"Our Glorious Hope" with David Hill and Hunter Lynch (Expository Songs Podcast 5)

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Our Glorious Hope:

David Hill:

Hunter Lynch:

Transcript

Lightly edited for clarity.

Daniel J. Mount:
Welcome to the Expository Songs Podcast. We discuss songs where the main idea of a passage of Scripture is the main idea of a song. My name is Daniel Mount, and today we’re discussing the song “Our Glorious Hope,” written by Hunter Lynch and David Hill, both of whom are with us today. Welcome.

David Hill:
Thank you.

Hunter Lynch:
Thanks a ton for having us.

Daniel J. Mount:
Glad to have you both here. So to the listener, if you’ve never heard the song “Our Glorious Hope,” press pause, listen to the song. It’s also linked in the show notes. And then come back for the conversation. This is the debut single for Hunter and David, released earlier this year. But although this was their first released single, they both have a number of years of background in music and in Christian music. So Hunter and David, can you both introduce yourselves and share about your background as worship leaders, musicians, songwriters? David, why don’t you get us started.

David Hill:
Okay, so my background is classical music and traditional church. So hymns and playing the piano, occasionally organ, although I’m not good at it. And so, four years ago, we moved to Louisiana, and that was my first experience with a contemporary church. And so I have several years of experience doing worship leading in contemporary service, but that’s more of a newer development in my life. And then my writing for the church has been about three years now.

Daniel J. Mount:
Cool, Hunter?

Hunter Lynch:
Yeah, so yeah, I’m from Vicksburg, Mississippi, and my songwriting journey began kind of in junior high, high school, not church music. It was really depressing music. It was kind of a punk hardcore kind of thing going on there. It was bad. It was real bad.

But as I kind of went into college and really was discerning a call to ministry, that’s when I really started to kind of write towards the church and really didn’t get into it super actively until just recently as I began co-writing with other artists like David and actually getting the guts to use the songs that I’ve written with other people in an actual service. And so that’s actually relatively new for me. I’ve been writing for the church for years, but never actually did anything with it. So that’s changing now.

Daniel J. Mount:
Okay, what was your initial point of inspiration for this song, “Our Glorious Hope?” Did the song start with a melodic idea, with a specific lyric, something about a theme you wanted to look at, or something about a particular passage of Scripture? What was your starting point? And I’d say whoever of you had that initial idea, and I actually don’t know the answer to that, whoever of you had the initial idea, why don’t you jump in first?

David Hill:
Okay, so that was me and both of you are familiar, but for our listeners, there is an online community of songwriters specifically for the church called the 12 Song Challenge. So Hunter was part of that, I was part of that, this was last year. I think maybe our second, maybe it was our first challenge or second challenge, I don’t know. But it was to write a song about Christian hope. And so one of the things I enjoy about the 12 Song Challenge is it’s about writing a song every month. And Joel Payne, who’s in charge of the 12 Song Challenge, he’s very specific with giving you some kind of guidelines. And one of the things he was asking for was something that is not just vaguely about hope, but what is the specific hope that the Christian faith brings that is so important to you. So my mind immediately went to this Colossians 1 passage, so that’s where it all started.

Daniel J. Mount:
Okay, and Hunter, at what point in the song development process did you get involved? Were you there from that initial idea, or had Dave written a good chunk of the song before you became part of it?

Hunter Lynch:
Yeah, I think a good bit of the song had already been written and he was kind of primarily coming to me for melodic ideas. So I was able to give that and I think there were two choruses that he was trying to kind of choose from and I was like, oh man, this one’s it. And so it was really, I have one couplet that I actually wrote in the song but the rest is all David and man, it was just kind of a joy to be kind of brought into that.

It was really almost completely done, really formed. I know we kind of labored over some lines, especially in that last verse, really just trying to figure out like, what is the right thing to say here? But yeah, I was just kind of along for the ride and grateful for it, for sure.

