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We're from Athens, Alabama. That's my town. People think it's Muscle Shoals, but they have no idea. It's a quiet, sleepy little town, about 45 minutes from Muscle Shoals. It's really hard to be a band in Athens; there are no venues.
We wanted to incorporate lights and the like to really accentuate the music. We play mostly small venues, so we don't use it overboard by any means. The most important thing is the music. I think we do a good job of letting that show.
The big advantage to playing the Venetian in Las Vegas - where it's a beautiful theater - is that unlike other places, even many other nice venues, I can do a set and lighting cues, I can put on a real show. I can dress up, wear a tux.
For someone like me, if I ever had huge success or whatever that is, I would just play smaller venues two to three nights in a row just to keep the intimacy level there and that's my take on it, but it just depends what you're going for.
Today's terrorists are pursuing a distinct route. They are increasingly attacking civilians in symbolic targets, such as those of economic importance, or venues of bustling life like public transportation or entertainment, like nightclubs.
Anecdotes are factoids of questionable provenance, burnished to a high gloss, often set in gilded venues and populated with familiar names as background atmosphere, purged of ambiguity in the interest of keeping the narrative flowing smoothly.
For me, it was the early independent era of AJ Styles, Samoa Joe, Daniel Bryan that inspired me and they were in sports halls and grimy little venues having fantastic wrestling matches and that's what appealed to me about wrestling at the time.
I had parties in church halls. My mama knew people that had venues and all that, and I knew a lot of people from forever. I was always popular growing up. She used to get me the spots, and I used to have parties. Probably about 300, 400 people.
The performances of my works in the last 10 years are probably equal to all the previous years put together. There are so many venues now and there is a completely new public for opera that's grown up outside of the traditional core opera public.
What I like about Japanese venues is that the front barrier is right up against the stage, so when you're bending over, they're right there in front of you. In some European festivals, they're so paranoid, you need a taxi to go and touch the crowd!
There's something about small venues that's amazing for developing material. It's almost like you can not only hear people's response, but you can understand it. In bigger venues you lose that, but you gain this sense of camaraderie in the audience.
Going from someone playing 15-people venues to performing at the Grammys, it was this giant leap and sort of showed me it was possible with what I wanted to do and the kind of music I wanted to write and artist I want to be to impact a lot of people.
Man, I live in Nashville. I know how good other songwriters and singers are around here. There's a wealth of talent in this town, not to mention the people who shoot in for a week or two to try their hand on lower Broad or the other venues around town.
Then we did what we called basically I suppose a club tour in England, which was the time I think that our second album came out, we club toured around the whole country where the venues were hold to five hundreds upwards to that sort of thing you know.
In Bombay, we have a fine concert hall. I think it is high time we built venues in Delhi and Calcutta, not only for western music, but also Indian music. It doesn't matter which party is in power; don't you think the capital of India should have a concert hall?
Trendy gadgets and edgy pitches inevitably get replaced due to the fickle nature of the buying public, but a business designed from the start to play big has the ability to weather trends and redirect itself to venues and products that its customers want and need.
One of the most prevalent and undermentioned genres of music is what is known as noise. You can find it all over the world happening in basements, small venues and even some festivals. Often blown off or belittled by critics, the form for the most part goes unheard and unnoticed.
I obviously appreciate all the fans I gained from my band, but there weren't enough of them to make me a very successful artist. To me, being successful is selling a lot of records and selling out big venues on tour, and it's not up to anyone else to decide what success is for me.
There was a time in my life when I was travelling to football grounds five days a week. Combined with TV work and the hours spent driving to different venues as well as watching the game, it took up an enormous chunk of my life. But I'm getting older, and those days are long gone.
I'm most proud of my career as a touring comedian and musician. I love doing television, I love selling records, but when I'm at these venues with hundreds of people, and they're all sitting listening to my music and my jokes, I feel like I could die that day, and I would be happy.
Between podcasts and places like Funny or Die or CollegeHumor, there are so many venues to get the word out. It makes it difficult in that there's a never-ending desire for content, so you have to constantly be turning stuff out, but that makes you better and more prolific in general.
Back in the day, prior to rock and roll, music halls, concert venues were segregated if they allowed black people in at all. You know, there were ropes that went around the sitting sections with signs hanging that would say, 'Sitting for white patrons only,' or 'Colored sitting only.'
