A Quote by Sean Booth

I think doing more live stuff's made us feel a certain way about that particular point. I quite like small clubs. I don't really like playing in big clubs, and I think I'm really into the idea of a few people being together.
As much as we love playing the small clubs, we'd really like to get ourselves in front of a larger audience. I'm not talking about arenas or anything, but nice theaters and larger clubs.
As much as only playing clubs can become tedious, performing in huge venues can also become off-putting. To go from one to the other feels great. And sometimes playing clubs can be even more stressful, because you really have to think about what you're going to tell the audience between songs.
From the small clubs of the Harlem Renaissance where he began playing saxophone to world tours for the biggest of the big bands, Benny Carter redefined American jazz. From the start, his fellow musicians said the way he played the sax was amazing. They say that about me, too. (Laughter.) But I don't think they mean it in quite the same way.
I think ultimately what you really want is a few people within any label that are into the band enough to really work on it every day for a long time and to actually try a little bit. But obviously, the major labels have more money to spend, so if they feel like spending it, they have bigger resources there when you need them. It doesn't always necessarily translate into them doing a better job for a band, but I think especially if you're playing the game of commercial radio and making videos and stuff like that, that's sort of an expensive proposition.
I suppose our lives need to be more integrated. We have white communities and black communities and white country clubs and black country clubs. It's very important when we integrate ourselves, and it helps us to have a better understanding of the world, to people all over the world and this is the time in history that we have become very aware of how important that is, so I think it's just really-we have to know each other and work together and play together in order to write about each other.
I'm very fortunate to have worked at two unbelievable clubs, Manchester City and Barcelona, and I feel like I've really changed the way I look at football from being around and in those environments, so I feel really privileged.
We went from playing small clubs to quite big stages quite quickly, and a lot of the time, I felt like I was trying to catch up with myself. Figuring out how to take up space was an interesting journey.
I didn't start really playing the guitar till I was about seventeen, and I never really had those formative years are where like I was in my room, figuring all that stuff out before I hit the stage. I just did all that on the road all at once, so all those years of playing roadhouses in bars and clubs, I was really figuring it out.
I just think that there is something that keeps us together, to keep doing what we're doing. I can't really put my finger on it other than each record is like a little snapshot of my life at that particular moment, the way I play, the way I sound, the way I wrote, the way I sing, I can hear it.
Jose has managed at some big, big clubs, and at all of those clubs, there is pressure, it comes with the territory. But he has a wonderful way of dealing with that pressure, and when you manage these sorts of clubs, you've got to be used to that.
We're playing small clubs and doing it all in a van. I have management, and they've done a good job of getting our tour plan together, but we're still having to go and rent the vehicles and all the little things you need to do. You really have to watch your budget.
I get kind of sad when I look at all of my magazines and think about how at one time I was much more impressed with a certain fashion editorial, or how I feel like I can't really relate to being that excited about fashion anymore. Maybe it's being jaded, but I honestly like that now, when something's really good, I feel more affected by it.
I think that I was being much more uptight about those things before. I feel like I really don't have to prove anything at this point other than what I'm doing.
Every time I've done comedy in, like, traditional comedy clubs, there's always these comedians that do really well with audiences but that the other comedians hate because they're just, you know, doing kind of cheap stuff like dancing around or doing, like, very kind of base sex humor a lot, and stuff like that.
I would love to be able to play anywhere, but to me the sweet spot is clubs and theaters, just because I feel like you lean in to tell a joke. You don't back up. Comedy lives in that area. I've played amphitheaters, big clubs, and pool halls, and the most fun rooms hold anywhere from 500 to 2,000 people. That intimacy is where comedy really lives.
I liked playing in small clubs. I really liked holding the attention of thirty or forty people. I never liked the roar of the big crowd.
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