Lincoln Brewster is an artist near and dear to all of our hearts here at [WM]. We’ve held several Christian Musician Summits at Bayside Church where he serves as a Senior Pastor. He’s headlined our Night of Worship at NAMM. He’s a chart-topping worship artist who also happens to be one of the best dang guitarists on the planet. But more than all of that, when you hear him talk, everything points back to Jesus. Lincoln’s tenth album “God of the Impossible” was released May 4th, and is filled with more of his uplifting songs and killer guitar playing. We had the pleasure of catching up with Linc a few weeks before the release to talk about music, worship, guitars, his upcoming instrumental album, and leadership.
[WM] Music has played a special role in your life. Can you put into words what it means to you?
[Lincoln Brewster] It’s meant different things at different times. I had a connection to music, early in my life, before I was a Christian. It was an escape for me, a safe haven. in Alaska, where I grew up, it was either go party and make a bunch of bad decisions, or stay home and play music, so that was what I chose to do. So, it’s been a refuge of sorts at times. Even today, it’s still a creative outlet. I’m sort of a project guy, so it’s nice to be able to express myself in that way. I’ve also come to view music as a great vehicle for worship and for expression. That’s obviously the main vehicle that I use now, to use music as a means for worship and to encourage people through that. To me, it’s a unique, broad, ever-changing, living organism, if you will, that is good for the soul. It speaks to people in different ways than anything else can. It’s amazing how you can take a simple truth, and if you spoke the simple truth it would mean one thing, but if you set it to melody and chords it can mean so much more, or impact someone so much more profoundly and deeply. It’s so multi-faceted and means so many different things to me… it’s just amazing!
[WM] Walking away from a gig where you effectively replaced Neal Schon as the guitarist in Steve Perry’s solo band was, what some would describe as career suicide. What are your thoughts on the various differences between a career in the music business, and being a worship musician who works for a church?
[Lincoln] The biggest one is purpose. God’s economy works the opposite of man’s economy. With playing music in the context of church, and leading worship, you’re trying to use that gift and that platform to accomplish a greater end. And that end has names and faces. It’s whoever will hear it and engage with God differently than had they not heard it. But it’s not designed like the secular music industry where it’s about, “I like to do this, so I need to figure out how to do what I like and get as many people to support me in it so I can keep doing what I like.” It doesn’t work that way in church, or it shouldn’t. In church, it’s about finding the best way to impact, encourage, reach out to, and speak to as many people as possible with the gifts and talents that God has given me. I view music, in that context, as more of a vehicle where it’s just one way to do it. It’s more about who you’re doing it for, and why you’re doing it. The purpose of it is very different.
[WM] Since your Hollywood years, radio, as we once knew it, has changed a lot. Can you talk about the role Christian radio has played in your career as a Christian artist?
[Lincoln] Christian radio has actually been incredible in my journey. It’s a neat thing, like when we go tour in cities that have a strong Christian radio presence versus ones that don’t, you can actually tell. I think there’s a camaraderie with people when there’s Christian radio there. They unite around their station, if that makes sense. I like what Christian radio is doing, and the reach they’re having. Lots of different models for that are popping up as we go along, and I’m loving seeing the ministry-minded side of so many of them. They’re really functioning a little like churches, or certainly like NGO’s that have mission statements. They are about getting out and reaching the lost, having great prayer ministries, and getting involved in city impact activities. I’m a big fan of Christian radio.
People are impacted by music, and that’s always been true since the beginning of time. You look back at the Levitical order, music played a part, and really a lead part. Anytime we can get music with God’s Word in it, with good theology that lifts up and encourages, and is accessible to a wide range of people, I think that’s a great thing. Whether they’re playing my songs or not, I’m a big fan! I love it and think it’s a good thing.
[WM] You’ve already got a million streams on your new title track, which is pretty amazing! These are changing times for artists. How do you stay on top of the changes in the business and make sure that you’re following the trends so that, as an artist, you’re not being left behind with things like social media and music streaming services?
[Lincoln] Two words… life-long learner! I roll out of bed every day with the mindset of wanting to find out what I don’t know, because I know there’s a lot. I also keep current by surrounding myself with people who are great at the things that I’m not.
Integrity has a brilliant marketing staff, and a really top-level group of people in their sales staff and A&R departments. They all get it. This is what they do all year long. I make one record every few years, but they make dozens of records every year. They are staying in tune with what’s current.
