The Torchmen Quartet is a familiar name to many, having travelled and ministered for over 55 years. As one of Canada’s most enduring Southern Gospel groups, they’ve also gained recognition in the United States and abroad through appearances at the National Quartet Convention and other events. Although early and long-standing member Mike Moran retired in 2024, the group’s legacy continues strong. Bass singer, Jon Hisey shares his thoughts in the interview below.
1. The Torchmen have a long legacy in Canadian gospel music. How did the group get started and how has it evolved over the years?
The group started in 1969 at Fairview Mennonite Brethren Church in St. Catharines, Ontario. I was only three years old at the time, so I’m sharing what I’ve been told. It began when Walt Andres and three other church members started singing at local nursing homes and churches. Over the years, we’ve had more than 40 members, and God has blessed us with the opportunity to sing from coast to coast in Canada and in many locations across the United States.
2. When did you get started, and what initially drew you to join the group?
I started singing with the Torchmen back in 1983. Although there have been a few gaps in my tenure, I would estimate the duration to be very close to, if not over, 40 years. I’m not sure I can say I was drawn to the group; it was more that I just grew into it. Mike Moran had sung with my dad and his brothers in the Hisey Brothers Quartet, and Mike lived literally around the corner from us. When I actually joined, I was replacing my uncle John because I sang the same part, wore the same size suit, and our names were very similar. It was a very natural progression for me.
3. How have the changes in the world over the last five years affected Southern Gospel — whether in attendance, audience response, or the kinds of messages that seem to connect today?
I think there has been a large shift in church culture with regards to “what is worship”? And to go a step further, each church tends to have its interpretation on the question. This makes it difficult for artists to bring “something for everyone” when opinions can be very entrenched. The message of the gospel has not changed, but I think it is very important for artist to tailor song choices, appearance, and attitudes to the people in attendance. I think in today’s society folks are still looking for messages of hope, and encouragement but also want a sense of worship mixed with enjoyment.
4. What do you think people are looking for when they attend a concert today? Has that changed from earlier years?
People come to concerts for many reasons: it’s a social gathering, it’s entertainment, and it’s worship. I think today’s concertgoers also expect a higher standard of performance. In short, they want the fun of the “earlier years” combined with the smooth delivery of today’s artists. I’m not sure it has changed entirely—just that the bar has been set higher.
5. Can you share a recent moment that reminded you why you do what you do?
Often, when you’re overloaded—trying to get the technical details of an event under control or navigating the politics of what is said or sung—it can be hard to remember that Southern Gospel has always been a very personal interaction between performer and attendee. Having a child come up and tell you they’ve accepted Christ, or a senior who has just lost a loved one share that your songs brought them hope, is why we do what we do. The standing ovations or product sales pale in comparison to those personal interactions.
6. Do you think Southern Gospel is still thriving in Canada? From your perspective, what does that look like?
Canada is a big country, and not all areas are the same when it comes to accepting Southern Gospel music. There are many forces—especially in more urban centers—that try to say the genre is obsolete or unwanted, but in my experience, when people are exposed to it, they enjoy it. I think we are facing a challenge: without the next generation being exposed to Southern Gospel and encouraged to participate, it will take a back seat.
We are also challenged by the lack of groups actively promoting our genre. For years, churches held evening services that were often concerts. In Ontario, it’s now difficult to find an evening service of any kind, and Sunday mornings are often not open to outside artists. Canada also needs to develop more of the industry’s infrastructure, as things like syndicated radio, publishing companies, and booking agencies for this genre are primarily located south of the border. While I truly love and appreciate our friends in the U.S., our young artists often have to leave Canada to be recognized or to gain the momentum needed to be financially viable.
7. Is there anything unique about Canadian Southern Gospel — whether in sound, approach, or message?
We talk funny—and we drink more coffee than sweet tea. The message is always the same, but the Canadian sound and approach really come from who influenced us in our formative years. We’ve spent a lot of time at NQC and working with groups like the Cathedrals, Greater Vision, Booth Brothers, and others, so our approach often mirrors theirs. After all, who hasn’t used a George Younce joke in their program?
8. In your view, what role does Southern Gospel music play in offering hope and encouragement in today’s world?
As you listen to other genres, you can’t help but notice that their music covers a very limited range of topics. Too many songs focus on injustice done to someone or on living only to please oneself. Gospel music, on the other hand, offers hope, worship, and encouragement. If we can avoid criticizing each other and focus on sharing Jesus’ love with the world, we will have the impact God wants us to have—one individual at a time.
For more information on The Torchmen Quartet, visit www.torchqt.com
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