: Yeah, I mean, speaking of marketing, social media is huge. [00:08:00] I did, I put videos on social media all the time. I'll sing, I'll play, I'll post things. I'm done with different artists. And so part of what I've learned is that social media's a two way street. So I, I connected with those artists who commented on my post. I started DMing them and genuinely appreciating what they do. And then you find out you have these friends online that you never met in person. 

 And so when I would come to Nashville, I would see them either randomly or I would check out events that they were at. And then you have the opportunity to turn that into a real relationship. And that just kind of keeps snowballing and they let you know about other dope people and they let you know about other dope people. 

And then you have this whole network of people that you can trust.  

Alexa: So how do you find that Nashville differs from Washington? What's the feel like and what's different about the music industry and the way that it's [00:09:00] run there where you are compared to what you were experiencing before? 

Amos: Yeah. Well, this might be a good time to give a little caveat that I am new here and for all of my colleagues and mentors listening- I have to say that they are distinctly different, but both beautiful and thriving cities. And they're both growing. Yeah. I know you asked me about differences, but similarities are they're both booming in some really unique ways. And so DC happens to be very eclectic when it comes to the work in the, the corporate culture, politics, all the things. And so even I talk about myself and how my background was so diversified in DC.  

When I came here, I found that everyone was so busy with their musical goals. I. There's so much synergy here around sort of, I don't wanna just say vertical movement, like trying to move up the, the musical ladder, but I think the opportunities [00:10:00] here are endless when it comes to music industry connections. There are labels on every street. There are studios on every street. There are vocal coaching studios on almost every street. And so I think just the frequency of musical opportunities. And networking that exists here is just incredible. At the same time, DC has a lots of other I think other ends of the spectrum that kinda help you to move in different directions as well. 

Alexa: How would you define gospel and how would we know that we are listening to something that is from this genre or inspired by it? Like as you just mentioned, you've been involved in a country gospel mashup if you like, how will we actually be able to tune our ear to those sounds?  

Amos: So gospel music, wow. It's not one of those things that there's a straight definition for, but I'll throw out some words. 

[00:11:00] Passion, feeling, spirit filled, communal or congregational. Gospel music has a, a bigness about it. And that may be in the size of the, the band, or maybe if it's a small team, it's in the size of their voices, or the size of their, their, their playing. And so gospel music is historic. It, it has such deep roots and there are so many other genres and styles that pull from gospel. 

Gospel is chordal. There are so many special chords and chord progressions and colors that exist in, in these sounds. At the end of the day, gospel music really is about the good news. It is this story, storytelling music. It has, it has a climb. It's encouraging -as you can tell. I love it. I can't stop talking about it. [00:12:00]  

Alexa: Yeah, I don't want you to, it is amazing. I chatted with Mark De-Lisser for episode 142 where we spoke about some of the history of gospel music and how technique is almost not really the priority on the list. It's more about the emotive expression that the style offers and is about. 

So, what do you say about that as a singer of it, somebody working in the music field, somebody who maybe teaches it as well, and what are the nuances that go along with the gospel style?  

Amos: There are different categories we can think about in terms of gospel music. So, there is the genre that exists, you know, on Apple Music and even that genre has been used differently. 

So you might have artists, um, classic artists like, you know, Yolanda Adams or choirs like, you know, Hezekiah Walker's [00:13:00] Choir. And then you'll have new artists like Jonathan McReynolds. Or Doe that might be gospel artists, but technically their sounds may be more contemporary. So that uh, is something that the definition changes just by how the industry's going. 

 So you have traditional gospel versus contemporary gospel. But I did wanna say more about some of the, the history, right? So we have, even coming out of slavery and these negro spirituals and hymns where people are singing about Jesus and the hope he provides through dying on the cross for us and providing us a way out of this crazy thing we call life into a life knowing God. 

And so when you think about that, it's like technique takes a backseat. Technique is certainly the foundation of how we, you know, should sing well. Even we can talk about speech level singing or mo voice that you might [00:14:00] need to use in order to project your voice when there were no microphones. Or to get a certain feeling out and allow your voice to resonate and to express these deep, passionate cries or moans or emotions. 