I ask a lot of questions. I think a great question for people to ask is, “What are the best things I can be doing to serve this situation?” It could apply to marriage, parenting, and friendship – not just in this context. Ask the other person that. If you could write it out and it would make you feel incredible, what would those things be? I’ve found that 99 times out of 100 they are things that are very doable, and it shows the people that you are saying it to that you value them. It’s really effective, because then you have a clear path on what you should do.
I had a lot of things to learn recently on social media, and I’m still learning. For me, it’s mostly about surrounding myself with good people and not being afraid to ask questions. I’ve learned a ton from my kids. They are thirteen and sixteen, and all the time I will say, “Hey, what would be the best way to do this?” Or, “What do you think of this song? How do you like this arrangement? What do you think of this guitar solo?” It’s good to get different input, ask lots of questions, and be a life-long learner. You will never find me making the assumption that I know it all, because I definitely do not!
[Lincoln] I think that’s a gut thing. I love to collaborate. Paul Baloche is a good buddy of mine, and I remember years ago, after his big success with “Open the Eyes of My Heart,” he said, “I’m cool if I never write a song by myself again.” I feel the same way. I really enjoy collaborating with people and finding people where our strengths and weaknesses complement each other and the chemistry is good. I feel really blessed to have some amazing friends who also happen to be songwriting partners of mine. Mia Fields is someone I’ve written with for many years, and we did again on this record. Another writing partner is a young guy from Australia, Mitch Wong, who is someone you’ll hear a lot more of in the years to come. Mitch is brilliant. Probably my favorite song that I’ve ever been a part of writing was co-written with Mitch. It’s called “While I Wait.” My wife was kind of the catalyst for that song; it’s kind of her story. But it certainly speaks to me, and I think to anybody who has gone through challenging circumstances, or who is waiting for God to do something in their life.
Co-writing helps to keep things fresh. It keeps you mindful of questions like, “Has this been said before? Is there a different way we can say this?” Years ago, I used to think that if I got the rhyme down then the lyric was done. Now, with my writing partners, it’s about going back and reading through the lyrics and making sure that it is something worth saying, and that it’s completely true and accurate. We want it to be something that, if someone got ahold of it and believed it and sang it, it would make a difference in their life and would steer their soul in the right direction.
On the style front, I’m a huge believer that style is really the gift wrapping. What’s in the box doesn’t change. It’s honest, authentic, heart-felt worship to God. How the box is packaged and what kind of gift-wrap it gets, that’s going to change. I’m always trying to find the balance of doing things that I honestly like, that work, and that represent me, with finding things that are relevant stylistically. I don’t want to be one of those guys who got a mullet one day, and it was the “in” thing. I don’t mind changing stylistic things. That’s just a part of doing this. It’s about solving the riddle and finding what will work best, not just about what I like.
[Lincoln] The first thing that comes to mind is that I’ve been willing to put the hard work in to get what’s in my head onto the recording. It’s hard to hear things in your mind that aren’t clear, or feel a bit nebulous. It’s difficult to get those into a functional reality where you can judge it and say “yes” or “no”. It might take hours of work, and then you decide that it doesn’t work. I’m never that clear on an arrangement. I have to just walk the path and if it works, great, and if it doesn’t you start over and take it a different direction. I feel like a lot of it is just blood, sweat, and tears, and being willing to put the hard work in. As long as you’re willing to put the work in, you can explore those things. Some of them work great, and some of them don’t.
[WM] At one of the CMS Bayside conferences, you mentioned that you built your vocal style by recording and listening to yourself over and over until you found things you loved. Tell us more about that.
[Lincoln] It’s hard to determine how we sound in real time. That’s with guitar, drums, vocals, or anything you play. When you’re playing it, a big part of yourself is involved in creating that in real time, in the moment. The part of you that’s able to hear it isn’t as present. I think you can train yourself to hear more of it, but that takes time. I like to record things and listen back so that I can compare how I felt like it was happening versus what it actually sounded like. That’s a lot of how I learned to sing. I would record my voice, by myself, in a safe setting where nobody else was listening. I would feel how it felt in my throat, and the intensity level, and then I would play it back. In the beginning, honestly, what I perceived was happening versus what was happening in reality was very different. I found that when I felt the most uncomfortable was when it sounded the best, and so I started having to learn how to make the uncomfortable comfortable, and learn what it feels like. That was a game changer for me.
