I'm not making music for old people or young people. [It's] for everybody that wants to listen to it.
I think it's important to be sincere. And I could be the most sincere just staying in [my] mother language actually. And that's the reason why I stay composing and writing in French.
I prefer consider Stromae as a collective project. Stromae is not me. Or at least it is not only me.
When you're supported by people, you always imagine it's people your age who will support you.
It's not the subject that's cliché; it's cliché or not. But in fact, this is the way you're talking about it.
I want to be simple. I think that we try - and we think when we grow up - that we have the truth, because we experience and stuff. But that bullsh*t actually.
It's still a compliment when you're backed by younger and older, but it's actually unexpected. It's surprising, but for me it's in fact the most beautiful compliment.
Congolese rumba was so huge in Africa that everybody was inspired by it. But my African roots brought me this music. In every African family, parties in Brussels, we used to listen to this kind of music. And salsa music as well.
I'm sure that a U.S. citizen, if I try to sing in English, he can feel that I'm not really sincere, there is something wrong. And I'm sure that even in French, they could feel the sincerity more than in English.
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