The Lord Is There
10 Qs with Regina Vandereijk
Regina Vandereijk has a voice that will blow you away. Her soaring vocals on the new album The Lord Is There take the listener on a profound journey.
In this interview, Regina shares how she landed in the opera scene in Europe, how culture and language shape the recording process, how to avoid becoming spiritually obese, and how her new album The Lord Is There came to be.
Here are 10 Qs with the Netherlands-based singer-songwriter.
1. It may just be that I’m a prairie boy from a small town, but it seems that the world of opera is a tough creative world to break into. How did a girl from Southern Appalachia end up as an opera singer in Europe?
I grew up in Western North Carolina, where my mother, a classical pianist with a professional music background, noticed I had a unique voice when I was around 12. She drove me an hour and a half to study with a teacher at a local university who specialized in training opera singers. While I wasn’t initially focused on opera—being more interested in high school musicals and bands—my mom encouraged me to stick with it.
By the time I was 15, after three years of training, I auditioned for a summer program and was cast in my first opera. Over the next few years, I took on more challenging roles, but at 17, I decided to take a break from singing. I stepped away for almost two years, but joined a small pre-professional choir during that time. It quickly became clear that my vocal training set me apart, and I ended up taking on choir solos. One of these solos was particularly challenging and led to vocal nodules due to poor technique. After a period of vocal rest, uncertain if I would ever regain my voice, I realized how much I valued singing. That realization prompted me to dedicate myself to learning proper vocal technique at the highest level.
That decision led to a decade of weekly lessons and consistent practice. By 22, I moved to Colorado to work with a teacher I had heard about while studying in Austria. I also began gaining experience performing with various opera houses and young artist programs. During this time, I gave my life to Jesus, was baptized, and chose to use my vocal gift for His service. I made the difficult decision to step back from pursuing a professional opera career and instead seek where God might lead me.
I sold my belongings and moved back in with my parents in North Carolina, waiting for direction. Around that time, I received an invitation to visit an old college friend in Salzburg, with a free plane ticket included. I took the opportunity to schedule auditions with major opera houses in Europe, as it was where my training, education, and work experience lay. This led to an offer to join the Opera Studio of the Netherlands in Amsterdam, where I made my European debut.
2. What has been your most memorable role or performance on the stage, and why?
Most of the roles I sang in my teens and early twenties were accompanied by either piano or small orchestras. I remember the first time I sang an opera with a large, romantic 100-piece orchestra. I fell in love with the feeling of hanging my head over the orchestra pit and just feeling the sound waves rush under me and over me like the wave of an unseen ocean.
On top of that euphoric feeling, I was privileged enough to sing over that incredible sound wave and discover how the orchestra was designed in such a way that the human voice could ride on/over the sound wave of the orchestra. The hall was the perfect size for the orchestra, and everything fit together seamlessly. God created the acoustics of sound and the human voice, and we ‘recreate’ it. I was singing Hansel in Humperdinck’s Hansel and Gretel. He wrote his opera with this romantic, Wagnerian orchestra, and my voice was well-suited for Humperdinck’s music. That, on top of the fact that the role is just really fun and the music is glorious, made it all fit together perfectly.
3. How has living cross-culturally influenced your creativity? Do you notice a difference in how North American and European musicians and other artists approach creativity?
As an opera singer, I was really surprised by how methodical European musicians and performing artists are. They take their craft very seriously, which I believe is rooted in the educational system there. In Europe, internships are a key part of the process from a young age, meaning you enter the professional workforce early (at the age of 14), even while still in early training. In contrast, in the U.S., musicians tend to remain in student roles well into their mid to late 20s.
Additionally, Europe’s higher taxes and democratic social systems allow young musicians to apply for grants that help support their careers early on (18+). Meanwhile, many of my American opera colleagues had to juggle multiple jobs just to make ends meet. This stark difference was eye-opening.
As a songwriter, this experience made me appreciate being American, and I think my album sounds the way it does today because of it. While my European colleagues could study American genres like blues, southern rock, and country music, they couldn’t truly “feel” them, which was sometimes frustrating in the collaboration process. (I attempted a few times in my first years in Europe to step out in recording songs, but ran into this challenge with European studio musicians. This is not applicable to the current album. Thank God!) Growing up in the American South, I understand the heat of Alabama and Georgia and the wildness and isolation of the mountains of North Carolina. These environmental factors shape the nuances of music, influencing how different genres are created and performed.
