Category: Musings

  • My Horrible Experience in the Evangelical Church Behind the Album | Chapter 1 | Prodigal

    My Horrible Experience in the Evangelical Church

    Behind the Album | Chapter 1 | Prodigal

    This is the first in a series I’m doing on the stories behind the songs from my album, All Beginnings Are Hard. The album as a whole is a musical story of what it’s like to start over. Each song, written out of my own (often very painful) experiences, function as chapters in this story. This post, about track seven, is Chapter One: Prodigal. Many of these stories, including this one, I’ve never shared publicly before.


    The story behind Zach Sprowls' song Prodigal

    In 2016, I was a worship leader and a pastor at a small, evangelical church just outside of Washington D.C. It was my dream job – a startup church with tons of promise, in a great location, and a part of the exciting “young, restless, and reformed” church movement. It was a place I could build something I believed in and watch it grow as I did.

    When I started working there a few years prior, I was 24, newly married, fresh out of college and a high-powered internship at a prominent denominational center. I was green, but I had an incredible resume already because I had been positioning myself for just this kind of opportunity my whole life. Like any young person, I was full of vibrancy and optimism.

    But five years in, I was catatonic.

    It’s not widely known how untenable the job of a worship leader is. They’re usually fired before anything becomes public. Many leave ministry altogether, most are miserable, and the ones that make a career of it seem to survive by hopping from church to church every couple years. I’ve never known a worship leader who wasn’t beat down by the job or the way their pastor treated them or both.

    This is something I was not prepared for. Having grown up in a ministry family, I was familiar with the “worship wars” and the vicious complaints worship leaders consistently received from their congregations. But I always thought my pastor would be my colleague, my friend, and…you know, my pastor.

    But, I too, became a statistic.

    Over the course of five years, my pastor formed an abusive relationship with me characterized by bullying, manipulation, and complete spiritual and professional dependency. Despite promising to let me pursue my musical vision both within the church and without, he gradually reneged on his promise, forcing me to increase my minimum work hours well beyond normal for the same pay and to take on more and more administrative responsibility to the point that I was literally doing everything to run the church except make the decisions.

    Worse, by attaching spiritual authority to his demands and guilt to any pushback, he gradually gained complete spiritual control over my life. The line between my work life and personal/family life became smaller and smaller until the point that he was controlling my relationship with my wife, the parts of the Bible I read for my devotions, the way I parented my children, how I spent every minute of my (very limited) time off, the media I consumed, the posts I wrote on social media, etc.

    I remember the one time I ever did anything for myself during those years: I went to see my favorite band, Mutemath, who hadn’t toured in years. I had to give a chapter-and-verse defense for spending money and time on attending a “secular” concert and, afterwards, give a full account of every impure thought I had during the experience. The only reason he even knew about it was because I had to let him know that there was going to be an evening coming up that I would not be available for a meeting or a phone call or an event he wanted me to organize.

    Despite all this, I chose to be there.

    I didn’t see the abuse; I thought the problem was with me. I was taught that my pastor was God’s spokesman for me. He was going to “give an account someday for my soul” (yes, quoted verbatim), so I needed to follow what he said without question. But when the depression and the fainting spells and the narcolepsy and the inflammation and the sickness were so bad that I was at times literally catatonic, my pastor finally let me see a counselor.

    After hitting rock bottom, I finally began to accept that something wasn’t right.

    Years later, I was back home in Scranton, PA, trimming bushes. I was on the road to healing, but still often crippled by pain, grief, regret, and anger. I finished what I was doing and went inside to the piano and this song poured out:

    1.
    I’ve been living in a one star motel
    After dying in your dreamstyle bed
    Yeah, I gave up all the opulence
    Cause here they’re honest instead
    All the tokens in my old room
    Couldn’t lead me back to bed
    Now I’m running and I can’t stop
    I’m running and I won’t stop now

    2.
    You made me run, you know you did
    Even though you’ll never own up
    All those years the only thing you said
    I’m never, ever enough
    I know you think I am a prodigal
    That someday I will return
    But I know what it’s like in that bed
    You ain’t that fucking prodigal dad

    3.
    I bet you wish that I was dying
    Get your jollies from my sore defeat
    But I can tell you this about motels
    The grass is a darker shade of green
    Now I’m living in a bed I made
    With sheets I bought for free
    And I bet it’d kill you to know
    That I ain’t ever going home
    No, I ain’t ever coming home

    When I told my pastor I needed to leave, he said I was in sin for coming to that conclusion, that I was selfish and discontent. He told me repeatedly that I just believed the grass was greener on the other side. I realized in that moment that all of it was a lie. He, my spiritual father, didn’t give a shit about me; what I was taught was wrong; and what I gave my life to, the church, was fundamentally broken.