 I think there are lots of techniques that are associated with the sound that we call gospel, but it's primarily about the message. It's primarily about reaching deep down in the heart, and I think everyone who listens to it can say that they feel that.  

Alexa: Can you tell us some of the di maybe distinct differences then between if we are listening to traditional gospel to some of the creative changes that are happening in the contemporary gospel field? 

Amos: Mm-hmm. One of the big ones is probably instrumentation. So gospel music, we might think of the instruments you find in the church. Drums. Piano. Those are the basic ones, you know? Then we kind, then we kind of upgrade to bass. Maybe [00:15:00] some, uh, maybe an organ, maybe guitars, although not so prominent. So those kind of classical, classical instruments. 

 And then nowadays it can be anything from programming a trap beat under your gospel song, or yeah, just all these different synthesized instruments that we call, you know, programming, digital instruments that have no connection to acoustic instruments at all. And so I think that's sort of the, the, probably the, the primary change is. 

The instrumentation will hear underneath it. And then a lot, lots of artists that are singing a gospel message, gospel lyrics and content, they may use totally different styles. I myself released a song a couple years ago called Keep Going. And it's jazz. It's pretty much technically jazz, but the message is gospel. The heart of it is gospel. And if you listen with a gospel ear, you can definitely find that. And I think that's [00:16:00] the cool thing about gospel music is that you can use pretty much any sound you want and still drive this message home.  

I'm a musician. I've, I play the keyboard and I also am a vocalist. So I kind of have both worlds going on in my head. Um, So when I talk about gospel ear, I think chords, there are some, there are gospel chord progressions that are just so distinct.  

Alexa: Could you play us some?  

Amos: Sure. So, um, can you hear my piano?  

Alexa: I can, yeah.  

Amos: Okay. So you have, um, you might have a, so that's a 5, 1, 4, these circle of four movements. 

Um, and so those progressions, we don't know, know what to call them all the time, but they are movements that are typically, you know, gospel or ...you can't deny that, that, that feels a little gospel. It [00:17:00] may feel RnB too. Um, then you have some churchy sounds. And so those are, it's like, like dominant chords, um, that are associated with gospel. So some of those different things. So the progressions of the chords and the colors that we have they will tune your ear straight to gospel, traditionally. But I think when it's not those typical chords, sometimes vocally will be queued that it's gospel. And those techniques may be vibrato, our vibrato speed. I think like that modal voice where we're, using our fuller volume or belting where other singers in the other genres might typically use their head voice. 

We're gonna go all the way, full throttle. And then I think the last one I would say is probably choirs, group vocals. Again, I talked about Jelly Roll and they want to do a gospel version of Heartfelt Hallelujah. And they said quickest way to get gospel is to bring a choir in. [00:18:00] And so that is another typical aspect. 

Alexa: Am I going to be putting you on the spot if I ask for a quick demo on a vocal gospel sound? Now that we've heard your wonderful piano playing? 

Amos: Oh no. I'm just trying to think of what's a, what's a good, uh, what's a good song. Okay. I, I think I'll do a typical, typical hymn. Now I can I give a caveat? 

Alexa: Of course.  

Amos: I was thinking about this in preparation for talking today. I love vocal coaching and I love studying the voice because personally I've learned over the years that my voice is not the typical gospel voice, and I think especially in coaching, gospel singers or worship leaders, et cetera I have been able to connect with them in the sense that your voice does not have to be Yolanda Adams or [00:19:00] going back doesn't have to be Mahalia Jackson, even though some of those sounds and textures and the grit. 

And your voice may not be typical of the genre. You can still learn techniques that folks are using or you can still develop your own gospel sound. And so I just wanted to give that little caveat.  

Um, okay. So maybe, uh. 

Amazing Grace How sweet the sound 

That saved a wretch like me. 

I once was lost, but now I'm found. 

Was [00:20:00] blind but now I see. 

Oh  

Alexa: my gosh. You could slide off those riffs into butter. My gosh. Wow. Thank you so much. I think that now listeners are gonna go and just replay, replay, replay. I know I will be.  