I also began to understand my limitations as an opera singer. While I could study opera, I knew I’d never truly be Italian. I began to appreciate why French opera sounds French, Italian opera sounds Italian, and German opera has its own distinct characteristics. This insight helped me grasp how deeply language, culture, regional influences, and even climate impact musical expression, whether in opera or other genres.
Another key influence on my music was the role of British musicians in shaping American popular music. The transatlantic connection between the U.S. and the U.K. has had a profound impact, especially with the way UK and Irish youth culture transformed American music in the latter half of the 20th century. Bands like The Beatles, The Rolling Stones, Cream, Blur, Oasis, Radiohead, and U2 continuously transformed the sound of American popular music, giving birth to subcultures and genres that shaped contemporary music. I grew up listening to these sounds, and I began to realize how much they shaped my own creative process.
The studio musicians on the album were experts in both the American and British sound, and I learned so much from working with them. We all had a good laugh when I would occasionally begin to recognize throughout the recording process what the “British Sound” was. I would shout from my little recording box, "It needs to sound more American!" They knew exactly what I meant.
4. My 5-year-old daughter asked me the other day, “What is worship?” (I’m amazed at the deep theology one falls into as a parent in the midst of the fun and the mundane). I’m interested in how you define worship, especially as you venture into the market of ideas with a worship album. I imagine some people might see it as a departure from your previous path as an artist, but I suspect it's a continuation. [Long lead in...] How do you define worship and what have you learned about what worship is as you’ve created and released your new album The Lord is There?
I love this question. I was leading worship in Europe in an Evangelical church every Sunday, and somewhere in my third year, I had a profound realization—what you might call a fear of the Lord. I began to ask myself: How do I define worship? Is God actually happy with what I’m doing right now? I started studying the Bible more deeply and discovered that the English word "worship" is a term that was added later to translations of the Bible and became a collective name for several different expressions.
Literally, when you look at the Hebrew and Greek words where worship is used it can mean falling on your knees, fearing God, and bringing various sacrifices. The Bible lists some of these sacrifices: giving thanks, lifting your hands, serving and helping others, tithing, singing, playing an instrument, dancing, being still, shouting, dying to yourself, renewing your mind, celebrating God’s goodness—like throwing a party in His honour, loving Him with your heart, soul mind and strength to name a few. Haha.
So, I find that this is a great and legitimate question from your five-year-old daughter. It's easy to answer, yet incredibly difficult at the same time. For me, I keep it simple: Is my heart bowed down? Do I fear the Lord? Does it cost me something? What sacrifice am I bringing?
In crafting the songs on The Lord Is There, these questions became extremely relevant in every song I wrote.
5. The album is described as “a profound journey through the Bible.” How did you approach that monumental task and how did you select the ten tracks?
The songs on this album were birthed from a place of intimacy with God—just seeking Him. Some songs were an effort to rewire my thinking and align my heart with what the Bible teaches. Others were born from learning how to be still and sit quietly in God’s presence. Some came as I learned to share my heart honestly with God, while others emerged from processing trials, the brokenness of the world, and learning how to intercede for the lost and the church. Some songs were written as I prayed for breakthroughs and watched miracles unfold, while others were written in moments of waiting, processing how to worship God when you’re still waiting for the miracle. One key question I kept coming back to was: How can I truly love God if I’m not being honest with Him?
About a year ago, my husband and I faced a pivotal decision. We received an anonymous gift of €2,000 in cash through our front door, accompanied by a note referencing one of my songs. The note said the gift was meant to help fund the song’s production and expressed hope that more gifts would follow. This was the fourth time we’d received a word like this and the second time we’d received a significant sum. After praying about it, we felt led to do more than just release a few singles.
I gathered over 40 songs that I considered finished and sent them to our producer, Trevor Michael. To my surprise, he listened to all 40 songs and selected 14 that resonated with him. The first 4 songs became the EP Love Called Her Home, and the remaining 10 songs ended up on the album The Lord Is There.
During the production process, I sat down and prayed, asking God, “All of these songs came from a place of intimacy with You. What’s the message of this album?” I felt the Lord lead me to an incredibly clear message and order for the songs. Stylistically, the songs fit together well in terms of tempo and key, but it wasn’t the style that drove the order—it was the message. Looking back, I’m pretty astounded. I mean, who writes songs about Creation, the Fall of Man, and Noah’s flood (such as Wave of Mercy, You’re the Light, and Waters of the Deep) at different times, without planning an album project?
