Quotes from Gin Wigmore

I think I was probably a cowboy in a past life.

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'm very open with people, very warm, when I meet them. My fans in particular find that strange and refreshing.

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 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.

Being a black sheep is a way I would describe myself.

I don't think I'm a diva.

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!

I love the energy in the U.S., you know. Everyone is really psyched. You feel really privileged to be there.

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.

You can't go round looking like a rag.

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.

The beauty of being a musician is writing songs. That's the best part. It's therapeutic and honest and private.

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.

I want a long career in music, so you've gotta keep trying things out; it's gotta get progressively better.

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.

I'm getting all domesticated. I feel like Susie the homemaker.

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.

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.

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 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.

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'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.

People might think I'm a bit more intimidating than I am.