Amos: Oh goodness. Oh goodness. Yes. I'm not, I'm not totally warmed up, but I think one thing I, I, I lean a lot towards riffs 'cause I love just adding, adding riffs, although you have to be disciplined with your use of them. But I think in gospel music we find every opportunity to add color intentionally, right? And so I think that's one of the keys of making a song more gospel, is finding a way to make it your own, finding a way to really, truly add emotive [00:21:00] expression. 

And that can be through your riffs, although not all the time. Through your dynamics through your vibrato et cetera.  

Alexa: What song are you gonna sing next?  

Amos: If one, if another one comes to mind, I'll let you know.  

Alexa: If be greedy now I'm just being greedy. Talking about riffs, how would you be helping somebody who wants to include those in their gospel sound with as smoothness as you have? 

Amos: Scales, scales, scales. Learning your skills is so essential. I'm working with a singer now and we are just working on learning the number system and learning how to go up and down. And so you, one, you know what you're singing and you can identify where you wanna go next. So that's 1, 1, 2, 3, 4, [00:22:00] 5, 5, 4, 3, 2, 1, 1, 5, 1, 2, 2, 4, 2, and kind of being able to go around. 

And eventually when you're creating these riffs, you want to know where you're going. So I wanted to do something a little bit different. I wanna do an octave, uh, or uh, 1, 7, 6, 5. And so we hear all these singers that are running, doing these crazy runs , and I would, I would argue that the ones who are doing it the best, they know that they're about to go to a seven, or at least when they do, they recognize that interval, and when you recognize those intervals, you can use them to your advantage and make all the runs you want.  

Alexa: Hmm. So interval training, ear training, and do you do the, is it the major scale you're using mostly to do those number systems?  

Amos: Yes. Yes. Yeah.  

Alexa: With the singers that you work with here, what do you find [00:23:00] is the most challenging aspect for them? 

Amos: There's, there are different kinds of artists. And so, um, especially in Nashville, there's lots of touring artists that are very busy, very active, but also very familiar with their instrument. And so I think one of the challenges, that you'll relate to is reminding them to take care of their voice. Reminding them to actually have a, a vocal regimen that they commit to and to commit the time to training more. I feel like this is a tongue in cheek answer to as, as a coach, but a lot of singers are so familiar with what they're doing that it's kind of hard to step back and get some unbiased advice and do all the little things that take care of your voice in the long term. 

Alexa: So how can congregations and singers in churches take care of their vocal health when [00:24:00] not to label gospel as something that is, that doesn't have that at the forefront of their mind, but it's something that is very driven by heart and passion, as we talked about before. So how can we balance that out? So giving ourselves over to the story and the worship and the expression, but also keeping in mind. What's happening inside.  

Amos: I would say one thing that comes to mind is developing a list of techniques that you want to get better on. And so obviously if you don't have a coach that, uh, well may be maybe a little bit harder, but I would say finding your go-to warmups and go-to exercises that you can do daily, weekly with your team and just make that a habit. Put it in the schedule. Put it at the top of rehearsal so that it no longer becomes a question. And over time you'll find that, oh wow, we're doing this so well, [00:25:00] let's add another one. 

But let's add a more challenging one. And so we know that we're having trouble whenever we have to sing high notes, you know, on this song. So let's find, I don't even, I don't, I don't even mind sending my clients to YouTube because I'm not YouTube. I'm here to help you with your songs and your, your specific regimen. 

But go on YouTube and go in, go look up mixed voice warmups for, you know, choir or in this key or et cetera. And just put those in your pocket so that you make it easier for yourself in the moment before rehearsal.  

Alexa: Do you have anyone on YouTube that you recommend particularly to your clients? 

Amos: Yes. There are a few. I love Cheryl Porter's videos.  

Alexa: Oh my gosh, who doesn't? The new one? The articulation one. Uhhuh Love it.  

Amos: Yes. Yes. So I find that those, I mean, they, they have the music, they have the rhythm, they get you moving. It's, it's just [00:26:00] easy to, to kind of have fun doing that. And I think that, that, that can be the challenging part is have about my exercises that are good for my voice, but also have fun doing it. 

And so... I just find that she's cracked the code on getting people excited about doing these BUB-BUB-BUB or whatever the sounds are that you're using. So I think that's, uh, she has great videos and they're, if they say if you can teach a kid to do it, then that's how you know that you can teach it. So kids are loving it and artists are loving it. 

