Quotes About Audience

First paying gig, I got 20 bucks. I played at some really weird venue. I don't remember the venue; I just remember it was the last stop on the A train. It was, like, the Far Rockaways, Queens, and it was an audience of, like, three people.

Let me tell you, 10,000 is an intimate room. Believe me. I want to be able to connect to everybody in the room, and you can't with a venue any bigger than that.

I enjoy playing clubs. I still enjoy the closeness of the nightclub venue. However, after a certain period of time and after playing around some of the clubs in New YorkI felt that jazz should be presented in a more prestigious atmosphere.

Our music doesn't make many compromises, but we take it into a venue that's larger than people expect.

Every audience is different, even within the same venue. You have to just make every audience your audience; you can't pre-judge an audience based on the size of the room or the type of room.

Every audience is different, even within the same venue. You have to just make every audience your audience; you can't pre-judge an audience based on the size of the room or the type of room. You've just got to be in the moment and go with it.

I appreciate the intimacy of a 300-to-500-person venue; it's the sweet spot for me.

As a promoter, of course, you'd really want the people who pay for the tickets to come into your venue to really be even more connected with the band.

When we play an outdoor venue, you'll see whole families - boys, girls, men and women - from kids to grandparents who somehow heard the music... Think about how hard it is for artists who can never get a gig at an all-ages gig. Who goes to hear music in bars? People who can get into bars; people who drink.

I did an open air gig in Regent's Park and that's an incredible venue because the sun sort of sets while you're on stage and you can see the audience so brightly.

I don't think it's any secret that the bigger the venue, the subtlety and artfulness of comedy declines.

I'm not Kathy Griffin. I can't do 1200 seat venues. I need 300, 400 something like that.

I'm not someone who gets to play The O2 and places like that, but that's the kind of rock and roll venue. The popularity of stand-up means that some people are getting to play rock star venues.

We like playing smaller venues, but we know how many people want to come and see us so we don't ever want to stop anyone who wants to come to a show from coming.

If you're big in America, you can go to Australia and automatically, the first time you'll be there, you can sell out huge venues.

We've gone from venues that hold 500 up to 3,000 on our own, so I guess we're not entirely unknown. But there is a difference between a few thousand people and 20,000.

At some of the venues, the audience was so loud we could hardly hear what was happening on stage, which kind of threw us back to 1983, when we had very similar reactions on a much bigger scale.

With 1,000-seater venues, rather than 5,000-seaters, there are richer opportunities for sucking the audience in.

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.

It's so easy in these cabaret venues to get earnest.

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.

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.

I headline concert halls for 20,000 people, but I still play smaller venues.

I think, in a lot of ways, it's easier to play a smaller room. You can exploit the quieter dynamics you would shy away from in larger venues.