Quotes of All Topics . Occasions . Authors
I don't think I'm a diva.
You can't go round looking like a rag.
I think I was probably a cowboy in a past life.
I'm not aiming to be someone like Christina Aguilera.
Being a black sheep is a way I would describe myself.
People might think I'm a bit more intimidating than I am.
I'm getting all domesticated. I feel like Susie the homemaker.
It's easy listening to a record, but a live performance is so personal and real.
No one can attack you when you're songwriting; it's you and a song, which is a great place to be.
I've got some real diehards down in New Zealand; I look after them and make sure they always get tickets.
I want a long career in music, so you've gotta keep trying things out; it's gotta get progressively better.
I love the energy in the U.S., you know. Everyone is really psyched. You feel really privileged to be there.
The beauty of being a musician is writing songs. That's the best part. It's therapeutic and honest and private.
I'm very open with people, very warm, when I meet them. My fans in particular find that strange and refreshing.
When you're young, you need to be silly and be stupid and not be trying to do that when you're 40 in a red sports car.
I want to let everyone hear my music and enjoy it, but just as long as it's fun. I'll go as far as until it gets too much like a day job.
That's the great thing about songwriting: You have that time to have perspective and look back and think about all the things you'd want to say.
I'm just going to tour; that's the best way for people to get to know me. Focusing on the international stuff and breaking in to the States and U.K.
I try not to think too much about where my voice comes from. I'm channeling characters and emotion to come up with beautiful words that tell a story.
Honestly, Americans are more open-minded and have the patience and the time for new types of music. In Australia and New Zealand, you must earn your place.
Writing music is such a freeing exercise, and it's really nice to play in that world of being confident, vengeful - getting back at all the bad boyfriends.
I've lived a lot since I was 16, so I've got more things to write about. I've started playing around the world and met some great people along the way who've taught me lots of things.
When I went to Memphis and Mississippi and Nashville, I learnt the blues is a whole way of life. I don't really have the blues, but I can appreciate the honesty and the simplicity of it.
I'm a big believer that when we put so much into our jobs - and everyone does - you deserve to be get paid for it instead of doing a gig and then having to work in a bar for eight hours.
I remember when I wrote songs when I was about 16, they all sounded the same because I didn't know anything. And all the subject matter was all the same because I hadn't actually done much.
I listened to John Denver and Simon & Garfunkel. Edith Piaf was a huge favourite. Then I discovered musicals - I loved 'Les Miserables' - and, at about 14, I started listening to David Gray.
That would be awesome, to be totally making records whenever I want and to play a show and have a few hundred thousand people there at any city you go to because people know you and your music.
You break up, and you say something pathetic, or you don't even speak at all when someone's telling you they don't love you anymore. But then you think about it five minutes later, and you have all these great comebacks!
My dad dying was actually a reason for me to stop music properly for about a year, because he was a big supporter. All I wanted to do was write a song about him and, you know, when something's too fresh, you can't quite word it.
I've got a very short attention span, and this has been part of the reason I'm so kind of dumbfounded at the fact that I've still stayed with music. Nothing has ever stuck for me, and music's the only thing that's managed to stick out for a long period of time.
I was in a band in Auckland, and I remember they all hated me. They had a big intervention. They said, basically, 'Gin, we think you suck.' I was miserable. I cried and cried. But looking back, that taught me about social skills and how to communicate with musicians.
I'd say the key thing is to remain true to what originally got you into music. When I wrote 'Hallelujah,' it ignited me to do music because of the love and joy that I got from writing that song. Down the road, you get all of these opinions from people; just remember what got you started in the first place.
I got down to business and started writing furiously. I wore my fingers down to a callous state writing with every Tom, Dick and Harry around the world, including a chap named Charlie who plays for a man named Bob, to wrestle my emotions and bring out the raw grit hiding in my tightly guarded sub-conscious.