    I knew that when I left he would call me a prodigal (from the Prodigal Son parable in Luke 15:11-32) because he’d done so many times before of others who left. It was his permission slip to say whatever horrible thing he wanted to about them. But I knew it too was a lie. This was no home, there was no grace, and he would never welcome me back.

    Fitting Prodigal Into the Album

    I honestly never intended to share this song publicly. I thought it would always be just for me. But as I was working on my album, something felt missing. The story was incomplete. I went through my files to see if there was something I could use and stumbled on this song. I had honestly forgotten about it. I don’t consider myself a lyricist or a singer, and I don’t consider my album a singer/songwriter album, but as I listened years after I wrote it, I knew it had to be included. This is what the story was missing.

    Finishing It

    I went back and forth with this song over how to package it. I had several very different versions, but in the end, an unadorned piano and strings accompaniment felt to me like the right fit. I pulled out all the stops in my string-writing ability at the time. I just wanted it to be raw and honest, even down to my voice which I’m deeply insecure about.

    We didn’t have much time to practice before we went to the studio to film and record, but the string players – Charles Gleason, Inga Liu, and Lourdes De la Peña – were incredible. What you see and hear in the recording is what we recorded that day. No overdubbing.



    I’m Not Alone

    I wish this story was mine alone, but as anyone who follows church news knows, I am far from alone. The church not only harbors bullies and abusers, it breeds them. This song is as much about a corrupt institution as it is a twisted individual.

    And it’s for anyone who has endured a relationship of lies and manipulation. I’ve been fortunate enough to have gotten to the other side. You never fully heal, but you do get stronger, much wiser, and, thankfully, much much happier.

    Here are some resources I can recommend that have helped me:

    • ​Dan Allender’s podcast series on spiritual abuse​
    • Books
      • A Tale of Three Kings by Gene Edwards. This book was HUGE in my healing, recommended by a worship leader friend who went through something similar to me. It was as if Jesus was telling me the story of David.
      • The Subtle Power of Spiritual Abuse by David Johnson and Jeff VanVonderen. An academic/scientific treatment of spiritual abuse. Super helpful in understanding what’s going on and how to heal from it. Given to me, ironically, by another pastor.
      • Educated by Tara Westover. Not really about this topic specifically but gave me an example of someone who processed their trauma healthfully and hope that I could heal too. It was a lifeline at the time I read it.
      • The Woman They Wanted by Shannon Harris. Shannon is a good friend of mine. Our church paths overlapped a bit. Even though this book came out long into my healing journey, it still helped me process things that I had not yet addressed. I think if it had come out a few years sooner, it would have been a godsend. And, yes, it’s good for men too.
    • Therapy. For God’s sake, you have to see a therapist – a trauma therapist, not a Christian counselor who’s going to spiritualize everything.

    If you have any resources that I could add to this list, please share them with all of us in the comments below.

  • Better Than Social Media, I’m Building a Big-Ass Website Because I'm ready to give up

    Better Than Social Media, I’m Building a Big-Ass Website

    Because I’m ready to give up

    If we musicians aren’t releasing new music every 2-4 weeks, creating multiple alt versions and posting them on YouTube every few days, chopping those horizontal videos up into thrice-daily vertical reels and shorts, and following the latest trends on TikTok with 10 daily posts in our own “brand” of manufactured authenticity, then is there even any reason to try?

    Not according to music marketing gurus today. This is literally the only advice you’re gonna get from them1. Apparently it’s the only way for a musician to succeed.

    But I’ve tried to play this game for years and it doesn’t work – for me or anyone I know. It’s unsustainable for the artist and incompatible with good art. And, honestly, for me, I’d rather just not have a music career at all than to keep playing this soul-killing game any longer.

    That’s where I’m at: figure out a different way or give up.

    And I’m not ready to give up. So even if it means a bit of trailblazing and more error than trial, I’m gonna figure this out.

    Screenshot from a performance video I shot this week. I wanted to show off the new 3-tier keyboard rack I got this week 🙂

    One thing I do know – my square one – is that I need a safe and inspiring place to publish what I make, that doesn’t gatekeep me from my audience or feel like a slavedriver, a place where my sweat builds my equity not someone else’s. It needs to be something that I own and can shape into whatever is best for my work, an HQ for all things Zach Sprowls.

    For me, this is a website, and not a one-size-fits-all website either. I need it to be a portfolio, a blog, an online store, an EPK, a calendar, and a means of communication. If it’s gonna be sustainable for me and not bog me down, it needs to be flexible and versatile without being ugly and fully featured without being clunky.