I still do that with guitars and vocals. Sometimes when I start recording a vocal, the energy is too low, and I won’t know. I might have just been having a mellow day. I don’t know if you’ve noticed, but if you have a Saturday evening service, when you play a high energy song, if the energy is great in the room, the song might feel a little slow. Then, you play the same song on Sunday morning, and it feels like it’s 20 bpm faster, even though you’re playing to a click. Our bodies really fluctuate in terms of their perception of what is going on. That’s why I really like getting my vocals produced by someone else who has a more objective viewpoint and can guide me to give a little more, dig a little deeper, or lighten it up in places, or pull it back in my throat. It’s really nice, and it’s one less thing that I have to think about.
[Lincoln] I’ve had a few different things kind of bumping around. Because I have the POD HD500X still programmed with my patch changes via MIDI, I’ve still been using that when I play live. We haven’t played out live very much the past year and a half, and that’s been on purpose so that we could take a break and make the new record. I still like the HD500X a lot.
In the studio, I’m using a combination of things. I still use POD Farm 2 with my old Plexi Variac sound in there. I still love that sound. In fact, that’s the guitar solo on “Here I Am,” on the record. I also used a Kemper profiler quite a bit. I did a lot of the solos with the Kemper, along with a lot of the overdubs. I also used the Line 6 Helix Native plugin. When I’m recording, I like to have a plugin because I can keep recording pickups and putting amps on them and then monkey with it later. It’s nice to do that, especially when you’re dealing with a lot of tracks with a lot of keyboards and layers. You may want the guitar to do a different thing later. So, Helix Native has been really great.
I do use quite a few third-party cabinet IRs (impulse responses) with Helix Native. I use a thing called mixIR2 plugin from RedWirez. I also used a plugin that’s a ’57 with an off-axis, darker sound on a Celestion 25. I love using IRs, and have even plugged my ’69 Plexi Marshall into a load box and run it straight into ProTools and put an IR on it, and that works great as well.
I’ve found though, that whether you use Line 6, Kemper, Fractal, or whatever… if you’re going for a Plexi, the whole concept is that it should sound like a Plexi. It shouldn’t sound like five different manufacturers. They should all sound like a Plexi amp. And I’ve been finding that more and more, especially with the newer stuff, everyone is doing a pretty good job of modeling the different amps now.
For overall functionality while playing live, the Kemper is great for that. It’s a really great box, and has a lot of spillover features where effects carry over through patch changes, which is very nice. I really like the Helix floor box as well. Every box has strong points, and they all have things that I wish they did better. My advice to someone is to go demo the box and see which one you like using the most, whether that is a Kemper profiler, or a Helix, or a Fractal, you’ll get a great sound out of it – if you know how to get a great sound. If you don’t, it’s probably not going to rescue you. But there are some presets in all of them that you can fire up and immediately sound great.
[WM] You are working with Fender on a signature guitar. From the perspective of a worship artist, what does this mean to you?
[Lincoln] It’s humbling, and it still feels surreal. I feel like it could only be God, when you look at the relatively short list of names of people who have gotten to do that. It could only be God sorting it out and allowing it to happen. I’m thrilled! We worked really hard on the guitar, and I’m really proud of it. About halfway through the process I realized that there were some other options available. Fender, as a company, has changed since we started working on this project. It changed some of the possibilities, and I’m a possibilities guy! One of the guys at Fender, Joey, said, “Okay, forget everything we’ve done. What do you really want?” And I said, “I want the guitar to be where I could walk into any store where they have one, grab it, and go play a gig and not have to do anything to it.” He said, “Awesome! What’s that look like? That will be the guitar that’s available!” So, we went over every single spec and nuance with a fine-tooth comb. I’m actually playing the prototype now, and it is killer! I absolutely love it! It feels great and plays great. Anyone who has ever played the original Eric Johnson signature model Strat will understand when I say that it’s that kind of caliber. All nitro-cellulose, quarter-sawn neck, ash body (Eric’s was alder). I wanted to go with ash, even though it’s a little more expensive. That’s what I’ve used for years and I really like it.