Daniel J. Mount:
Yes. So this song is from Colossians 1:26-27. And I’ll read that to really set up a conversation about the song. But I’ll start at verse 24, because that’s the beginning of the sentence. It says, “I now rejoice in my sufferings for you, and fill up in my flesh what is lacking in the afflictions of Christ for the sake of His body which is the church, of which I became a minister according to the stewardship from God which was given to me for you, to fulfill the word of God, the mystery which has been hidden from ages and from generations, but now has been revealed to His saints. To them God willed to make known what are the riches of the glory of this mystery among the Gentiles, which is Christ in you, the hope of glory.” So you did have this verse in mind, so we can say that the connection to this passage was there, and it was a focus point from the start. Would that be fair to say?

David Hill:
Correct, yeah, that’s it.

Daniel J. Mount:
Okay. So I like how you started verse one off with a reference to the source text: “A mystery lay hidden through the ages,” directly pulls from verse 26. So how do you see the rest of this first verse? Just from me looking at it, it looks like you’re largely describing the fall and the effects of the fall. Is that kind of where you’re going? And do you have, either of you have any further thoughts on that development of the first verse?

David Hill:
Both of you have known probably for a long, long time that there’s actually a poem in Colossians, and this is actually a tiny part of the poem. But I didn’t actually realize that at the time, or maybe I knew it at one point in a Bible class, and then forgot it. But yeah, but in my mind, I just knew that there was something extremely poetic about the passage.

And so the reason I started with where I did with verse one was that I wanted to explore, I wanted to explore it as a narrative. I wanted to give the poem kind of a narrative format. And so that kind of gave us a direction, I think, for that.

Daniel J. Mount:
And you know it’s interesting you mention narrative because that was right in my notes for verse 2. Because verse 2 is a pretty straightforward narrative. It’s a transition from the problem of the mystery being hidden to the chorus as revealed what this mystery is. So with verse 2, was that your goal? Just to move to this reveal of the chorus as a narrative transition? Or do you have any thoughts on anything else you are looking for and trying to bring out in this verse?

David Hill:
Uh, Hunter, I’m letting you answer this, because verse two is you, man.

Hunter Lynch:
Uh, is it? I thought it was verse 3.

David Hill:
Obedience?

Hunter Lynch:
I thought it was in “obedience,” 3.

David Hill:
Oh wait.

Daniel J. Mount:
I have in my notes that verse 3 is obedience I’d bring into his scoffers.

Hunter Lynch:
Okay, I’m sorry.

David Hill:
Oh, okay.

Hunter Lynch:
I’m sorry. Yeah, I guess I should know that

David Hill:
Oh, okay, part of the confusion is that this song is written with kind of a verse, verse.

Daniel J. Mount:
Double verse?

David Hill:
Yeah, double verses, but single verse on the last chorus.

Hunter Lynch:
Yeah, and that’s kind of how it began. And David kind of added a melodic change in the second half of those. And so I think that’s kind of how I got it jumbled up a little bit. But yeah.

David Hill:
So you’re talking about till underneath a star was born a savior?

Daniel J. Mount:
Mm-hmm, prior to the first chorus

David Hill:
Yes. So having set up the fall, then it was kind of a natural thing to go to the revelation of Christ with us, Emmanuel.

And I don’t think I’ve mentioned this to you, Hunter, but if I were to do this song again, I would do the first chorus as “Christ with us,” and then after the cross chorus I would do “Christ for us,” and then the last verse I would do “Christ in us.” And I don’t know if that’s stealing from someone because I’ve seen that as a meme recently. I thought, oh, that’s really, really good. I really like that. But yeah, we only have the two choruses.

