A Quote by Avey Tare
I definitely don't want to play by myself. I don't relate to playing music that way. I like interacting with people.
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I like playing at public schools. I like when there's more of a diverse audience. I'll play wherever people want to hear my music, and I'll be glad and grateful for the opportunity, but I'd rather not play for a bunch of white privileged kids. I'm not meaning that in a disrespectful way; you go where people want to hear your music. So if that's where people want to hear me play, I'm glad to play for them. But I'd rather play for an audience where half of them were not into it than one where all of them were pretending to be into it, for fear of being uncultured.
Like my little sister and brother, I always play them my music because I want people like them to be able to relate to my music. They always know what's going on; they're up on what's new. For me, when they hear my music and they like it, I'm on the right track.
No matter how many times people say it - 'Oh, I'm just writing this for myself' 'Oh, I'm just doing this for myself' - nobody's doing it for themselves! You're doing it for an audience. So whether I'm performing or writing a book or playing music, it's definitely to be put out there and to be received in some way, definitely.
I write for myself; I'm trying to keep myself interested in the music. But at the same time, I want to make the songs relatable in a way; I want to keep melodies pretty simple and the lyrics open-ended so that people could maybe relate them to their own life in different ways. Something for everybody to have a piece of.
I definitely see myself as an international musician. When I play, I respect the source of the music, whether it's Cuban, Brazilian or Israeli. I try to bring that to all of the music I play. Music has no borders and no flags.
When I started performing, I played acoustic music, partly because that way you don't have to worry about interacting too much with other people creatively. Asserting myself in that way was not really a strong point for me.
There's definitely a push and a pull to 'legitimize' electronic music live by playing the same way that a band would play.
What you're doing is putting into professional play the way that you relate to other people, the way that you analyze and relate to a written text, the way that you would persuade anybody to do anything. It has to do with listening, with humility and a sense of yourself.
I've been doing four-track songs by myself since I was like a teenager, where I'd sing in a way that I ... I just didn't think other people would like it, so I didn't play it for them but eventually I got over that, which I'm happy that I did, because it's kind of a drag to be playing a kind of music that you don't really like as much as another kind.
My sense of style is influenced by how I feel. I want to express myself because they see you before they hear you. You want to come on stage, and what you look like should represent the song you are playing or the set you are about to play or the message in your music.
I don't want to play everyone's best friend. I don't want to play the role of a girl struggling in the ghetto. It's not that that story isn't important, but I saw patterns, and was like, 'I don't relate to these people.'
I just always want to play people. I don't want it to be necessarily that you relate to the character as female or male, but that you relate to them as a person. That's the driving force.
In a way, I feel it might be ill-mannered to try and top myself. The music I play is a ritual. Something that matters to people in a special way. I wouldn't want to interfere with that.
You know that one don't play music just for the hours to pass. But you play music because you are in love with music and luckily if it happens that people like what I'm proposing, then I'm happy. Although music is business, yet you don't start thinking about money from the initial stages when you are in music. First propose to the people what they want and if they like it, then the money comes later.
You know how a lot of people say, 'I lose myself in music,' or 'I like to escape,' but I want my music to be more of an awakening. I want it to make people to be aware of life; I don't want my music to be a distraction. I want to light a path.
At this stage of my life, I've dedicated myself to playing what I want to play, how I want to play it for the rest of my time. Regardless of whether one might like it or one might not like it, this is where I am.
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