A Quote by Tony Kanal

You can do a small club show and the energy is so contained. Then you play these big festivals, and have 50,000 people waving their hands in the air with you. — © Tony Kanal
You can do a small club show and the energy is so contained. Then you play these big festivals, and have 50,000 people waving their hands in the air with you.
When playing big festivals, I tend to play big, over the top techno tracks, like hands in the air songs that make sense being played in front of 30,000 people. I steer away from subtlety in the interests of big bombastic dance music.
I just played at a club in L.A. called the Baked Potato. It fits like 90 people. It's like playing somewhere in a basement in, like, Indiana or somewhere where all your friends show up. It's really fun and there's a very different energy to that than to play to 50,000 at a Tokyo baseball stadium.
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.
Two or three girls go to a club and they've worked out that one player is worth 50,000 (128,000), another's worth 30,000 (77,000). That's the reality.
When we finally got to play that and we had a great show there, well I can tell it was pretty awesome. Y'know, we probably did bigger festivals since then; we probably headlined bigger festivals since then, but I will always remember that.
The energy that comes when you compel people to dance stays with you your whole career - whether you are playing to 100,000 people at Glastonbury or 1,000 kids in a club.
People turn up at my shows with black hearts on their knuckles, waving their hands in the air like flags.
When I dj at big venues I try to play tracks that I would want to hear if I were e'd up in a field with 50,000 other people.
The best advice when playing from the small blind is to mix up your play. The general rules are to fold garbage hands, limp with marginal hands, and raise with hands that are strong enough to play big pots with. Don't allow your opponents, however, to pick up patterns in your play.
My progression into acting was pretty slow. I was constantly performing in different kinds of small shows. One year I would be in a magic show, the next year in a circus show, then a small play, and then a dance show.
If you owe $50, you're a delinquent account. If you owe $50,000, you're a small businessmen. If you owe $50 million, you're a corporation. If you owe $50 billion, you're the government.
Every show I play, whether it's for an audience of 15,000 or 50, I look at it as a party, and I'm the host.
I'm glad I can do both full-band electric and solo acoustic performances. It's nice to have contrast, so if you get fed up with one, you can just switch to the other one. It's great to go to a town and play an acoustic show, and then you can come back a year later and play electric, and the show's really fairly different. The repertoire will be 50 percent different. The musical energy is completely different.
We've got people that are paying premiums of $1,000 a month out there, and then they've got a deductible of $1,000. If you're making $40,000, $50,000, $60,000 out there and you've got an Obamacare plan, by and large you've got an insurance card, but you don't have any care because you can't afford the deductible.
We play a hip-hop song and suddenly 25 people on the left jump up and put their hands in the air; then you play Lost Cause and they're like, I don't know about this one.
I am trying to awake the energy contained in the air. These are the main sources of energy. What is considered as empty space is just a manifestation of matter that is not awakened.
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