Daniel J. Mount:
Well. let me just play off that because I was going to talk about the chorus next anyhow and I’ve probably listened to the song a dozen times or more since it came out. But just listening casually, I didn’t even really register that the chorus was different from the first couple times to the last time, until I was looking at the lyrics. And it’s clearly intentional. I mean you’re working from the source text of verse 27, “Christ in us, hope of glory.” But you say “Christ with us” for the first two choruses and then “Christ in us. And since you brought it up this is as good a time as any to dive into that a little more. I’m sure—well I would think you have in mind our salvation and then He’s Christ in us and that’s why you’re going where you go in the last verse.

But why am I speculating? [Laughter] I can get the answer straight from you because you’re right here! What was your thought process behind the two different choruses?

David Hill:
Yeah, so the two different choruses, one thing about this verse is to me, this verse is right up there with John 3.16 to me about the Gospel.

And so, what I was trying to illustrate with the first verse was Christ’s atonement and how we got to salvation. And so always the point, like in my mind, I wanted the chorus always to be “Christ in us.” But having already set out to do a narrative It wouldn’t make sense until we got to that point. Yeah, so that’s that was how that was how it was decided.

Daniel J. Mount:
Did you write it as “Christ in us,” as like your preliminary draft of the chorus, and then later as you’re really structuring out the song, you’re like, you know, it really needs to say “Christ with us”?

David Hill:
Uh, do you remember that, Hunter?

Hunter Lynch:
I think it started as “Christ with us.” I think there was always a double chorus, like verse one, chorus two. And we kind of kept it “Christ with us” until we got to the more Holy Spirit “Christ in us kind of verse.”

Daniel J. Mount:
So you mentioned, Dave, that you had two potential directions for the chorus until Hunter got involved. And to the extent you’re comfortable with speaking to it, if you can recall, because it’s been probably a year or two now, what were the two directions? Where were they going generally, thematically? And then Hunter, could you speak to what resonated with you? Why was it clear to you that this was the right way to go?

David Hill:
Yeah, so, yeah, like I said, in my mind, I always wanted to get to” Christ in us.” But the point was, the point was in the narrative, you know, as we set up verse one and verse two, Christ was among us and He was with us. And that was an awesome thing and something to be celebrated and sung about. But that part we had not gotten to yet. So I think even before Hunter saw this, I think that first chorus said, “Christ with us, our glorious hope.” And then, yeah, like Hunter said, I think it was always an idea that there would be a second chorus.

Daniel J. Mount:
So Hunter, you saw two chorus ideas, I think as it was said earlier, And you were like, “This is the one.” What do you recall about the differences between the two and why this one really jumped out to you and resonated?

Hunter Lynch:
Yeah, so I feel like I think the other option that I was looking at was a little bit more wordy, I believe. And so, I mean, the verses are so dense and rich and good. And I felt like this particular option kind of captured the heart of Christ in us, the hope of glory. Like that to me really just kind of put a bow on it, brought it all together. And I guess in a way that the other didn’t, there was a simplicity to it, but there was also just an approachability to it as well that I think just was really effective, worked really well. So yeah.

Daniel J. Mount:
It does work really well. Okay, totally random, totally off the wall question. This, I’m pretty sure, is the first podcast where we’ve had on screen a living creature that is not a human. Dave, who’s your other guest? Who’s our other guest today?

David Hill:
This is Annie and her primary contribution was begging for food and distracting me from the song. So if anything, she worked to keep the song from happening rather than helping it get done.

Daniel J. Mount:
So this is the story of triumph and overcoming challenges then. [Laughter]

David Hill:
That’s right, this is one of the challenges.

Daniel J. Mount:
I get it, I see. So I’m moving on to verse, well, I say verse one and two because they’ve on your website, they’re listed, you got a verse and then like a blank space and then another verse, I had it in my head as verses one and two and then three and four. So when I say three and four, my apologies for the confusion just because they were with the line between them, I’m like, okay, they’re separate, they’re not the same thing.

David Hill:
Sure.

