I noticed that the crowds in the US seem to do a lot more moshing than European fans. But it's also different from venue to venue and really hard to say.
Ginny's Little Longhorn is my favorite place to play and hang because it's close to old school beer joint music venue as you'll ever find. The Continental Club is also in the top as well.
I'm popular in the United States and I'm popular in England. England is just more concentrated. The people are closer together. Venues are closer together. Many albums of mine have been popular in England, but, no hit singles. All the hit singles I had were before I went to England. So, I'm not necessarily more popular in England, I'm just popular in England, and more so for my performances than hit records. But, I enjoy doing concert halls all over America, England, Scotland and Australia.
The only people who have never had a problem with me speaking in their venues are independent bookstores and libraries. Universities and humanities councils have canceled me, but never an independent bookstore.
You know back when there were light shows, there was this thing for people to sync into together. And the more people got synced into it, the more sync started happening. I guess it's just the size of the venue, and traveling around and so forth that it doesn't happen anymore. I don't know why.
You have a lot of educating to do hip-hop wise in Europe. When you tour, when you go out there, most of the people that come see you at the venue listen to a lot of different kinds of music, not only hip-hop; they're not heads. From time to time you're going to do a little concert in front of three or four hundred people that are only hip-hop heads and they're going to understand and know all about the gimmicks and the swagger but the rest of the people are just regular European people that listen to pop [or] rock & roll.
One of the coolest moments for me is still when Kenny G came back to a venue to find me and personally tell me that he loved my song "Void of a Legend" and had watched the video several times. It's the ultimate feeling to get feedback like that from an artist you look up to
I'd rather just help people with my creative energy. I want to remind them that they're cosmic light inside physical forms and they're an incredibly special part of god's wild mind of love, but I'd love to do that in the form of playing at venues or showing a film at festivals.
If fake news that's being released by some foreign government is almost identical to reports that are being issued through partisan news venues, then it's not surprising that that foreign propaganda will have a greater effect, because it doesn't seem that far-fetched compared to some of the other stuff that folks are hearing from domestic propagandists.
I sent a lot of the e-mails out to venues and tried to get shows and tried to get people interested in it. It can be a tough thing, because you know these people at venues are getting e-mails like that every day, but I think just my experience in working in running a radio station.
What I often do in my work is to take a great story, such as the Odyssey, the search for the Grail, the story of Jesus, or the story of the great peacemaker who helped create the Iroquois Confederacy in the 15th century. I then use these tales as templates upon which to weave psychological and spiritual exercises which allow us to open ourselves up to the larger venue of a story.
For every show that we do, anyone that rides public transit, bikes, or walk, we offer them a $5 voucher at the merch table. It gets people using the infrastructure in the area. Hopefully, the venues where we play will lobby city council and say, we need bike paths, sidewalk repair. That stuff affects so many people's lives.
Venues are all the same, all feel the same, these generic blank spaces. I like artists like Lightning Bolt-bands that go in and kind of change things every time, play on the floor, set up in the middle of the room. They go in and they reinvent the space every time, which I feel is like the kind of thing that should just be happening.
Sometimes it's difficult because you like some regularity in your life, but never knowing who's gonna pop up at what show, what person you might see that you don't expect to see in that city, what problem you're gonna have that night, even the problems at some of these venues, if you look at them the right way, it's an adventure. You're like a cowboy. That's the best part about being in the music industry. You get your gun and you ride your horse.
To perform at the Cardiff Millennium Centre was amazing in itself - the theatre is an incredible venue and it was great to be performing so close to home. For me the best experience was in Glasgow, where I got to play Dee Dee for two weeks! The audience sang along to every song with such enthusiasm you actually couldn't hear yourself singing! That was incredible!
Performances are so defined by their venues - it'd be nice for the music to dictate more of the reaction.
The audiences are really different in general. Even in the same country or in the same city, from one venue to another, the audiences can be totally different.
At the beginning of the tour, I arrange the live show exactly like the album, but of course from one audience to another, from one venue to another, it can become longer.
There is a great feeling in a small venue, with the closeness of the people and the intimacy.
Some venues are more intimidating than others, but as professional players you enjoy the intimidating places more than the other kind.
I'm more encouraged by the saplings: new music groups, tiny new venues, entrepreneurial musician-composers who aren't waiting to be discovered but are instead building their own Establishment.
Years ago nudity was not done in the United States. But during that late 1950s era in Vegas it began at the Tropicana, and spread to the other venues. Now the showgirls are going away again and Cirque du Soleil, the magic acts and the animal acts reign in Las Vegas. But I don't think you'll completely lose the boobie shows.
I have a lot of experience in playing all sorts of venues. And one of my interests is to understand what constitutes the vibe of a place and what makes one concert different from another. You can't fully measure or calculate these things, yet they are absolutely evident once you're on stage.
It would be really nice to have a venue stop in Japan someday. Japan would be perfect for it.
When I am on the road and heading to my next venue, I think about my audience.
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