I definitely enjoy liturgical work and choral work from the 15th century and 16th century, but I play in churches with a bit of trepidation, and it's not something I enjoy because there are all these problems. It's an implication that you're part of the theological apparatus, like for atheists or something, and I don't like that. I like playing with the form, inhabiting the tropes of religious music without that promise of angels at the end. It can be awkward, you know?
I hope [white brothers and sisters] read this book [Tears we cannot stop] and engage with it, but other white people have a better chance of speaking more directly to the white folk they know, because they're less likely to be subject to ridicule. They're insiders, so to speak.