Daniel J. Mount:
Verse three or verse 2a, depending on how you see it. Which as I understand, now we’re getting into what Hunter wrote, so this might be a question for Hunter. It says “Obedience would bring him to His scoffers, subjected to the shame of their design.” Is the shame of their design the cross? Is that what you’re referring to there?

Hunter Lynch:
Yeah, yeah, and so I was kind of wanting to juxtapose the fact that the Creator who made us in His image what was subject to a torture that was made by man, made in their image basically. And in a different way of course, but it was Christ humbling Himself to a pain and agony invented out of the depravity of man. And so that was kind of my thought process with that for sure. Yeah.

Daniel J. Mount:
Yes, and you mentioned paradox. That was something that really struck me while reading the rest of this verse because it really utilizes paradox well to the point that I’d almost say this is more a comment than a question.

You have, “But nonetheless his flesh, His flesh as bread was offered to hearts that hungered more for His demise.” And then looking at the line one of the next verse, “This hope that lay entombed among the hopeless.”

As I think about the use of paradox in song, my mind sometimes goes one of Michael Card’s oldest songs, “God’s Own Fool.” There’s a line in that song that says, “The power of paradox opens our eyes and blinds those who say they can see.” It stands alone as a good thought to ponder on its own. But paradox is a very useful tool in songwriting because it can get us to slow down and consider something from an angle we might not have considered it.

You know, I guess it will turn this into a question. I admire your effective use of paradox here, but Hunter and David, to the extent you wrote some of these, can you explain any more of your thought process behind the different paradoxes you’re looking to bring out in these verses?

Hunter Lynch:
I will say that one of the ways that me and David work so well together is like the second half of that verse that, “This hope that lay entombed among the hopeless,” that’s David kind of complementing what I was trying to do. I feel like my tendency is to overdo it with the imagery and the paradox and the verse ends up being so dense that it’s not really useful to anyone. And so, and David’s really great with imagery as well and using that, but I feel like that one couplet there was evened out really well and kind of teased out very well by what David contributed to the last half of it.

I’m sorry, it’s really hot in my house and some of my glasses keep like doing this number.

Daniel J. Mount:
Sorry!

Hunter Lynch:
Our air conditioning not doing what it’s supposed to be doing right now.

David Hill:
Oh, no!

Hunter Lynch:
But yeah. So this is, this is the podcast where I keep adjusting my glasses.

But anyway, the bread imagery there was: You know, I was thinking, last supper, I was thinking, you know, communion is like, “this is My body broken for you.” And so I was just kind of wanting to go with that theme of hunger where, you know, the Bread of Life broken for us. We didn’t want that. We didn’t want the Bread of Life. We wanted His blood. We wanted his death. And so that came together so fast. And I feel like I kind of fired that section to David pretty quick and, you know, looking back at it, I was kind of seeing ow the Lord was kind of speaking to me through that and kind of unpacking that a little bit more, but yeah, I just really love where David took it from there.

Daniel J. Mount:
David, do you have any other thoughts on this verse before we move on to the last one?

David Hill:
Yeah, not so much thoughts on the verse, but I just wanted to point out that it’s so obvious where Hunter came in here because then you suddenly get a double rhyme, which was not there before, in, “Nonetheless, his flesh, his bread was offered.” But, and then also… Yeah, the paradox definitely, just the writing becomes way more sophisticated, which I appreciate. And so I do think that, I know that the Holy Spirit was working in both of us, but I know that one thing, one way he helped is just that I’m not as good a writer as Hunter. So that was really nice, you know, it did. My approach was more straightforward. and had fewer complexities. And that does, like Hunter pointed out, I think it does help it. In the end, it makes it kind of a nice balance.

Daniel J. Mount:
Yes, something we’ve talked about off camera, but haven’t really talked about as part of this interview that I can think of. I write with both of you on a fairly regular basis, and so I happen to know just from other songs that the shoes were reversed, the shoes were not on the usual feet for this one.

David Hill:
Yeah.