After shows my face feels dirty with makeup and sweat, especially in the smaller venues, so it feels good to get back to the bus and smooth it away. Sometimes you need something alcohol-based, especially on tour when you don't always get a chance to keep washing your face all the time.
You know, songs like 'Rock'n Me' were actually written to be played in large... for a hundred thousand people kind of gatherings. And a lot of what came out on 'Fly Like an Eagle' and 'Book of Dreams' was music that was put together to be played in big, big venues with big light shows.
When you talk about running big venues, obviously the WWE has sold out arenas all over the world throughout the years and it seems like every WrestleMania sets a new record. But, I believe l and I'm not mistaken that the first guy to run a dome was Bill Watts when he ran The Superdome.
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.
Deep Purple was sinking with Ritchie. We were playing to quarter houses in Europe, which is one of our strongest territories - in Germany. Smaller venues, and they weren't even full. So had we continued that way, and had Ritchie not walked out, we would have finished; that would have been the end of it.
At a time when we aim to accelerate our efforts to achieve the Millennium Development Goals and define a bold agenda for the period beyond 2015, the role of charity can and should grow. U.N. bodies such as the U.N. Volunteers Programme and UNICEF offer venues for people across the world to get involved.
When we tour in America, the shows are great, and the fans are just as passionate and excited as anywhere else in the world, but in other parts of the world, in parts of South America and in parts of Europe and Asia, the size of the venues and the amount of people we get at concerts is considerably more.
As a woman of color, slowly and with some coercing, the not-for-profit theaters around the country are beginning to recognize and embrace the power of our stories, but with regards to Broadway and other commercial venues, we remain very much marginalized and excluded from that larger creative conversation.
Since my 'Crown of Midnight' tour in 2013, we've had such a rapid jump in audience numbers that we've had to move to bigger venues, cap events, and find new and creative ways to keep the line flowing while still allowing me the chance to chat with each person, which will always be very, very important to me.
Early American music and early folk music, before the record became popular and before there were pop stars and before there were venues made to present music where people bought tickets, people played music in the community, and it was much more part of a fabric of everyday life. I call that music 'root music.'
Even with so many artists using auto-tune, there's still a growing group of artists rising up and going in the opposite direction, making music that's real and fresh. And those cats are getting back to the basics without auto-tune. And a lot of those cats are packing out venues without getting played on the radio!
I'm still like a little kid about it, where I'm just so happy and excited that people want to come to our shows and watch us play. I still go outside the venues and take a picture of our name on the marquees. I still feel like I'm trying hard to be in a good band, I really do. And I think that's a healthy approach.
Since the break-up of the 1990s, Russia has not had winter sports facilities. All the winter sport venues were effectively located in countries that are no longer part of the federation. There is a strong argument for saying Sochi's legacy will be this country will have winter sports facilities it did not have before.
Most of the people I hang out with who sing love it, and they just want to do it until they die. I still look forward to the performances. And believe it or not, they're all kind of different. Even though you sing the same songs, and maybe you go to the same venues, it just feels completely different every time you go on stage.
I love festivals because they seem like more of an artsy, supportive attitude - which benefits a more theatrical performer sometimes with having theater and other non-club venues, as well as the audience being filled with other artists. It's nice to be with other comics, as usually at other road gigs, I'm solo for the most part.
What I've learned by going out and playing smaller venues and being more in touch with people is getting feedback, just by virtue of being able to watch the crowd react and watch their faces instead of being blinded by 3,000 spotlights. I've realized that you can quickly get out of touch with your audience if you're not careful.
I could do another tour, make a record that's very similar, do similar venues. Or I could make a different record, do different venues, and grow. It's exciting to take it to new places, but it's never been my intent to be the biggest thing in the world. That's not what my drive is. I want to make what I want to make, and make a living off it.
When we started out in the U.K., there were songs that we made, we put them on the Internet, and we immediately started touring the U.K. We borrowed our friend's mum's car, and drove ourselves around for, like, a year playing gigs in pubs and tiny little venues. In that respect, we're pretty grass roots as a band. We've done all that together.
I submitted videos and applications to talent agencies and TV shows; I drove to Vegas and visited agents. I was on 'America's Got Talent'; I played for free at venues in attempts to be 'found' and yet all the experts in the entertainment industry told me that what I did was not marketable and that I had to join a group or do more traditional music.