We did the DiMarzio pickups that I’ve always used and really, really love. I couldn’t find anything that I thought sounded as good. Again, that makes it a little more expensive, but doing what I do: fingerpicking and talking while I’m leading, the noise cancelling feature is a big deal so that I don’t have to deal with a bunch of hum from the guitar as I’m trying to lead worship. To me, the DiMarzio’s are the best noise-cancelling single coils, as far as sounding like the real deal, so Fender said, “Great! Let’s go with the DiMarzio’s.” I’ve had a long-standing relationship with Steve Blucher and the guys at DiMarzio, so it’s nice to be able to continue that.
We put a two-post, floating tremolo on it, which I wasn’t going to do originally, but it’s a bent-steel saddle, vintage-style bridge with a push in bar. The push in bar was something that I advocated for over a really long time. They ended up doing it on the American Strat professional, and I’d like to think I had a hand in making that happen because the twist in bar and keeping track of that spring is constantly a pain, and you end up stripping them out.
Visually, the guitar looks vintage. The whole idea was vintage style; modern function. Everything that’s been done to it is basically stealth. When you pick it up and look at it, it looks like a vintage ’50s Strat. We added a compound radius fretboard, Fender’s version of a 6105 fret, which is a tall, narrow fret. The truss rod is adjustable through the headstock, which was a non-negotiable for me. I adjust my truss rod constantly. If you take the finish down on the back of the neck and have the raw wood, I think the truss rod is one of the most important adjustments on the guitar, and I want to be able to get to it and not take the neck off.
The heel is cut away so that you can get up to the high frets easily. And it has vintage-style locking tuners, which again, just look like vintage tuners, but they lock and help the tuning. The tremolo stays in tune quite well, and I don’t have any issues with it. Usually, if the tuning is getting finicky it means I need to change the strings, or lube the nut a little, and then it’s good to go. There are some tricks to getting it to stay in tune correctly. I’m going to make some videos on it that shows people the little things you can do that are game changers and make it work really well. Of course, if you don’t want it to float, you can just slam the bridge like a regular fixed-post bridge.
It has a custom-built circuit in it – this is the first interview that I’m mentioning this to, and we went through many iterations of the circuit. There’s actually a 9-volt battery in the guitar, but you can’t see it. It’s hidden behind the back plate. The circuit does not affect the sound of the guitar at all when it’s not on, so it is completely bypassed. Basically, what I wanted was a Stratocaster that had more output. Anytime I’ve messed with a pedal to do it, I’ve never been able to find a great linear response. It’s the Nigel Tufnel dilemma – I wanted my Strat to go to 11, and in this guitar’s case, it will go to 20! It has a flat, clean boost that doesn’t change the character or tonality of the guitar. It’s a 10db boost, built in. It’s just killer! With the treble bleed mod especially, you can have the boost on and actually turn the volume down and still get the chimey, clean tones. But when you turn it all the way up, it screams! It does things that no stock Strat should do. That function is a push-push volume pot. The main volume pot, you just push it with the side of your hand to turn it on, and then push it again to turn it off.
Historically, I’ve never used the middle tone pot for anything. I usually unhook it and leave the middle pickup wide open, with no pot control. The neck pickup always had that tone pot connected, but I never used it. So, what we did was disconnect it and put either a capacitor, a resistor, or both, on the neck pickup so it still sounds like it has a pot connected to it, because those 250k pots roll off some of the top end and gives those pickups their sound. And then we used that middle knob as a mid-boost, so it’s literally like zero to eight and a half, but it’s a beautiful, absolutely gorgeous sounding wide EQ band in the mid-range, right around 600 to 650hz. When I play lead parts, I can have that sitting anywhere so that when I turn the boost on I also get a mid-boost at the same time. We messed with that mid-boost a lot to see just where the right frequency would be to get that singing tone. Now, it’s amazing, when I’m playing I don’t even have to touch anything for guitar solos, I just set the mid where I want it and hit the boost, and off I go! It’s super cool, and all of that stuff is going on, but the guitar looks like a stock ’50s Strat, until you start looking close.
[WM] We loved getting a chance to hear “Relativity”, the all-instrumental track at the end of “God of the Impossible”. For those of us who have been patiently waiting for your instrumental disc to come out, will the rest of that record sound like this?