Alexa: In functional training, it's a thing that we can kind of apply to different styles kind of regardless of what they are because it's the foundational sort of technical landings if you like. How would you say that technical training for gospel differs or is similar to other styles that you are involved in? 

Amos: I think the foundations [00:27:00] are similar, if not the same. So we're gonna start with breath work. We're going to maybe move on to working on our different registers. I, I can hear Line in the back of my head when I want to name the registers, but there are different, viewpoints on what the true registers are, but we're gonna work on your registers and working on your control and your intentionality with using your voice across your registers. 

Um, and then I think once we kind of get to mixed voice techniques is, is where it becomes a little bit more gospel. Because we're gonna focus on, um, we're gonna focus on using tall vowels. And we're gonna focus on stretching that model voice up a little bit more. Um, so that you can have power when you're singing with three singers. 

At a mega church and they want you to sound like a choir because you need to be able to connect your [00:28:00] breath, but also keep that larynx nice and rested while not switching over to head voice because you may be the only tenor that day. Or you may be in a choir of tenors and you don't wanna be the tenor that's whispering when everybody else is singing full. 

I think vibrato is another big one. Uh, in gospel music, we have something that we call BGVs . Uh, they're not just gospel, but background vocals is a huge category. And then maybe choir or, you know, typical church singing is another one. And so we're gonna work on vibrato control because I learned that classical vocalists tend to have a faster vibrato. 

Um, it's not as wide. And then in gospel music we tend to use a slower, you know, faster vibrato. I think I'm, I'm right on saying that right?  

Alexa: I can imagine so, I dunno the science behind it.  

Amos: Okay. Oh, no, no. I think it's, I think it's a preference thing from, [00:29:00] um, you know, classical voice teachers. But in general, yes, in gospel music, those choirs will have that wider or slower vibrato. 

And then if you're on you know, on tour with a gospel artist, so if they're doing a live recording, you need to be able to sing in unison, um, sing straight tones enunciate very clearly. Use some talks, use some, um. What's the word? Uh, not wide Vibrato means to be able to control your vibrato speed, when it comes to whatever that song needs or whatever that music director needs. And so I think those are some of the, the different things we'll need. Also, when it comes to agility, we'll work a lot on pentatonic scales. So they, um, uh, 1, 2, 3, 5, 6, 8. So because those are foundational for pretty much any run you'll be doing in gospel music will be work working on this pentatonic riffs. And then the last one I would say is pitch [00:30:00] recognition and harmony so that you can recognize what part you're singing and listen to a song before church and kind of hear that, um, and, you know, be able to find your part.  

Alexa: And they're so applicable to other areas like learning harmonies, musical theatre- that's totally within that wheelhouse too. Yes. And the ear training and pitching and things like that, that's in any style as well. So you can see how they can cross over and then the things that may be a little bit more unique or spent more time on when you are doing that technical work.  

Amos: Oh yeah. 

Alexa: What about when you're working with choirs? What have you learned working with, with gospel groups and, and leaders of those groups?  

Amos: Mm-hmm. Oh, that's, um, that's a broad, broad question. Let me think more specifically. So with choirs, one thing I've seen recently is each section may have different needs. 

I. And so I was working with a [00:31:00] choir, uh, here in Nashville. Um, loved them and through working with them over several months I'm seeing maybe the tenors may need to work more on their mix because a lot of gospel music is biased towards higher voices and higher voice parts. So those tenors may be the section that struggles the most because, tenors, we like to sing low, we like to be comfortable. 

Um, and we're not always used to singing those notes above, um, you know, above like G four, things like that without yelling or, or belting all the time. And so, um, noting what each section needs to work on more. Um, maybe the altos might need to work on not flipping into their head voice as much, um, but staying in the mix, using taller vowels. 

Sopranos- there is something, I don't know if I should be saying this on the podcast. There is something that, that we call lazy sopranos. [00:32:00] Um, we use that term a lot in, in gospel choir because we love everybody and we like to tease. But , lots of times our sopranos, we want to get them to move a little bit, uh, out of a heady sound into more, of a chesty sound for certain songs that we're doing where we need to, you know, activate a lot of power.  

