Oliver Sykes Quotes

To be honest, I think about the clubs when I write. But I should probably start thinking about stadiums, because the songs sound even better there - and bigger.

The sound was my greatest concern. There were certain difficulties getting used to the way every musician can hear his or herself, the way each of them relates to the musician in the next seat.

It wasn't very satisfying playing the big arenas, but it was good as far as a paycheck. But the sound was terrible, especially in hockey arenas - the sound would go on for 30 seconds after we quit playing.

During a big rock show, you can flub a few things and nobody will hear it, because it gets buried under everything else.

The band's filter, but playing live is a lot of fun.

I want to play more festivals.

Most recently we've been working in concert situations rather than clubs. because there aren't too many rooms there like Ronnie Scott's, that are pure music rooms, where people come specifically to listen to music.

I'm not crazy about arenas just because I can sell them out. It doesn't do anything for my ego at all. I want to play places where people don't have to sit in the nosebleed seats and wonder what the hell is going on.

Although there was a point with the Tijuana Brass where we were playing for such huge crowds that I kind of lost contact. At one point, the only connection I had with the audience was with people out there lighting cigarettes.

With American orchestras, in particular, because they play in such huge halls, getting a true pianissimo is very hard.

I've been to two stadium gigs in my life. One was James Brown and the other was Pink Floyd. They both sounded the same. I couldn't tell the difference between James Brown and Pink Floyd. I've never liked stadiums.

When I started, there weren't any arenas. There was football fields, but they would only hold three or four or five hundred people at the most... We played a lot of high school auditoriums and things like that - a lot of churches... but boy, it has changed.

We wanted to get everyone back focused on the fact we are playing live again. It really does sound great.

I'd say it's harder to play with an acoustic guitar strapped over your shoulder for a few hundred people than it is to play in front of thousands with an entire bombastic band behind you.

Doing the acoustic at Carnegie is basically advised because electric music tends to get, let's just say, acoustically unsound.

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

The song 'Hello There' was written because we never got a soundcheck. 'Hello There' was our soundcheck.

We'll always play different venues. We'll play small clubs or stadiums or things in between.

I've graced almost every stage in N.Y., from Webster Hall to Gramercy Theater to Best Buy.

Arenas, to me, and especially sheds, are really great venues. You get that sea of humanity, but everybody can still see it and hear it. And that's really important to us.

'Shooting Star' started out as the arrangement on the record, and it's developed into a real audience-participation song, just from playing it.

A lot of times I play my music at shows based on the views and the streams.

If you ever want to play bigger places, you need to have records that sound like you're playing in big places.

In my concerts, people love when I sing a Latin encore with guitar.

We're a live band. It's what we do best.