[Lincoln] No (laughs). All of the songs are a bit different. There are a couple that are similar to that one, but it goes in some other directions as well. There is some slow, more melodic stuff, some quirky things that are kind of humorous, some greasy Blues-esque things, some shuffle Funk stuff. There’s a bunch of different kinds of things on the record, and each song came out pretty different. I think they all, strangely, flow together though, as a batch of songs. The album is going to be called The Sum of Imperfection. You may have seen me wearing a t-shirt with a big S on it, which is the sum sign in math. I call myself a recovering perfectionist, and I realize that I’ve never achieved perfection in my life in any way, shape, or form, so this I thought this album could be called The Sum of Imperfection because none of it is perfect! I think that describes us, as people. If we were perfect, there would be no need for grace.
[WM] As a Worship Pastor, worship leader, husband, and father, how do you find time to keep your chops up?
[Lincoln] Dude, that is one of the hardest things in the world now! It’s harder now than it’s ever been. And I feel like my chops drift quicker than they used to. So, I just have to make the time. Sometimes it will be late at night, after everybody has gone to bed, I’ll just go in the studio. Now, this will sound like a shameless plug, but it’s really not. I do the exercises that are on my DVD’s. It’s what I’ve always done. I run scales and the 4-note per string gymnastics exercises to keep my muscles moving.
I was with Doyle Dykes at NAMM last year, and I asked him if his hands get stiff and how he deals with it, and he showed me some hand stretches that were unbelievably helpful. Now, as well as working on strengthening, I also work on stretching. Throughout the day, I will stretch my hands and wrists, massage my forearms, and just try to keep things loose.
There are times when I really need my chops to be in top form, and then there’s times when I don’t need it as much, if that makes sense. If I’m leading at church on a weekend, it’s not as demanding. But if I’m playing a two-hour set and have to go full-tilt and play every guitar solo from the albums, then I’ve got to ramp them up. Or, if I’m recording, before I go in I’ll try and take a few days and get sharp.
Sometimes you can play the same thing when your chops aren’t in good shape as you can when they are in shape, it’s just way more fun when they’re in great shape! When it’s hard, you feel like you’re barely making it, and your forearm is on fire. I think it’s just about being creative about getting the time in. I’ll tell you this though, I still love playing guitar just as much as I did when I was a kid.
[WM] What are your thoughts about the nuances between having people sing your songs on Sunday morning, and the fact that some people are Lincoln Brewster fans – people who love your songs, love your guitar playing, and Lincoln in general.
[Lincoln] The first thing is to just be aware that the dynamic exists, I know it’s there, but I feel like I still just have one job, which is to use the gifts and talents God has given me to point people to Christ. Whether that’s on stage of off, through music or through the things I say and the way I live my life, it’s all about pointing people to Christ. Every weekend at my church, we get people from both categories. There are people who have been there a long time, who know me to be one of the Senior Pastors, and know that I lead worship and it’s all good. And then there are other people who are enamored by that. I don’t really let it affect me any differently, I just want to keep pointing people to Christ. It’s actually kind of cool that when people have the “enamored” attitude, sometimes when I say something from the platform, it’s amazing how much of their attention I’ll get, which is great! They’re very focused on what I’m going to say. It’s a great opportunity to humanize what I do and who I am, and that everything is not as it seems. I have a real life, with kids, a wife of almost twenty-five years, challenges and struggles, victories and defeats, and all of that stuff.
We are designed by God to worship. America, and the world for that matter, does not have a worship problem. We never have. We just have a focus problem, so we end up worshiping the wrong stuff most of the time. I’m not under any delusion that if somebody starts to get enamored, or starts to worship what I do, that it’s weird. The same is true for an iPhone, or a guitar somebody wants. For me, I just want to make sure that I can take that and say, “That’s very kind. That’s awesome, but Jesus is the man! He’s the reason any of it exists. I can’t take credit for any of it.”
[WM] I recently read a discourse in social media on how a guitar solo is “not worship.” Care to share your thoughts on this?
[Lincoln] One of the many strange things about social media is that everybody gets the same volume. If we were all sitting in a room, knew each other, and in relationship with each other, when one person talks you know their backstory and their propensities. You may not pay much mind to what they say because you know them. But that person can get online and have the same megaphone that Andy Stanley has, in some contexts. Some of those conversations, to me, just aren’t worth having.
I’ve had some of my best worship moments while playing a guitar solo to God. It’s a voice, for me. I sing okay, but I’ve always said that if I can’t sing it or say it, I play it. It’s just another voice for me. I think people forget what the Bible says about it. When the disciples asked Jesus, “How do we bless you?” he said, “Bless one another.” When I play guitar, for people who appreciate it, it blesses them. I’m carrying out the way that Jesus said to do it.
