A Quote by Kacey Musgraves
When I started out, I wanted to be the kind of artist who could play the CMA Music Festival and then turn around and play Bonnaroo, and I've managed to do both.
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When I was a kid, I felt like I could do anything and play anything. I just felt super-confident. And then, once I started to play music professionally, maybe it's from being from a small town, but you grow up and then you're suddenly a big fish in a small pond, and I realized that there were a billion other drummers out there that could play as good as you or better, and everybody wants that job.
Bonnaroo has kind of become the granddaddy of all American festivals. The thing I love about it most is that it wasn't born out of picking the top ten bands off the Billboard chart and creating a festival around it.
I never really had the chance to play the kind of music I wanted to play. It was always just classical. It had its limits. I play piano now and again in the new forms of music that I actually want to play, but at the time, it was something that I just kind of moved past.
At the end of the day, if I do a set at a festival and I only have an hour, which is kind of short for a DJ set, I know that I have to play at least six of my songs. Then the whole challenge is what do I weave around that. How do I stand out? Because at a festival there's probably fifteen songs every DJ's going to play every hour, for the whole day. That to me is more interesting, because I still feel like an outsider in this world.
I think my mom always wanted to play the guitar, and somehow she projected that to me. So I started learning to play guitar when I was five years old, but actually I'd never managed to get the academic side of it. So even up to today, I don't know how to read or write music.
I love playing the CMA Music Festival each year because it's one of the very best audiences you could hope for. It's one of the places you can perform where you know everyone there is a big Country Music fan.
I've always wanted to be a DJ so I could play the music I love for other people. That feeling hasn't changed, but my sets are always evolving. In terms of tailoring to a specific crowd, certainly I do play differently depending on the situation. It's a different feel, for example, in a small club versus a festival.
My parents were opera singers. I didn't want to play opera because I wasn't good enough. I didn't want to play their music; I wanted to play the music that I wanted to play, and I'm so lucky that today I get to play that music, even though I don't like every song I write.
I turn sentences around. That's my life. I write a sentence and then I turn it around. Then I look at it and I turn it around again. Then I have lunch. Then I come back in and write another sentence. Then I have tea and turn the new sentence around. Then I read the two sentences over and turn them both around. Then I lie down on my sofa and think. Then I get up and throw them out and start from the beginning.
... We borrowed it all from Coltrane. I started encouraging everybody in the band to listen to John Coltrane - 'Check it out, see what these guys do.' They take one chord, the tonic chord, and just play all over it. 'We can do that too!' I wanted to make our music something really amazing - I wanted it to be jaw-dropping and turn on a dime and do all of those things that I knew music could do, and nobody told us we couldn't do it. I shouldn't say 'I,' though - Jerry Garcia was behind it the whole way.
Both my grandmothers had upright pianos, and I just knew how to play since I was a child. Nobody taught me. I sounded like a grown-up, and then I learned how to read music. I played so well by ear I could fool the teacher to believe I could play the notes. She'd make the mistake of playing the song once, and I could play it.
I really enjoy playing for hours and hours. DJ sets where you turn up over an hour and you're on a festival stage, people basically expect much more pounding than I ever would play. I just feel like a fish out of water when I do those. They want something really kind of aggressive; that's not really the kind of music that I'm into.
Obviously there is stuff that I wouldn't play in a club that I play at festivals, and vice-versa, but my sets are still dominated largely by my own music. I think that's what makes me stand out a bit. My music is also festival- and club-friendly, so it generally works out well.
Alabama - they were the masters of that. They could come out with 'Mountain Music' or 'Tennessee River' and then turn around and come out with 'Feels So Right.' Go out and have fun and be those guys that like to party, then turn around and make every woman in America want Randy Owen.
Anything you can do to express yourself is a form of art. That's why I love my craft so much. I always wanted to play other artists. If I can't play an instrument, then I want to play a character that can. There is an artist behind everything, and I think that's beautiful.
I'm not sure if it's because I'm older and I'm thinking about family more, but I'm trying to set up this thing where I can play in one city for a month, and then write music for a couple months, then play in another city for a month, write music for a month. Just so it's not these two schizophrenic, Jekyll and Hyde kind of things; you don't have to be this monster. You get inspired and you can go write one song from that, and then you go back and play a few shows. If I could've done that in the 90s, I would have.
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