A Quote by Brendon Urie

Playing in arenas, that's very non-personal with the crowd. — © Brendon Urie
Playing in arenas, that's very non-personal with the crowd.
It wasn't very satisfying playing the big arenas, but it was good as far as a paycheck. But the sound was terrible, especially in hockey arenas - the sound would go on for 30 seconds after we quit playing.
Papa Roach is actually a band that's great at playing arenas. Not every band is suited for that environment. But besides the huge energy you guys bring, the songs are very grand and anthemic. "Kick in the Teeth" being an example as a song that's made for huge crowd sing-alongs, not tiny little club shows.
I was told before that one of the hardest jumps to do, painlessly, is the one from playing clubs into playing arenas. I am completely aware of that now.
Tennis players we're always playing in center courts that feel like arenas. And when we get on the court and the crowd cheers your name or salutes you - it's like you're a gladiator in the arena. And everyone is cheering - and you're fighting, you're screaming, during your strokes - it feels like you're an animal, fighting for your life.
Of course, I love the arenas; there's a great deal of energy and excitement playing those kind of shows. But there's something that's very intimate and very special about a small venue, where you really feel like you're almost getting to know everyone in the audience.
I've had a bit of experience at lots and lots of different arenas as it were, some of them completely creative, some of them quite technical. The interesting thing is, is that I found that the technical arenas actually are also very creative or can be very creative.
I love playing arenas; it's the best thing.
It's the NBA, arenas almost always sold out. When I played back in Europe, there would be some games with 50-100 people in the crowd, so it would be pretty much empty.
I've been close friends with Katy since teenagers, before she was Katy Perry. She's always been a great resource for me to pull from and watch - from her choice of how public she wants to be about her personal life on down. I also watched her develop from the coffee-house singer-songwriter I knew to her be to playing arenas and killing it.
Typically, in a live-action format, when you watch a wrestling show, you've got wrestlers in a ring in front of a thousand, five thousand, ten thousand people, and they're playing to large crowd, so you never really get that intimate, close and personal dialogue with them.
A guitar is a very personal extension of the person playing it. You have to be emotionally and spiritually connected to your instrument. I'm very brutal on my instruments, but not all the time.
I love playing in the Garden. My dad used to tell me stories about playing here. So to see that crowd, it's crazy.
Things got big quickly for us, and playing arenas... it's like - and every band will tell you this - you don't see any of the town.
I like being out on the cricket field and performing and playing in front of a crowd. I find it quite tricky when there are press photographers outside my house. It's all very bizarre.
The first fight I saw live, the fighter I was shadowing lost in front of a crowd of forty thousand people. The scale of that is staggering to me. Undergoing that overlap between something very personal and something very public strikes me as both admirable and also somewhat terrifying.
On the road you have to be more organized. Also, a crowd's energy helps you focus. Nothing compares to playing live. You have to slamdunk whatever you're playing. In the studio, you can do things over.
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