Daniel J. Mount:
And the Hunter is often primarily, not primarily lyricist, you really write both fairly often, but you come up with a lot of words and when somebody brings Hunter in to help on a song, it’s often because they’re stuck lyrically, where David’s primary background is composer. So can you both speak a little bit, before we go into talking about verse five, what it was like to be a little outside of your usual comfort zone on this one?

David Hill:
So on my end it was just a delight because the lyrics that I had came very quickly and the you know, Hunter didn’t change that many lyrics, but the changes he made were really important. You know, in the final, we’ll talk about that final verse in a sec, but I just had a word choice that was abysmal in retrospect, so it was just like one little word tweak there that really made a big difference.

But I would just say it was really enjoyable because I think, You know, Hunter mentioned before this interview, he mentioned to me that, you know, talked about kind of how cerebral he gets with lyrics. And I’m very cerebral with music too. And I think that that’s one reason why it was such a joy to write this song. both of us were kind of freed up to be a little more creative and enjoy the process. And we knew someone on the other side of the, you know, on the other side musically or lyrically knew so much that they had her back. So if we made a misstep, the other person would very quickly turn it around. I think that was fun.

Hunter Lynch:
Yeah.

Daniel J. Mount:
Hunter?

Hunter Lynch:
it was a lot of fun just being able to kind of have most of the lyrical legwork already done and just try to figure out—it’s not just like a magical, just completely intentional process that the melody came about. But I did want the really sophisticated and dense lyrics to be served by an approachable melody, something that felt modern, something that felt like it belonged just in a multitude of contexts, but I mean, specifically at my church, and I know David’s used it as well.

With lyrics like this, you can either go a really, really straightforward kind of direction, that only fits a really particular niche context, or you can go kind of more broad, and that’s kind of where we went. And I feel like we hit a kind of a sweet spot there, in terms of the feel of it. And it came really quickly. Day one when I got it, it was almost done. And then David came in. I feel like my base or original melody was vanilla.

It wasn’t as interesting until David introduced some really cool chord changes and some of the flavor that the second half of each verse brings. So that was all David. And so he had a hand even in that, just kind of keeping the song on its toes. It never really settles in to a specific spot. It keeps moving. And so that was kind of neat to see how that kind of came to be.

Daniel J. Mount:
Yes.

David Hill:
The only part I wrote of music at all was the second half of the verses, which is what you were calling verse two, I think. So this part was me. But that was my part. And then everything else was Hunter. And part of it was just going back to what’s natural to us was that Hunter’s melody was always descending. So then I just took that second half of the verse and tried to make it more of an ascension just to kind of balance it out.

Daniel J. Mount:
Yeah, that balance works. Works well.

So why don’t I just move on to verse five, or 3A, as the case may be. We should really stick with how, you’re the one who wrote the song, we should really stick with your wording for it.

So verse 3A starts by saying, “The mystery continues through the ages in ordinary lives and words and deeds.” And then the verse closes with a Trinitarian reflection. that Christ is in us is one of the most remarkable and glorious things that ever happened in human history. I mean, you have the incarnation and the cross, but after that, I don’t know if there’s anything that’s more amazing than the same Christ would live in us. And yet, it happens for most of us most of the time as we’re living ordinary lives, which is paradox again and great job. Just curious if there’s anything you had in mind, what you had in mind in particular with the broken seeds reference and any other thoughts you might have on this verse.

David Hill:
I think, okay, so this is an interesting one, right Hunter? Because this is what we struggled with. This was the only struggle in the whole song, really. To my memory. It’s the only thing we really struggled with. And this is what I was talking about. I think I used a different descriptor that was terrible, like something like tiny, which would sing terribly. But anyway, Hunter came up with that. Broken was one of the options that Hunter gave. And then, you know, going back to verse, was it 26? No, no, 24, where he begins, talking about filling up was lacking of Christ’s suffering.

Daniel J. Mount:
Yes, that’s 24.

