Quotes About Venues

If you talk about stadiums that everyone knows, the most historic are San Siro and Old Trafford.

It's important that when you do standup, you do small places like coffee shops and also big places like colleges. It helps you find the little nuances in your set that don't work, and you can shave off the excess.

One minute we can be in a small club, the next minute we can be in a coliseum, and the next minute we can be in a small auditorium. It varies, depending on the promoter, the budget, and the travelling distance.

I was fortunate enough to fight at Madison Square Garden, Vegas and the City of Manchester Stadium.

One positive Covid test can stop a tour, leave venues short staffed, or even prevent me from crossing the border to get home.

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.'

My dream tour would be like, me, Cole, Drake, Sean, Meek. I think that would be dope, something like that; big venues.

There's a tradition - in New Orleans it still exists - where people play in the street. People play outside of the venues. Food, music, and that cultural exchange, it happens anywhere.

Shooting of course has certain challenges, especially in terms of safety aspects to be sorted and venues are far away from the scene of action.

As far as the live shows go, we're not leapfrogging all the smaller venues. We would have bypassed these kind of shows and gone straight to the Arena shows, but we didn't want to.

As far as dream venues, I've played all the venues I'd love to play.

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.

A lot of bands have the enthusiasm kicked out of them by playing really dreary pub venues that just churn bands through.

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.

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.

It's not so much about conquering Madison Square Garden or Vegas. The opponents who I fight will take me all around different venues and arenas. I need to conquer opponents.

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.

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.

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.

We live in a world where art exists in galleries and museums, and musicians have to play the same venues over and over.

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.

This project would not only open up venues of cooperation in the oil and gas sector between the member countries but also help bring the people of regional countries together.

Europeans really provided many venues over there and hailed the jazz artists, and a lot of musicians went over there and stayed over there for a long time. A lot of them moved over there, lived over there, and died over there.