Gigs Quotes

People from major labels were afraid to go to Black Flag gigs throughout most of the band's existence. They treated our gigs as something threatening. I'm sure that it probably was. They probably had reasons to be scared.

You can see girls getting too excited and they start crying or worse. In a lot of these countries they don't get a lot of gigs to go to, so when they get to see their favorite artist they take full advantage of it. Obviously the excitement builds up too much for some on the night and they get a bit... crazy.

Every time I listen back to solos of mine I'll hear something I like and then another phrase that I can't stand. You have to live with what you play. And the recording medium puts that on us. When I play live gigs I don't think so much like that.

Placebo is music for outsiders, by outsiders and our gigs are like conventions of outcasts, which is cool.

Folk rock was my real roots. I did a few gigs as a folk artist, in the style of Fairport Convention.

Big shows are more like events and small shows are more like traditional gigs.

I've seen a lot of women give up after they've had three or four bad gigs in a row. It's very difficult to learn not to take nasty heckles personally.

Now when I say Sophie Ellis-Bextor I feel that's not really me because that's become this entity from doing the gigs and the shows and the make-up contracts and whatever else.

I've had a few gigs where things have got out of hand and there has been a huge crush with my fans. They are important and I don't want them being hurt. They are a mad crowd.

When I got started in New York, it wasn't like it is now. If you were different from Miles and Dizzy, it was very difficult to make gigs and make money with your own style.

Mary Gauthier's great. Yeah, we've played a lot of gigs together. She's really wonderful.

Playing live, you can't survive, certainly not in England. We used to work daytime jobs and play gigs at night. It was very exhausting.

I think after 1970 or so, after I sold Soul City, I took off for awhile and didn't do too many gigs.

I worked with a guy, I can't think of his name, him and his wife, and one of them had a saxophone and the other played drums. It wasn't a regular job but I did a few gigs around home with them.

I feel like my music is just an extension of my acting. I treat the songs like scenes that tell a story... it's very similar. My favorite thing is when cartoon fans show up to my live gigs! They are always the most kick-butt audience members 'cause they're not trying to act all cool like a lot of the music fans do! It's refreshing!!

This current round of gigs, I'm just doing it using pure electronics.

Just to be around that, to feel a part of it and be able to integrate the experience while I was with the Messengers, of going and playing gigs with other drummers, gave me the chance to realize that it was not just me that was making it happen.

It took us two years to get our first real gig. That was a big dream. We ended up booking a lot of our own gigs and putting on a lot of our own shows. We were trying to get our actual music across, trying to make a connection there.

Well, I actually first got into music as a small child, and as I became a teen, I sought out making money from music, weather that was singing lounge gigs, backup in studios, or weddings.

I don't remember what was going through my mind, but what was going through my body was fear and terror. I had been on the road with Johnny and working gigs and playing a lot of the organ clubs.

I'd done recordings, little demos, since I was in college, which I used to get gigs. But I never thought I'd have a record label.

Like most things that happen with Sabbath, it happened all of a sudden. I was intending on doing some recording, but out of the blue, Sharon called up and said she wanted us to do these gigs with Ozzy. I said that if everybody else was up to it then I would love to do it.

The early gigs were pretty panicky - and great, sweaty fun. We were brand new to most people, and they were willing to take anything brand new, for the first time in years.

I've got about 27 gigs right now. I've got radio, I've got television, I've got The Washington Post.

I learned the songs and played the gigs, and then they called me about a month later. They told me they were like super stoked on me and asked me to join their band.

Monterey, I remember, but I seem to remember the Fillmore West, that we played the week before Monterey. That was much more memorable for me. The first time in San Francisco. They were good gigs.

You've seen one of the our gigs you've seen 'em all. But if you're into the music, you'll know that we played better the night before or we can play better.

I'm going to Yoshi's. I'm taking a few gigs. I'm playing. I'm not going to play all the time. I'm going to take it easy and take it slow and warm up so I can come back.

Now I'm fortunate to have a good band in CA, and play many solo gigs as well. My point is that I stopped playing in bands and played solo for four years, to get back into the groove and pulse of writing and singing and who I am on stage.

At the moment I have my family coming out with me on the road. We have our own vehicle and it's more like a family vacation. I just stop, do some gigs, and take off. It's a lot more fun now with the family.