David Hill:
Yeah, to me, this is really important because you can’t just cherry-pick the end of the scripture. The truth is that the hope that lies in us comes through in our brokenness. And Paul talks about the suffering being for the church. And I think the thing is that alll of us as believers are going through things and our point is to go through them in community so that everyone around us can see that Christ is in us. You know, I would be lying if I said that was, from the time I started the song, that was the plan to get to “the spirit plants and waters broken seeds.”

This actually goes to my pastor’s wife. So Bethany, Bethany Butterfield, my pastor’s wife, she told me, so we were going through this struggle. Hunter gave another plausible word and we tried it out at our church. And Bethany came up to me after church and said, “What happened to broken seeds?” Or no, maybe it wasn’t. Maybe we didn’t change it. But I think I told them that I was thinking about changing that. And she said, “No, whatever you do, that’s the she said, that’s the most important line.”

And I know she won’t mind me saying it here because it’s her testimony. But she’s a cancer survivor. A few years yougner than me, with a large family. She’s a cancer survivor and she dealt with some really serious brokenness and trials in her own life. And so that was really important to her. So I don’t know if you remember this, Hunter, but I called you up like right after Bethany told me. I was like, “I think we need to keep broken seeds.” So yeah, that’s how that came about.

Hunter Lynch:
Yeah, and I’m glad we did because I mean what a picture of resurrection. I mean there’s a kind of a duplicity to it. I mean you have the seed of the woman put in the ground. And then you have the faithful sower watering the brokenness of those who come to faith. And so I think that it ties everything well in a way where… I’m just thankful that we kept it, even though at first I was really hesitant because I felt like there were some different ways it could be taken. I wasn’t really sure if it was clear, but in hindsight, I’m super glad we did.

Daniel J. Mount:
So Hunter, with your reference to the resurrection you could almost in a sense then be said to be pulling from, I’m not gonna get the wording in this right—for some reason it;s the King James wording that pops into my head—butt the “except a grain of wheat fall to the ground and died a bite of the lone But if it died it beareth much fruit.”

Hunter Lynch:
Yeah, absolutely.

Daniel J. Mount:
I guess, with your reference to the resurrection, you could probably kind of pull that passage in here.

Hunter Lynch:
Yeah, absolutely. And that’s kind of the whole point of that verse where like the work continues and the mystery continues of the spirit reaching those coming to believe. So I think that’s kind of the heart of that verse. And yeah, absolutely.

Daniel J. Mount:
Yes, is there anything else that jumps out to either of you about the writing process that strikes you as particularly interesting that we hadn’t really gotten to yet?

Hunter Lynch:
I think it’s so weird just how the Lord works from song to song. There are songs that come super fast, where it just lands in your lap, and there are songs that you agonize over for months. There are songs that I’m finishing today that I began two years ago, with ideas that I loved. And I really wanted to take that idea in that time and make something of it. And it needed the time to sit before I could come back to it and for it to be what it needed to be.

And so I’m learning the frustrating reality of patience with, with these kinds of things. And I feel like there are a lot about this song in particular. I mean, required patience, of course, but also the unique thing about it was how fast it came together and, and just how. I don’t know, there was just something really special about it. Ben with Hopestream, and everyone who did the production of that, just really took it and made it into something that we’re super proud of. So, yeah.

Daniel J. Mount:
Dave you had a thought too?

David Hill:
Well, I’m glad Hunter mentioned Hopestream Worship. So they’re a band based in the UK. And and so without them, I doubt the song would be produced by now. So we’re really grateful and thankful. They just did that on a volunteer basis and so that was really awesome. And not only that, but did a fantastic job.

