The Choir is an atmospheric alternative rock band currently comprising Derri Daugherty on guitar and lead vocals, Steve Hindalong on drums and percussion, and Dan Michaels on saxophone and Lyricon. Long-time bass guitarist Tim Chandler died in 2018, and guitarist Marc Byrd was the fifth member of the band between 2005–2014. The Choir's industry accolades include a GMA Dove Award for Alternative/Modern Rock Album of the Year in 1996Alfonso (2002), p. 141. and a Grammy nomination for Best Rock Gospel Album at the 44th Annual Grammy Awards in 2002.

As of 2026, the band has commercially released 23 full-length studio albums, three EPs, eight live albums, one single-disc compilation album, one retrospective box set, and is still actively recording new material.

History Southern California period (1983–1993) The Choir was originally formed as Youth Choir in the early 1980s by Daugherty and Hindalong. Chandler, who was also the bass guitarist for Daniel Amos, introduced Hindalong to Daugherty, who was the band's roadie and sound man.Alfonso (2002), p. 139. The two quickly became friends, and Youth Choir got its start within the Calvary Chapel Christian punk and alternative music scene, which also included the bands Undercover, Crumbächer, Altar Boys and 4-4-1.

The band's first official recording was the track "It's So Wonderful," released in 1983 on the compilation album What's Shakin, which also included early work from Undercover, Altar Boys and The Lifters. This song was one of the few times that Daugherty wrote both lyrics and music; as the band developed, the majority of the Choir's lyrical output would come from Hindalong. As Youth Choir, they released their debut album Voices in Shadows in 1985, with Mike Sauerbrey on bass;Conant, Palmer (2001), pp. 4-5 their first EP Shades of Gray followed a year later, when Dan Michaels joined the band.Conant, Palmer (2001), p. 9

The Choir made a high-profile move to Myrrh Records in 1986 with their next release, Diamonds and Rain. Dropping the "Youth" from their moniker, they would be known as "The Choir" from that point forward.Alfonso (2002), p. 140. This was followed by three more albums for Myrrh, which featured musical contributions from an array of performers, including Charlie Peacock, Mark Heard, Steve Griffith of Vector and Gene Eugene and Riki Michele from Adam Again. The Choir's lineup also changed. Chandler was the primary bass player through the recording sessions for Chase the Kangaroo, released in 1988; however, Robin Spurs replaced him on the tour for that album, as well as the recording sessions and tour for the band's follow-up, Wide-Eyed Wonder, in 1989.Conant, Palmer (2001), p. 19 When Spurs quit the band during the recording sessions for 1990's Circle Slide, Sauerbrey returned for the remainder of those sessions, and toured with the Choir for two more years.Conant, Palmer (2001), p. 26. Chandler then rejoined the lineup for the recording of Kissers and Killers, which was later independently released in 1993. Sauerbrey would not play with the band again; Spurs would rejoin the Choir briefly in 2017, when she performed on the Wide-Eyed Wonder reunion tour.

In the 1980s and early 1990s, the Choir toured extensively within the United States, and was most notably the first band on stage at the inaugural Cornerstone Festival in Chicago in 1984. They also preceded Bruce Cockburn on stage at the Greenbelt Festival in England in 1986, and opened for Russ Taff on his nationwide tour in 1990.Conant, Palmer (2001), p. 22 References to the band's tour experiences would remain an ongoing source of lyrical inspiration. During their Southern California period, the Choir's music was described by the Los Angeles Times as "magical songs that combine strains of murky psychedelia with pure pop." Billboard praised the band for its "dark poetic leanings, effects-laden guitars and strong melodic hooks." Hindalong's lyrics became known for their vulnerability and honesty, particularly about the challenges inherent in romantic relationships and the simple joys of family life.

Initial Nashville period (1994–2000) With much of the contemporary Christian music, or CCM, industry centered in Nashville, Tennessee, the band opted to make a permanent move there. Daugherty and Hindalong were both married with children, and the Christian alternative music scene in Southern California was no longer as active as it was in its mid-‘80s heyday. By contrast, the CCM industry had begun flourishing in Nashville in the early 1990s. Soon after the band's arrival, Michaels went into artist management, becoming a successful A&R man in the Christian music industry,Thompson (2000), p. 123 eventually serving as the Choir's manager as well. Daugherty and Hindalong would musically contribute to, and produce, numerous projects, including the Lost Dogs, and most notably, the City on a Hill worship music series.

