A Quote by Dierks Bentley
I see myself as a serious artist, but yeah, when people come to my shows, they want to hear 'What Was I Thinkin',' 'Drunk on a Plane,' and lots of up-tempo, fun songs.
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I like revisiting my early work, and people like to hear it. I don't make people suffer through any experimentation or new material. When I go see an artist, I want to hear the songs that drew me to them, so I do the same.
Sometimes I'm thinkin' I'm Too high to fall Other times I'm thinkin' I'm So low I don't know If I can come up at all
It's important for me to say something, and with wisdom if I can. I don't think there's anything wrong with just going out there and having fun and goofing around. I want to experiment with that too. But yeah, I feel like I have a responsibility to produce something hopeful, and maybe inspirational to people. When people come up to be and tell me how my music has changed their lives, that only encourages me to take it more seriously. Sometimes I get annoyed with myself for getting too serious, but that's just what I need to do.
There is something, yeah, I mean traditionally it's more fun to play bad guys than it is good guys and when you're playing a bad guy, yeah, the fun in it is to see how scary you can be, how horrible you can be. And it's surprising what you come up with.
There's a perception that if an artist produces another artist, they're going to imprint on them. But I'm the opposite. I want to hear that artist; I don't want to hear me - that's the last thing I want to hear. There are a lot of technical studio things I've learned or figured out, and I feel like I could use those things to help other people with what they're doing.
When you're really bummed out, the last thing you want to hear is up-tempo and positive. And it lets you know that you're not alone, that somebody has hurt before. It works the same way with chick songs as it does with political songs. When you hear somebody singing about these things, you know that you're not alone, that somebody else is suspicious of what's going on around us in the world. So you don't feel like you're crazy, and you feel like you might be able to make a difference.
Playing two months or more in one city meant new songs all the time. If people paid their dimes to see and hear Sophie Tucker, they didn't want to hear the same songs over and over or see the same clothes.
I used to put flyers on cars in parking lots, anything to get people to come to my shows. I was always having to think outside the box, and even to this day, I still try and come up with creative ways to market my shows.
Well, you know, when you're putting together a show, you've got to be careful not to load it up with the new stuff. We have to play the songs that people want to hear, too. People may come thinking, "Oh, I've just got to hear this song." Or maybe they'll write me a letter saying a certain song is really meaningful to them, so we'll be sure to play those songs.
I see lots of people online making fun of me cause at my shows there's a bunch of white people.
I'm always interested in hearing how other people read and react to my songs. I hadn't thought of it in just that way. One of the things I love about doing things that are creative is that I feel like it's my right as an artist not to be affected by the reactions of those people that are going to hear my songs. But I also feel like it's the right of the people hearing them to have their own interpretations of what these songs mean. Sometimes people will see things that I don't see.
You want be young and have fun, that's great. But while you're having fun, someone you don't see is studying and preparing. You might end up working for that person. No one wants to hear that! But I try to tell young people: You want to be the one signing the front of the check, not the back.
There's a strong wave of songs by women. Even if the songs are collabs, women have the intro and the chorus, which is what people can sing. We're getting the credibility, the spaces in the award shows, and people want to hear our point of view.
When you write a show, you just never know if it will have a future or if the show will end up ever having a production, but, that doesn't mean that the songs - the best of the best songs - can't be pulled out and put on a CD. And, if the shows that they come from end up happening, then people will regard this as like a quirky little concept recording. And, if the shows don't end up happening, at least the songs will live on in some capacity.
I've always played all the old songs. I'd go and see Peter Gabriel or Madonna and be surprised if they didn't play all the hits. People don't want to come and hear the B-sides.
I would like the ambition to go directly into songwriting; individual songs. I want to see what I can do to push myself sonically with songwriting. I'm excited to have no parameters. When the idea shows up and I execute it to the best of my abilities and then I'm done.
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