Quotes from Lari White

The most rewarding experience as a musician is to know that I moved people personally.

I have had such a satisfying career; I've gotten to do so many amazing things as an artist.

Chuck is definitely my favorite co-writer, and my best. It is really hard to make yourself vulnerable enough for somebody to get inside your head while songwriting. Chuck and I find writing together very non-competitive and just really easy.

Music does communicate across language and racial and religious and philosophical barriers. It is one of the most distilled forms of human emotions.

I feel so fortunate I was able to grow up in such a warm, loving, safe, beautiful community that I still call home.

Unfortunately - as I have experienced first-hand, as many artists have - there's a gaping hole between platinum and non-existent. There's no in-between.

The biggest impact that acting and theater had was, of course, stage presence, but it also had a big impact on my writing.

I really wanted a No. 1 single from my first album, but I would not do anything different. It was real and honest and I didn't pretend anything.

I'd always wanted to be a mom. Actually, being a mom was always my top priority. It was like, 'I'm going to be a star and I'm going to get done with that and then I'm going to go be a mom.'

I love music with my soul, but I'm also a student of it, so it's very important to me to earn the respect of my peers, my fellow musicians and producers.

That's the ideal to me - to make music that is well-crafted and sophisticated technically, but has a soul and a heart that touches a lot of people.

If things are just gliding along easily and there's no real obstacles or hurdles, those typically aren't my most productive times, personally or professionally.

If there's any profit to be had in Nashville-Underground, it's very long term. We're not about money, which gives us an edge over the labels.

To make a label change is a difficult time because there is that lag period between the product you had out and the next project you're going to make on your new label.

It didn't take very long for me to feel like the country radio box was a little too small. So that's what 'Don't Fence Me In' was all about.

I really felt like it was a dangerous trap to get into, having had such great success with 'Wishes,' it just wasn't in my blood not to play it safe and just do that again.

I'd spent a year and a half without a record deal and had been doing a lot of soul-searching, a lot of self-examination and a lot of experimentation in other musical forms.

I made my living as a theater actor before I got my record deal.

No one would ever have heard Marcus Hummon's version of 'Cowboy, Take Me Away' if he hadn't recorded it on the Sampler. I would have heard it because I hear him sing all the time, but no one else would have been able to enjoy it, and now they can and will be able to for years.

I never thought I'd be able to say 25 years about anything, really, much less be a recording artist for 25 years.

To willfully harm another human being goes against everything I believe in.

I encountered on a regular basis rude comments and sexual innuendo and cat calls and overt sexual propositions in professional settings.

It used to be that labels would spend two or three or four albums developing a new artist before they threw in the towel and moved on, which kind of gave the artist an opportunity to grow.

I'm building my fan base around the fact that here's someone who does things a little differently, who brings other musical influences into country music, and you never really know what she's going to do next.