A Quote by Kristian Bush
As a promoter, of course, you'd really want the people who pay for the tickets to come into your venue to really be even more connected with the band.
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People are not really that forgiving when they pay for tickets to come see you and you don't show up.
Most of my fans are young; they pay for their own tickets and work really hard to be able to come, and so I want to give all of them the best show.
Support is really important to me. It's quite a responsibility when people are paying for tickets. I've spent ten years playing for free, now it's like, bloody hell people are spending a tenner and I want it to be a great show and I really don't subscribe to having a crap support band.
It's interesting how some songs really lend themselves to performance in a big public venue and performance by a band and so on, and so they're even more successful in that context than they were on the record.
Every one of us is an artist, and as an artist, you really can stroll into any venue that you want, as long as you take your time to learn the etiquette of that venue.
Making your own records is really satisfying in the sense that you more or less get to do what you want. It may not sell or whatever, but on an artistic level, the only people that you really have to fight with are the people in your own band.
I was in a band called Episode Six with Roger Glover, which was more of a harmony band, really. At one gig, there were a few dodgy characters leaning up against the wall of the venue - and we ended up joining their band. Purple was the talk of every musician in the country - they had something new and very exciting.
A promoter needs to be in the e-commerce ticketing business. In a fundamental sense the promoter's job is to buy a show and go and market and sell the tickets.
As long as you want to pay to see a band, what makes the band want to get better? Nothing! Really! The Stones are, God knows, horrible beyond horrible, but it doesn't stop the fans from paying money to see them decompose in front of your very eyes.
I noticed that the crowds in the US seem to do a lot more moshing than European fans. But it's also different from venue to venue and really hard to say.
You don't accidentally turn into a big band. Not even Nirvana accidentally turned into a big band. They toured - they wanted to become a big band. They didn't necessarily want to become that big of a band, but they still wanted to make a really good record and wanted to come out and tour.
There are very few people who really appreciate my shows. People come to the show and they pay and they enjoy it, but I don't really think most people really understand what they've seen.
If there is a record I don't have, I haven't heard it yet. My collection is always growing, but I can't really play it anywhere - no promoter is willing to pay for my crates of vinyl to fly with me, so I have a team of people to digitise it all.
I think I would be much more enthusiastic about a band that covered more than just one particular album of mine. I don't ever really intend to record or to do shows with a live band. I don't really have a problem with it, but it doesn't really affect me either way.
I certainly didn't predict people who spent years actively disliking the band to all of a sudden like the band. That's pretty funny to me, and it makes playing live kind of interesting, 'cos we're doing lots of things that don't really have a lot to do with that record, and even presenting the songs off that record in a way that's a little more muscular and without as much of the sheen, which is what I think part of what people really liked [about Kaputt].
I learned that as a director, you're around all these talented people, so you have this window that all these really good ideas can come in to help your movie, so you're crazy to close them. You need to be inspiring people, engaging people. There are lots of people who are really good at their jobs but might not know or feel like they want to come up to people and get them to participate and want to do their best.
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