Lindsey Stirling Quotes

Unlike a high-wire walker, I don't think any musician strikes the wires of a piano or draws a bow across a violin's strings primarily for the kick of an adrenalin fix. There is danger on stage, but dropped notes are not broken bones; a memory lapse is not a tumble to the ground.

For me, doing a show, the excitement of singing live, and the possibility that you're not gonna be perfect - that's the thrill of it.

The nerves are a problem on trumpet, because when you mess up everyone can hear it. Just remember most people are too polite to say anything about it. That should calm your nerves.

I know a few chords on the guitar, but I wouldn't be able do a show or even be part of a jam session with one.

Every concert I've finished with the knowledge I've played a fistful of wrong notes.

With my first high school band ever, we would have these breaks in the song for idiotic solos, solos that were un-tasteful and would be shredding, but I needed to put them in there, and I realize now it's because we were playing shows with a whole bunch of bands that were all male.

That gets me upset- you're jamming along, checking out the crowd and having a good time, and then your equipment goes down. You can't just stop the show and say, 'Oh, Jeff's got a guitar problem.'

I bombed in front of 5,000 people. Anybody that's ever stood in front of 5,000 people that don't like them can tell you, it's an energy associated with that. You don't want to feel that. You ask yourself, 'Do you really really want to do this?'

The whole thing with playing on a stage with mics and all that has always been kind of uncomfortable to me.

When I go onstage, every situation I have to play, I feel pain. When I sing 'Madama Butterfly' I feel completely everything she felt: It's horrible.

I think I've been lucky to work with so many lovely people. But there's Joshua Bell, who's the world's greatest violinist. We worked together live and once, for his record, but I really would want to work with him on one of my records.

If I'd been in a school play, I'd probably have sneezed and messed everything up.

I have the luxury of having the choice to perform and go up on stage every night.

When I perform live, I'm doing a lot, but I kind of black out. I don't think about it too much.

Performing is fine.

I grew up on the side of the stage. I never had a fear of an audience. I never felt like they were separated from us. We were all in the living room, and it happens to be a big living room. I continue to operate on that assumption.

A great solo is one that's so frail that it actually teeters on the edge of falling apart, but doesn't.

I can't play the guitar, so the thoughts of playing one onstage at a festival makes me quiver, but I've been blabbering away in front of people since I was a child, so talking for a living isn't the most daunting thing to do.

Maybe when you're 18, 19, 20, you could have a bit of a wobble if you're going on live TV and playing guitar. But in your thirties you've got to just grow up about it.

I was afraid that if I said, 'Yes, I'm an actor,' what would happen if I was bad at it?

When I didn't do 'Runaround Sue' on the 'Ed Sullivan Show,' for example, I didn't listen to my inner voice. I should have.

I'm confident when I perform but going into a horrible, boring studio and playing the same thing over and over again is really different to being on stage!

During a performance of 'Blood Brothers' in 1990, I forgot to sing. I was so moved by what my co-star Kiki Dee was doing, that I completely missed my cue.

People bursting into song in unison and then pointing it at me is maybe the worst thing I can think of, never mind that you have to pay good money to go be yelled/danced at.

I can't play piano well enough without making mistakes.