The Choir's first release after arriving in Nashville was Speckled Bird, a reworked version of 1993's independent Kissers and Killers, with five additional songs recorded in Nashville. Their next album, Free Flying Soul, released in 1996, would bring the band their most notable industry recognition to that point, as they were awarded a GMA Dove Award for Alternative/Modern Rock Album of the Year. Five years later, the Choir received a nomination for Best Rock Gospel Album at the 44th Annual Grammy Awards for their album, Flap Your Wings, released in 2000. The album's closing song, "Beautiful Scandalous Night," would subsequently be listed at #100 in the 2006 book CCM Magazine Presents: CCM Top 100 Greatest Songs in Christian Music.Taff (2006), p. 201

Journey to independent status (2000-present) CCM limitations as precursor (1985-1990) Despite the belated awards attention, both Hindalong and Daugherty have gone on record numerous times over the years about the limitations of the CCM distribution model,Conant, Palmer (2001), p. 25 the musical and lyrical expectations from record labels, and their rejection of the term "Christian band" to describe the Choir,Conant, Palmer (2001), p. 24 as the band never fit the "Christian music" mold, according to Hindalong. "You were either one of two things: you were evangelization or edification,” he explained. “You're either edifying the Body, or getting people saved—one of these two functions. To us, music is not a means to an end. It's not a tool. We're not going to meet your expectations.”

Instead, the band soon realized they were primarily interested in writing music about their everyday life experience, inspired by the music of bands such as Romeo Void, the Church, and My Bloody Valentine. As a result, "we couldn't be sold," Hindalong said. "Whoever promoted the show was not happy with what we did." Daugherty was more measured in his assessment. "In the early days, we did have some promoters that really liked us," he clarified. "They just couldn't make any money off of us. If they can't make a living promoting our show, then they're not going to book us.” This led to the band traveling extensively outside of Southern California,Conant, Palmer (2001), p. 10 playing anywhere they could be booked, whether a bar, a club, a high school auditorium, a coffeehouse, or a state fairground.

Even when the Choir directly addressed matters of faith in their lyrics, the band's music rarely gained airplay on mainstream Christian radio. Instead, their music was limited to the small number of Christian radio shows that played a mix of alternative, rock and metal music for only a few hours a week, often after midnight. "How would you care about radio success on a radio station that you, yourself, would not listen to?" Hindalong asked. "We had no chance succeeding commercially, plus we didn't want to say what we were expected to say, at least at that point."

In an attempt to broaden the Choir's appeal to Christian audiences, Myrrh had the band open for Russ Taff on his high-profile The Way Home tour in 1990. “It was a disaster," Hindalong said. "The audience overwhelmingly hated us. You could feel the disdain, you know?" Daugherty agreed, and added that, "people would come out and lecture us at our merchandise booth: 'We didn't preach enough.' There would be a couple of nights where people would get up and literally take their youth group out." At the end of the tour, the Choir announced that this would be their last time opening for a mainstream CCM artist.Conant, Palmer (2001), p. 24 This negative experience coupled with the Choir's continued dissatisfaction with the CCM industry in which their music could only get limited exposure led band manager Paul Emery to issue a press release saying, "The band has grown frustrated with the constraints of a marketplace that values spiritual slogans over musical creativity."

Targeting the mainstream (1992-1993) The Choir then made a concerted effort to target a broader audience by recording a collection of demos that they could shop around to mainstream record labels. After a year and a half of playing clubs—including famous venues like the Troubadour in West Hollywood and CBGB in New York City—the Choir considered changing their name to Kissers and Killers. Although three labels expressed interest (I.R.S. Records, Geffen Records and Fiction Records), they ultimately passed.Conant, Palmer (2001), p. 29 "We really believed we had to take that chance,” Hindalong said. “Besides, I just wanted to hear my songs on the radio."Conant, Palmer (2001), p. 28 Hindalong denied that the band "hated Christian music and would never do it again," and added, "we're not bitter and frustrated; we're just trying to broaden our audience."

Going fully independent (2000) Starting with Flap Your Wings in 2000, the Choir chose to release their music independently on a permanent basis, with the band's following three studio albums also financed by Michaels. Flap Your Wings was strategically released just one day before the Choir performed live at the 2000 Cornerstone Festival, and this served as a launching pad for the new release and the band's new status.Conant, Palmer (2001), p. 32 In addition, the Choir recorded two new live albums at the festival, Live at Cornerstone 2000: Plugged and Live at Cornerstone 2000: Unplugged, with the former featuring the entire band and the latter an acoustic set with just Daugherty and Hindalong. Michaels then created an official website for the Choir, where they could directly interact with fans as well as sell music and merchandise.Powell (2002), p. 170 This site was launched at the very time that the internet was becoming a new paradigm for independent artists, as a band with an established fanbase like the Choir no longer needed to tour relentlessly to keep listeners eager for new music. Although members of the Choir would continue to provide production and musical contributions to artists within the CCM industry, and the band would occasionally address Christian themes in their music, the Choir would be frequently identified as an indie rock band from that point forward.

In 2005, after Daugherty and Hindalong had worked with Byrd on a number of other musical projects following the release of Flap Your Wings, the Choir officially added Byrd to their lineup to record O How the Mighty Have Fallen. The album was also produced by Byrd, and released through Michaels' new Galaxy21 imprint, through which all future Choir albums would be distributed. In August of that same year, this new five-member Choir played the Broken Records Reunion, a 20th anniversary concert at Mariners Church in Irvine, California, along with 4-4-1, Altar Boys, Crumbächer, and Undercover.

Renewed creative activity (2010)