Kate Bush Quotes

No, we've been performing our old songs a little differently each performance.

Being on stage is not creating, it's re-creating.

I think plays deserve other interpretations. They should live on, and other people should should take their hand at them. I'm very supportive of that.

I get a lot of joy out of covering other people's songs, and, at my best, I think I bring something a little new to a lot of them.

It's fun to take songs from a completely different context and reframe them. We did two mixtape albums called 'Other People's Heartache' and 'Other People's Heartache Pt. 2,' which were full of those kind of covers and mash-ups, mixed with film music and film quotes.

One of the interesting things an artist does is they keep rediscovering things, whether it's a jazz piece or a role you've done for 3,000 performances or a song you're singing for the 3,000th time. My job is to find that spark that keeps it fresh and alive.

I would like to do something really big and then something really small, and see what it's like to work in that way, but in front of a live audience.

In some ways, when you re-envision a song like that ["Never Be Mine"], there's a completely different energy to it each night.

When you've written a song, sometimes it's really hard to wrap your brain around what somebody else is doing, or maybe the way that they see the song.

The coolest thing about doing live shows is I'm able to give the songs a new life. So even thought they're old, I'm able to do them in a way that's modern.

For me, it’s like playing the same instrument but in a different context. TV work – it’s really about getting it just right. You have a chance to try again if it’s not. Theatre is like playing a rock show. It doesn’t really matter if you make a tiny mistake. It’s the whole vibe and getting people to feel you. It’s about carrying the moment through all the way with you in an hour and 20 minutes of the narrative.

Live shows are where I can just go off, I do the most. I can recreate songs live and take one element and build on that that for like 40 minutes and I like seeing people's faces when I'm making something live.

A fine artist is one who makes familiar things new and new things familiar.

I regard singing pretty much like acting. Each song is like playing a different role. I get very involved with my material. I feel a responsibility for the emotion it brings out in the listener.

I learned how to be more theatrical and have more fun, and to take a song and sing it over and over again in different ways, and make it different each time. I'm not just singing the song - it's this thing that's affecting me.

I'm addicted to those moments when you're on stage and the audience is so quiet you could hear a pin drop and you realize that you're in communion. That's an incredible experience. That's a cosmic experience, as far as I'm concerned, without getting way out there.

People talk to me a lot about, "Why don't you ever rebel?" And I feel like I do rebel. To me, rebelling is - is that rush you get when you sing a song about someone and you know they're in the crowd.

I think that it's so powerful for me to go see someone like Bridget Everett at Joe's Pub and watch her weave her songs in and out of these funny, tragic stories - you can talk and sing and it's not this horrible offense, you're going to get thrown in artistic jail.

I feel I have a responsibility to myself, a responsibility to explain where we're coming from. Because a song or the performance of a song is a lot like a work of art.

I like to bring my audience on a journey during my 90 minute concert. I will tell stories every few songs about the creation of a tune etc. and it gives the listener a glimpse inside my songs and then as you get to the last half hour you pick up the pace and work harder and get more into the show. It's all about stagecraft.

As my life went on and I met Frank Sinatra and people like that, and I watched live performers on stage, I learned how to tell a story. Because if you listen to Sinatra, all of his songs are stories; there's a beginning, middle, and end. So that's where it comes from.

New songs are why artists go on the road. That's why I go on the road. It's a three-prong play. Writing: You're intrigued. Recording: It brings it to life. And then you want to share it.

I always love it best when you have a project where there is this commingling of the subject matter and the way in which you're recording that subject matter.

The ephemeral nature of live performance is the part I love most - it's a monk's sand painting, carefully constructed, then wiped away in an instant.

Performing to me is the most vital, most important. It's my favorite part of all of it. I just want to be on stage.