I couldn’t be happier with how it turned out. I was blown away by how God longs to lead and guide us in our work. The ten tracks that made it onto the album take listeners on a journey through Scripture, from Genesis to Revelation, and through my own life—exploring the depth of God’s mercy, the power of His love, and the hope we have in Him. I was pretty amazed at how the message of the album became apparent after the songs were already written.
6. The music culture you were immersed in growing up has always mixed genres. How has your classical training informed The Lord Is There?
Years ago, in music theory and music history class, I came across a quote from Claude Debussy. I can’t remember the quote exactly, but it was Debussy sharing that his composition teacher told him to learn music theory so in-depth that he could then forget it. That idea stuck with me. So, no matter what instrument I’m playing, I’m almost always thinking in terms of music theory, and then forgetting it, which then leads to improvisation.
When it comes to melody writing, I realized that years of learning many different styles of melody in various languages—and committing them to memory in classical singing—informs your songwriting, whether you want it to or not. Beyond that, I think the way I approach telling a story in music is also shaped by my classical training. Opera is all about storytelling, and I’ve spent so many years interpreting operatic roles that I see every song as a storytelling opportunity. This is something I realize not everyone brings into their music-making, but for me, it’s ingrained in me through both my years of operatic training and in the storytelling culture I come from in the Southern Appalachians. My Dad, my sister, and my brother really honed their craft as country/folk/americana songwriters and became experts in telling profound stories in less than 3 min and 30 seconds. It’s impressive. The title song of my Brother’s album: The Ballad of Aesop Fin is a perfect example of this storytelling culture.
7. What were the biggest challenges you faced in bringing this album to life?
One of the primary challenges was finding musicians who truly understood the sound I was aiming for. As I’ve mentioned before, the nuance of sound, culture, language, and even climate all influence the music you create. I needed musicians who could capture and understand what I was trying to do sonically.
The whole process required a tremendous amount of trust and faith. Even though I’ve been a songwriter for years, I struggled with doubts about whether my music was worth the financial investment. In the past, when I tried to step out, I had to throw everything away because the European musicians I worked with didn’t capture the sound of the Southern Appalachians. Neither my husband nor I felt that it truly sounded like me; it sounded like someone else’s idea of what Southern Appalachia should sound like. It was humbling, especially considering that I’ve been singing opera—an art form from another culture—for so many years.
I had spoken with a producer in North Carolina who understood that sound, but I couldn’t afford him. However, Trevor Michael (our producer) presented us with numbers we had faith for, and he brought in musicians with the skill, experience, and understanding to truly capture the sound I was hoping for.
8. We live in such an exciting time for creatives, where so many barriers have been removed. More than ever, we have a direct connection to audiences. What excites you about this creative moment and what have you learned about releasing music in today’s market?
This is truly a time for collaboration. When I think of someone like Jacob Collier, I see an artist who has fully embraced everything this moment offers: direct connection with his audience, even collaborating with his audience; collaborations with other artists; a social media presence; and the ability to share your life, your work, and your creativity with the online community. The limitless potential for blending genres is inspiring to watch.
However, there are limitations as well. When we arrived at the studio to record, I took time to meet and connect with the studio musicians. I asked each of them why they said "yes" to this project, and they each told me it was because our collaboration was live. Today, almost all collaborations are remote. Most producers and artists save an incredible amount of time and money with remote collaborations. I have to be honest—I was hoping for an answer like, "I was inspired by the sound or the project, or the lyrics." But I’m thankful for their answer. Apparently, how Trevor decided to make this album isn’t done anymore, unless you set out to record a live album with a live audience. I was delighted to have that amount of creativity in one place, to see how each of us could play off one another, and how beautifully they all served God—and, in the end, served me as the artist. It was a beautiful experience. 14 songs in 5 days.
The classical world, where I spent so many years, was, at least for me, very isolated and quite elitist. In contrast, the wider music industry today is much more interconnected and accessible, which is exciting. As far as the future is concerned, to be very honest, my personal goal in this creative moment is to share the simple message of the gospel. Jesus said that the message of repentance and forgiveness of sins should be preached in His name to all nations. When I reflect on my own motivations, they’ve shifted dramatically over time. Now, I’m curious to see how God will use this season of producing music in today’s industry for His glory and purposes. The opportunities are vast, and it’s thrilling to think about how they can be used to share a message that has the power to transform lives.