One other thing I was going to mention, Daniel, is that this song is very unique among the other songs I’ve written in that usually there’s not a specific accompaniment. Generally, I’m trying to write hymns, so I’m trying to write things that can sound many different ways in many different contexts. I think this song does that, but at the same time, I think it has a very specific, this whole idea of… Yeah, that whole accompaniment is kind of, to me, a little bit integral to it in a way that some songs are like that, you know, that the church sings, you know. So that accompaniment kind of goes with it. I think of Andrew Peterson’s “Is He Worthy?”

And apparently that wasn’t him. That was, what’s his name?

Daniel J. Mount:
Was it Ben Shive?

David Hill:
Yes, Ben Shive was the one who came up with that signature accompaniment thing to it. There are a few others. You can’t imagine “Graves Into Gardens” without the don don don. So there are just some certain accompaniment things that are integral.

Hunter Lynch:
Yeah.

David Hill:
Iit’s kind of like Hunter said, I’ve written lots of different songs, but this song has unique things that are almost like a life of its own, I don’t know. It’s not like I made it that way, sort of, it’s almost like it just happened. I don’t know. Yeah.

Daniel J. Mount:
Yes, Hunter, you’re talking about songs that take a year or two to get right. And I can sympathize and empathize because I have had songs that took me more than 10 years to get to where I was comfortable with them. I know I’ve had a song or two hit 15.

Hunter Lynch:
Wow.

Daniel J. Mount:
I’ve been writing for 24 years, I think. So sometimes it just, the song takes its time and it almost feels like it decides when it’s done. it’ll feel right when it’s done so yeah, it can take a long time

So normally when I ask a guest what they’re working on next I don’t have any idea but as mentioned a few times I do some co-writing with both of you so I have a little bit of an idea but for the sake of the listeners what’s next? What are y’all both working on?

Hunter Lynch:
Yeah, so I am, Lord willing, gonna release two songs fairly soon. One of those being “Make Us One,” which I know Daniel, you and I talked about before.

Daniel J. Mount:
That’s a good song.

Hunter Lynch:
I know I showed you that, yeah. And so that’s a song that has belonged to my church for about two years now, and we’ve been singing it together. And so that’s gonna be coming out hopefully very soon. I’m working right now with my friend Tim Goodson and he’s kind of producing for me right now and so I’m hoping within a few weeks that that’s gonna be out. I’m hoping really soon I’ll be able to release those two songs.

The other song is one of my 12 Song Challenge songs that I’ve actually shared with you guys as well. It’s one of the Psalms that one from the Psalms Challenge.

And so I’m really excited about both of those. It’s the happy imprecatory Psalm that I shared with you guys. So yeah I’m excited to share those fairly soon.

David Hill:
Yeah, for me, it’s the co-write with you, Daniel, of “Paths I Cannot See.” My wife has recorded the vocals for that already, and now I need to make myself record some background vocals, but that’s where we are with that. But yeah, that’s coming up soon.

And then, this won’t be for a while actually, but I just found out one of my co-writes will be on a Jubilate Easter album, so I assume that’s probably going to come out next spring.

Daniel J. Mount:
Well, congratulations on that! Qnd I am looking forward to hearing all of the above! So David and Hunter, where can listeners follow you online? Just to avoid the confusion, so you don’t both start at the same time, why don’t you start first, Hunter?

Hunter Lynch:
Sure, yeah, so I am hunterlynchmusic on Instagram and Hunter Lynch on Spotify. Those would be the two places for sure.

David Hill:
davidhillmusic.net is my website and then I also have a david.hill.music Instagram.

Daniel J. Mount:
Wonderful. Well, thank you both so much for taking the time to do this.

David Hill:
Our pleasure. Thank you for inviting us.

Daniel J. Mount:
Sure!

Hunter Lynch:
Absolutely. Thank you so much, Daniel. It was awesome.

Daniel J. Mount:
Glad to do it! And in conclusion, listeners, to hear future songwriter interviews, subscribe to this podcast on YouTube or on your favorite podcast platform. You can also find episode transcriptions and the free 50,000-song searchable Expository Songs database at danielmount.com. Thank you for listening.