David Bryan Quotes

When people pay to see you live, they connect with you on a much deeper level than people who just buy your records.

When you make albums like I do, and it's based off fanfare and based off touring - I make these albums, and I get on the road. It's not really a radio-driven thing. I get on the road, and I see my fans, and I touch each and every last one of them.

You play shows all over the country and hope that radio gets a chance to get out to see you, but that doesn't always happen like that.

With Dream Theater live, I may have been a bit of a focal point because I absolutely live for the energy on stage, and having interaction with the audience is absolutely crucial to me - regardless of how some others have described it!

The key to being a great band that lasts is always going to be making sure you write really good songs and put on really good shows.

When KROQ played 'Name,' that was the turning point for us.

With a live audience, if you sing with the right feeling, the response you get is a high, an excitement. There's nothing in the studio that can give you anything quite like that.

The fans at our shows in Tokyo love music so much; they're amazing. They give a kind of energy and adrenaline that builds us up when we play.

I love doing concerts, and I think my songs get another expression and energy when they are being played live.

I'd love to see Kate Bush, full stop.

If I were to give advice to someone that just started a band and how to get someone's attention, you've gotta have a central hub. For us, it was Columbus, Ohio.

My CD, my first release, was at the Comedy Works in Denver, one of the best clubs in the country.

One of my first bartending gigs was on Santa Monica Boulevard at Doug Weston's Troubadour, a very famous live music venue.

I didn't have huge expectations for 'Frampton Comes Alive!' My previous album, 'Frampton,' had sold about 300,000 copies - a decent amount but not mind-blowing. There was talk at the label that maybe the live record could go gold. I was hoping we could do it, but I wasn't sure.

Our goals, our dreams and ambitions have always been towards performing live music across the globe, and so when we were told we were performing at The Billboard Awards or being nominated for a VMA, they're like extra bonuses.

I think the crowds in Europe are songwriter crowds. Like, they are a fan of the words, and they're there to listen. An American crowd, they're there to get rowdy, man. And I love both.

What would be great is if everyone who bought a record got a comp ticket to a show.

We do a big business with our midsized-venue model. We don't need bands to be on the top-ten charts to make money.

The success of Revamp is clear. We've sold a lot of albums, we've done very good tours, and wherever we play, we get a very positive response, and that's something that would be very nice to keep.

There is something about live albums that I enjoy so much more than studio albums from all of my favorite artists. When I am listening to them live, I get to connect so much more to their truth than in studio albums.

Playing live is my natural element. It's too hard to relax in the studio because there are too many options. It's just not as exciting.

The music comes alive when you actually perform it in front of a crowd.

I love going out and touring, and maybe people understand that it's not about making a quick buck. Maybe that translates.

I still believe in putting something out and not asking people to buy the record, then buy a ticket to my show and then buy a t-shirt and then a, like, copy of the show they just saw on CD. That's undignified to me.

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