But, I’ve also heard people say that my style of music isn’t worship either. They’ve criticized my haircut and my clothes too. It’s all just part of the deal. I mean, I’m a Senior Pastor at a church, I’m a worship leader, I’m a Christian, I’m an artist. It’s like, take your pick. I’m always getting fired at for something.
[WM] Tell us about your relationship with Pastor Ray Johnston and his vision for worship?
[Lincoln] Ray would tell you that from the day I got here, it wasn’t his vision. I would say, “Ray, what are you thinking?” and he’d look at me and say, “Gosh, do whatever you want.” We have a really close, unique relationship, and we share the same desires at the highest level, which is to reach people for Christ, and that the church would not be a church that stays within the four walls, but be a church that gets out and impacts the world and the community.
He has been very supportive of what I do. Years ago, I told him what I envisioned for Bayside. Obviously, it’s changed over the years. Back then we were one campus with four services, and now we’re eight campuses. It’s very different, and it’s been mind-blowing to see all that God has done. Ray is like family to me, and he would say the same thing. This is our life. The church is not just a job, it’s my life, and it’s what we do together.
[WM] Tell your thoughts about building a strong team, both on or off the platform.
[Lincoln] In any kind of team building, whether it be staff or volunteers, there are a few fundamentals that are really important. Encouragement, both public and private, is a huge one. Making sure that the people know that you value their life more than you value their gift, doing your best to get to know people, and be friendly. Introverts don’t come off as friendly sometimes, and some leaders will say, “Well, I’m just an introvert.” But there’s a thing called a “professional extrovert”, and those leaders might need to grab ahold of that mentality.
Your team environment should be fun. We get to do this, we don’t have to – this is a privilege! On our teams, we do not put up with jerks, at all. There’s no room for it. If somebody comes with a bad attitude, there’s a first warning. If it happens again, then we say, “We’re sorry, but this isn’t the right ministry for you.” You want to extend mercy and grace, but you want to do it 360 degrees. When someone is acting like that, you have to understand that they are victimizing everyone who is having to deal with it. We need to extend those people grace and mercy too. Sometimes, by allowing someone like that on your team, you’re actually injuring more people by allowing it. We just don’t put up with it. We have absolutely moved people on and said, “We’ll give you the chance to rectify this,” and if they say, “Oh, I’m really sorry!” then, “Hey, it’s cool. But let’s be crystal clear that we don’t do this.” And if it keeps happening, then we say, “Look, this is not going to work.” And that’s because we love our team and we value the culture.
I’m really big in giving people freedom to fail. Younger folks that are coming up are never going to have a chance to find out who they are and what they’re made of if they never get an opportunity. Where they are in their heart leads the way for that, of course. When somebody is being faithful and consistent with a good attitude, showing up for setup and teardown, they’ll do whatever needs to be done. I may end up asking them to lead a song, “Go for it! Lead! Here, come stand in my place. You go lead those people. I know you can do it.” I’m not worried about it being my stage. I’m so not about that.
I think that creating a team environment where we respect each other is so important. We have a little saying, “How we treat people matters.” It’s never perfect, there are always family dynamics, but our team genuinely likes each other and likes to hang out together. We’re committed to work through the challenges. When you have hard times on a team, you either work through or you work around, and working around an issue doesn’t work in the long run, period. You have to work through the issues. If you do it with grace and love, and based on a relational foundation, in the long run I think that’s the best way to approach it.
When people respect who you are, as a leader, and they respect who you are and how you treat them, that makes people want to be loyal and want to stay. I’ve seen leaders who lose a bunch of people and can’t figure out why, and I’m standing there thinking, “I wouldn’t work for you 30 minutes.” But they have a blind spot about it. I think it’s important for any leader to have at least one person who is smarter than they are, or wiser, that they can talk to safely and seek honest feedback. Someone that they can look to that can lovingly smack them upside the head when they need it. I have that in my own life. I actually have a counselor that I go to once a week, unless my schedule just won’t allow it. But pretty much, I go every week. And the agreement was that I would go there so that they could point out the things that I don’t see, and I welcome the smackdown. I want you to tell me what I need to hear. I’m not coming here so that you can make me feel better, I’m coming here so that I can grow. If the leader is in that kind of mindset, the team will follow.