A Quote by John Waite
When you're playing rock music to 10,000 people, you almost attack the audience. When you play acoustic you're waiting for the audience to respond. It's a reverse energy, and you're more vulnerable. It's really intense.
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Playing live is much more natural for me. The instant reaction and the feedback from the audience is great for me. I really relish it. And if you play blues-based music, it's not really academic music or recital music. It really needs a bit of atmosphere and a bit of interplay and a bit of roughness, and you really get that with an audience.
I like to go out there and be organic and improvise off the energy I feel from the crowd, whether it's 50,000 or 20,000 or 10,000 people in the audience.
What I love most about playing in front of people has something to do with a certain kind of energy exchange. The attention and appreciation of my audience feeds back into my playing. It really seems as if there is a true and equal give and take between performer and listener, making me aware of how much I depend on my audience. And since the audience is different every night, the music being played will differ too. Every space I performed in has its own magic and spirit.
I remember quite well that 10,000 audience sang with us three on the spot, and ever since then, I always thought the Chinese audience are the greatest audience.
I was really sick of bands just ignoring the audience as a posture in rock music. And I think we fed off each other in terms of trying to engage the audience, not in a hammy way, but actually trying to be aware of the space that you are playing in and trying to connect in some way through the music.
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.
When playing any song in front of an audience, you're watching them experience it, and it changes. In a lot of ways, it's almost like the music is just the background buzz to what's happening between you and the audience in the room.
All this primal energy people respond to in me and my characters is in my music, 10 times more.
You turn the computer into the storyteller and the player into the audience, like in the old days when the storyteller would actually respond to the audience, rather than just having the audience respond to the storyteller. I had an enormous amount of fun, actually, working on that.
Playing music for as long as I had been playing music and then getting a shot at making a record and at having an audience and stuff, it's just like an untamed force... a different kind of energy.
Through performance, I found the possibility of establishing a dialogue with the audience through an exchange of energy, which tended to transform the energy itself. I could not produce a single work without the presence of the audience, because the audience gave me the energy to be able, through a specific action, to assimilate it and return it, to create a genuine field of energy.
I don't photograph for other people. I love an audience, mind you. Once I've got them there, then I love an audience. Not a big audience, though. I'd rather please ten people I respect than ten million I don't. But I don't play to an audience, I do it for myself.
I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.
I'm in a place where the audience doesn't have control over my love for the music. In the past I was waiting on the reaction of the fans to tell me whether or not I had a great record based on how they'd respond.
In 1986, wrestling was so huge in Charlotte that we did four events at the Coliseum with the Rock 'N' Roll and the Midnights in a 10-week period - and sold almost 45,000 tickets and drew almost $400,000 at the gate.
We'll play somewhere like London, playing to 2,000 people easy, and every time you play with more people, you think, 'You're a rock star,' and it makes you laugh. I guess I am, but I'm also, you know, not.
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