9. Royal Increase, the artist collective you’re part of, is made up of artists from around the world. How did it come into being and what projects are underway?
Royal Increase came into being through a series of prompts and encouragements from the body of Christ (prophetic words). My husband leads a church that is part of a larger international family of churches called New Frontiers. Within this global network, pastors and teachers come together to equip churches worldwide. Over time, we received numerous confirmations that we were meant to step out and start Royal Increase, which seemed to follow almost a blueprint of what God wanted this collective to look like, revealed through the body of Christ over time.
We began by gathering musicians and creatives—church members and individuals from other New Frontiers churches. Some of them were involved in international missions through different networks, and it was during this time that I connected with Trevor Michael. To my surprise, Trevor was also part of the New Frontiers network and had connections to my past church, Woodman Valley Chapel in Colorado Springs, an independent, nondenominational Church. It was such a cool connection, and Trevor and I were honestly blown away by how everything came together.
One of our primary initiatives was the School of Worship Outreach Discipleship. We've had the privilege of seeing so many students write incredible songs as part of this program as well as helping them share their songs in Outreaches in various parts of the community. We're in the process of learning and growing from this current Album release project, with the hope of blessing the next generation through future Royal Increase initiatives.
10. What advice do you have for other musicians as they seek to release their work and use their gifts to activate their faith?
One of the best pieces of advice I received came from a Christian Dutch entrepreneur, and I’ve found it immensely helpful. He said that creatives often have the vision for a grand building in a city or even a network of cities, but struggle to figure out how to build the connections—like the stories and stairs—that link everything together. Too often, we risk building something half-finished, or even nothing at all, because we focus too much on the grand vision without understanding the importance of the smaller steps.
His advice was simple: start with the first step and take the subsequent steps to move from the ground floor to the first floor. Resist the temptation to think you’re already on the 8th story when you're still working on the basics. Build a team around you that helps you finish each step while keeping you inspired to finish the entire vision.
For musicians, this can mean taking the time to practice every day, finishing a song, recording a demo, finding collaborators, joining a church family, and sharing your songs in small group, etc.—each one of these steps is crucial. Eventually, you’ll be able to look back and see the beautiful “building” you’ve created, and over time, you’ll see how that building contributes to a bigger vision, a city, or even a network of cities.
God is interested in the long-term. He sees the bigger picture. Doing this work with Him and in community with His body is far more fulfilling than doing it alone. Building a team, practicing self-discipline (which is a fruit of the Holy Spirit), and learning to work within family and community are vital. As we read in Genesis, “Let us make man in our image.” We are designed to build together, and through collaboration, until we are all built up to maturity.
I learned this personally when I had been writing songs for years, only sharing them with students at our worship school. One day, a brave student came up to me and said, “Regina, I think you need to repent of spiritual obesity. You write all these songs, receiving so much spiritual nourishment from God through your songwriting, but you’re not sharing any of this spiritual food with the broader body of Christ.”
This challenge redefined my whole approach to songwriting and sharing my gifts. It's not just about creating for myself; it’s about sharing the food and the blessings God gives us with others. It’s a powerful reminder that our creative work should be done in community, for the benefit of the body of Christ to the glory of God.
About Regina Vandereijk
Regina Vanderijk is a singer/songwriter whose music is fueled by a desire to share God’s love. Born in the mountains of North Carolina and now based in Gouda, Netherlands, Regina’s songs draw from the Bible and her personal journey with faith. A worship leader and co-founder of the Royal Increase discipleship school, she leads alongside her husband, Willo. With a sound rooted in the Southern Appalachian tradition—folk, gospel, blues, and worship—Regina’s music connects with listeners on a deeply personal level, guiding them through trials and into encounters with God. Her raw, powerful performances have captivated audiences across Europe, from the Royal Concertgebouw in Amsterdam to venues in Romania, Norway, and Switzerland. Critics have called her “world class,” praising her “exquisite” vocal technique and emotional depth. Regina’s mission is simple: to help others experience God’s presence and learn to be still in His love.
Follow Regina on Instagram, Facebook and visit her website.