    As anyone who has built a website knows, this is no small undertaking. I’m not a programmer or designer, but I’ve been down this road enough times to know how I want to proceed. As much as I hate working with WordPress, there really isn’t another platform that can effectively do everything I want this site to do. By integrating with Shopify for the ecommerce portion, I think I can save myself a lot of unnecessary headaches. And by keeping things simple on the backend, I can make it sustainable for myself. I’ve been really impressed with Kit, so I think I’m going to use that for my communication and outreach.

    It will probably take me all year to get it where I want it, but I’m actively working on it, devoting a few hours several times a week to it, and it should only be a couple weeks more before I at least have some bare bones to go public with.

    Credit where credit’s due: the idea of a website HQ is not original to me. I got it from Seth Werkheiser over at SOCIAL MEDIA ESCAPE CLUB. His ideas, encouragement, and the community he’s building over there have been invaluable. Thank you, Seth!

    I know you’re wondering – how am I gonna get people to my website? Well, that’s a post for another day. I’ve had some significant success in one of my side projects over the last few months and that’s given me the confidence to try these strategies out on this project. I’ll keep you in the loop as things progress and fail/succeed.

  • Looking for Some Nice Quality Accidents How my new synthesizer is helping find new ways of working.

    Looking for Some Nice Quality Accidents

    How my new synthesizer is helping find new ways of working.

    It was my birthday last weekend. After years of drooling over Moog synthesizers, I finally treated myself to one. Nothing beats a Moog’s deep, ever-present bass and lush, evocative pads. As a modern composer who writes for film, loves electronic music, and tries to blend the old and the new, having a Moog is a rite of passage. After years now of trying to mimic Moog sounds (unsuccessfully) on software synths, I’ve finally joined the family.

    This model, the Matriarch, is 100% analog and semi-modular which, besides meaning nothing to most non-nerdy people, is the reason I got it. It’s old school. It doesn’t have modern features, like being able to store sounds. What you see and what you create with your fingertips is what you get. The semi-modular part simply means that I can re-route the circuitry in a literally endless number of ways, creating sounds and evolutions that are totally unique and will be totally lost forever as soon as I turn a knob (if I don’t record it first).

    While this limitation might seem like a liability, I find it to be a feature.

    I’m making a lot of changes this year, all in a direction from the virtual toward the corporeal: from social media to hanging out face to face, from streaming music to attending live shows, from my phone’s screen to physical books, from Netflix’s shitty programming to actual DVDs that I foraged at secondhand stores, and, in my music, from the safety and controllability of software and MIDI programming to organic and unpredictable hardware.

    It’s a learning curve for me. I was taught to play what was written and to compose with notation. Everything controlled, precise, repeatable, and practiced to the point of no mistakes. I’ve had to learn on my own (sometimes the hard way) how to rely on my intuitions.

    And that’s what I want to get better at: relying on my intuitions. I think Rick Rubin addresses this topic brilliantly in his book The Creative Act. He calls it “experimental faith” and “innate instinct rather than learned behavior.” I’m currently reading Alan Watts’ The Way of Zen. He’d call it the “peripheral vision of the mind.”

    He also said in the same chapter: “superior work has the quality of an accident.” And that’s what I’m hoping for with this new, tactile instrument – some nice quality accidents.

  • Investment Advice for Artists: Buy Old Mugs Artists need this

    Investment Advice for Artists: Buy Old Mugs

    Artists need this

    Me with a new mug I just got from a secondhand store here in Scranton. Penn Central, a pathetically unsuccessful merger in the late 60s of three railroads in the New York metropolitan area. They declared bankruptcy only 2 years after incorporating. One of the last vestiges of a bygone era. I love it – the history it led me to learn about, the color, the gold band around the top, the retro logo, the smaller size, the yellowed coloring, the handle’s even been glued back on.

    I got it not because I need it or have room for it, but because I love it. It took me on a little journey that inspired me. When I drink from it, I feel connected to that journey and to the history of my community here in northeast PA.

    Artists need these little – punn intended – cup fillings. They’re so silly, but the rewards so outweigh the cost of a couple dollars and a new spot in the cupboard. Why would we pass up such an investment? Little gifts and pleasures like this remind us that life is all around us all the time, that new sources of creativity can be found in even the most mundane places, that it doesn’t have to take travel agents and mortgage lenders and financial planners and dating apps and strong substances and “big breaks” to bring joy into our lives. All we have to do is wake up.

    I was reminded of this as I’ve been re-reading Julia Cameron’s classic, The Artist’s Way. According to her, these little spoilings are vital for artists. I’m glad I followed her advice.

    I like to put my name in my books and the dates I finished reading them.