A Quote by Hozier

When you play to an audience, you come away energized. It's the promo that really breaks an artist. Some lad sitting on a box trying to create a drum sound in a dry little studio. Everyone goes, 'Great - okay, now on with my day.' You go back to the bus, and you weep.
A man met a lad weeping. "What do you weep for?" he asked. "I am weeping for my sins," said the lad. "You must have little to do," said the man. The next day, they met again. Once more the lad was weeping. "Why do you weep now?" asked the man. "I am weeping because I have nothing to eat," said the lad. "I thought it would come to that," said the man.
I think all great comedies - or at least the comedies I like - it has some of the funniest moments, but it never breaks the spell for the audience. It never pushes the audience away by spoofing itself too much or undermining the characters or making them cardboard or flimsy. Everybody is really trying to do what their characters believe in - and so nobody breaks the spell of the world, even though in other ways it's a comedy and very funny.
Come little children I'll take thee away, into a land of Enchantment Come little children the time's come to play here in my garden of Shadows Follow sweet children I'll show thee the way through all the pain and the Sorrows Weep not poor childlen for life is this way murdering beauty and Passions Hush now dear children it must be this way to weary of life and Deceptions Rest now my children for soon we'll away into the calm and the Quiet Come little children I'll take thee away, into a land of Enchantment Come little children the time's come to play here in my garden of Shadows
In the Negro Leagues, we'd play three games a day on the weekends. Then we'd ride the bus and travel to play the next day someplace else. You'd hang your shirt out the bus window to dry.
Just by default, because I don't have kids on my bus, I'm putting the studio on my bus. Where everybody else is doing their cribs on their bus, I'll have a little studio, so I'm going to invite my bandmates, on days off, to come and keep writing so we can continue the creative process and keep it going through the tour.
I think festivals are way more easygoing than back-to-back tours are. 'Cause for me, when you get to go to a festival, you get to hang out all day, and you're really taken care of, and there's usually a little artist village where all the artists have their own tents, and it's catered, and then you go and play an hour-long set depending on where you are on the lineup. And then you go back and you hang out and you even get to go watch other artists play. So it's really just a fun interactive experience for everybody.
My work is very dear to me, and certainly I have had all the emotional highs and lows that go with trying to get it to an audience. But I do have some kind of detachment that seems somewhat unusual in my trade. I'm a writer who writes every day. I don't have a period of months where I can't get anything done and I wander around tearing my hair out. When I come back from a book tour, for instance, I might have one day where I sleep late and then check my e-mail, and then go for a walk, and then the next day I'm really itching to get back at writing a story.
I stick to myself now on tours. I don't go out party, drink, smoke, do drugs. It's a dry bus. No one is allowed to bring drinks on the bus.
When I write in the studio, I tend to gravitate toward the ability to play really loud, aggressive, post-punk stuff, with big, heavy guitars and a big rock drum sound.
There are two ways to go when you hit that crossroads in your life: There is the bad way, when you sort of give up, and then there is the really hard way, when you fight back. I went the hard way and came out of it okay. Now, I'm sitting here and doing great.
For me to go back and to play for audiences some of whom have been following me for thirty years and some who have found me in the last five or six years, that's really an interesting thing. I have an audience that goes from kids to seventy year olds.
This is gonna sound stupid, but I saw at one point that our mothers are ... bus drivers. No, they are the bus. See, they're the vehicle that gets us here. They drop us off and go on their way. They continue on their journey. And the problem is that we keep tryin' to get back on the bus, instead of just lettin' it go.
There is no secret, you try and never stop trying. If you have to sleep all day, and get up the next day, you keep trying. If you have to take 3 years away, do it and then come back. But it's all about trying. Not everything will work, but some things will, and you have to try.
Come away with in the night Come away with me And I will sing you a song Come away with me on a bus Come away where they can't tempt us With there lies I want to walk with you On a cloudy day In fields where the yellow grass grows Knee-high So won't you try to come Come away with me and we'll kiss On a mountain top Come away with me And I'll never stop loving you And I want to wake up with the rain Falling on a tin roof While I'm safe there in your arms So all I ask is for you To come away with me in the night Come away with me.
I like to tell the artist what the song or album means to me, in detail. Then I let the artist run with it and create in an unrestrained manner. Once the artist gets back to me with a few ideas, I like to do the little changes to make it perfectly speak to the audience.
Making music is a lifestyle; go to the studio and sit in front of your computer, drum machine or guitar for 10 hours a day. The good stuff will come.
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