Alexa: Yeah, those bloody sopranos , eh!.  

Amos: I'm sorry, I didn't mean to, I didn't mean to throw out the, the lazy soprano term. I love you all.  

Alexa: What would your advice be to listeners who want to lead a gospel choir but don't really know how to set one up? 

Amos: Start with simple. Simple worship songs that everyone can start to find their harmonies too easily. We love to, as choir directors say, everybody find a part. Um, so you need to balance songs that can be sung in unison hymns and [00:33:00] then, uh, invite everyone to kinda listen for their part and find their part. 

I think ear training is so essential, um, for choir members because while they do expect you to usually teach them their part, you want them to be listening actively listening to know when to go up or down, or when to skip a note, when to do a major step. So helps them help 'em to develop their ear, I think have warmups that help them to sing out and to actually warm up before singing these heavy involved choir parts. 

So find warmups that are going to be easy and consistent for the team to do. I think just keep them excited. Find music that they're excited to sing. There's lots of, lots of amazing choirs that are releasing new music, um, and music that I'm sure they hear on the radio. You know, you have Maverick City. 

I work with a team called The Choir Room here in Nashville. We're releasing music almost every month. And so find choir songs that everyone is excited to, to jump [00:34:00] onto. And I think those kind of elements will help, um, everyone to stay committed and growing.  

Alexa: To kickstart a search, what would be a good song that you would recommend somebody checking out to get them inspired?  

Amos: Ooh.  

I'm going to do a shameless plug for the Choir Room. The Choir Room has been so, just so amazing for my experience here in Nashville, it's led by a wonderful music director named Dewan Hill. And there are lots of songs that we have out. There's one, uh, that's called Joy. Um, and that one was a collaboration with Ben Rector. And there is an album that's coming out soon. Uh, so just check out the Choir Room. Anything, anything that, that we're doing, I'm sure you'll love. Um, we also had the opportunity to help Jelly Roll with his new record, so the Choir Room.  

Alexa: Speaking of collaborations, you've had some amazing opportunities working with some really amazing people like Jennifer Hudson. So can you tell us [00:35:00] about what that was like working with her?  

Amos: Yes. Jennifer Hudson, J Hud, she is amazing, incredible. Um, it was one of my first opportunities working with an artist of that level. 

I. Um, and that magnitude, and it was unforgettable. I was a part of, of, at choir. I've done lots of choir background, vocal opportunities. And so that one was with, um, March for Our Lives, which was a march in DC I think it was the largest attended protest on gun violence ever. I remember looking out and all you could see was a sea of bodies. 

There were just so many thousands of people there. Um, and so yeah, that was amazing. We actually got the chance to record the vocals for that television performance and then go out and perform it for the show. And she did an amazing job. Her voice is just,  

Alexa: it's nuts.  

Amos: Unbelievable.  

Alexa: [00:36:00] Yeah. Yeah. It, it's something else. 

That voice really. What would you say your mission is from here on out?  

Amos: My mission is first and foremost to glorify God with the gift that he's given me. Um, sometimes that can sound like a cop out answer, but I, I use that because you really don't know what is coming next in life. 

You don't know what tomorrow holds. we make lots of plans as singers and artists, but all we have is today. And so I choose to let God lead every next step. And with today, I want to inspire, um, the world to think more deeply, to, uh, consider the things that are long term you know, life as a whole even bigger than this life. 

And that I find that happens through encouraging artists, through helping them to tell their stories better and helping them to [00:37:00] be a light.  

Alexa: Wow. Amazing. And where can we find out more about you? Follow all of your work?  

Amos: Yes, you can find out more on amos evans.com. Um, that's where I keep everything updated. 

I'm also on Instagram I Amos Evans music. And between the two of those, you won't miss a beat.  

Alexa: Thank you so much, and if you don't have too much going on, if you've got a little bit of a gap in your diary, Amos, if you could just pop to the UK and sing Amazing Grace to me at least a thousand times, I'd be so appreciative. 

Amos: I would love to come to the uk. It's, it's the next place I want to go.  

Alexa: Well, you, I'll be there at the airport with a banner. Thank you so much.  

Amos: You're welcome.