Tory Lanez Quotes

You've got to be like a fan at your show, just wild out. I make eye contact. I get in the crowd and kick it with 'em, stage dive, mosh. I make 'em laugh. I go out there and turn up, have fun. There's no set list; I don't have rehearsals.

When I play a solo I'm just expressing that moment. It can go horribly wrong easily enough.

When I start playing I'm just a rollercoaster of sound. I don't know what's coming next, I never do, and I sit and sign and talk to the people afterwards.

I wouldn't be interested in just doing a show that's mapped out and choreographed with a set list. That would've been boring so long ago it just wouldn't be any fun.

My gigs are built on improvisation: I go out there and I'm like the Energizer bunny.

There's real drama in performing live. You never know how it's going to be.

I love the stage - the fact that you only have one take to get it right, the interaction with the audience, and how every show is different even though you're doing the same thing.

Improv is a disposable art form, but it's kind of freeing in that way, too, because things can fail, and the audience is a little more forgiving.

I just have fun on stage. There's nothing premolded out there. I try to always do something different.

A magic show and a concert are very similar in the way I like keeping things a mystery and not doing them the same way every time. The listener and the audience never know what's going to happen next.

When it's a live performance, anything can happen.

I like a performance, a live performance, so I like little mistakes because that's what makes perfect - the mistakes.

The musicians in the band, and myself as a performer, love the risks of the unpredictable and the feeling of jumping off cliffs musically.

I like to improvise so much live because I get bored playing the same thing over again. It's like the kid at school that already knows all the answers so doodles all over the paper. I do that a lot live.

The best thing about theatre is that every time we get onstage, the show is new.

It's hard to keep a play alive moment-to-moment, you know? But there's another part of it that I really love, which is that you never know.

When it's time to make music, that's about getting lost for me. To be a control freak is not half as good as being a freak who's casually in control. You're feeling around in the dark for something that feels good.

The apparatus has to serve our improbability and improvisation. Being good and playing the songs is not enough.

I think that providing obstructions in the live setting is when you get something that actually means something, as opposed to just aping your way through your greatest hits.

From the moment you say 'action,' this is the fun part - things should happen that surprise you, excite you, scare you, turn you on, make you laugh. If things aren't surprising you, when you say 'cut,' whisper things to the actors that will make them do things that do surprise you.

No one set that I ever do is the same. I mean, if I go to a comedy club, and I perform three sets, all three sets are different because anything can happen in between sets.

With Zeppelin, I tried to play something different every night in my solos. I'd play for 20 minutes but the longest ever was 30 minutes. It's a long time, but whenI was playing it seemed to fly by.

There's something interesting about playing live; you're in the moment, and I think it would be beneficial.

I don't do the same show on any two nights.

I think a show is for fun, and the thing about playing live is that you make mistakes, and that's what's sort of exciting about it.