For me, every time I step on the stage it feels like a battle is about to start. It's not like we're going on stage to fight against our audience obviously, because for me, when I go on stage, I'm always trying to reach a new level of how am I going to make today a great night for everyone that's present.
You perform for a different audience each night. People who don't understand just think that you go out there every night and do the same thing, but you don't - you have to find out who they are and give it to them.
If the people in the audience are talking, you're being ignored. If the people are gazing at you, you've got something they want to hear.
On stage I try to be as spontaneous as possible, feeding off the energy of the audience. I just let myself be and have fun on stage.
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.
I played shows in front of like 25, 50 people, and it's a lot harder to do your thing in front of a crowd that's small.
It's when I'm playing a headline show I feel weird, 'cause I don't know how to react to people coming out to see me.
I love performing, and connecting with an audience never gets old for me, but it does get old for me when my audience is just only interested in something they've already heard.
I do try to keep my show very improvisational. I don't work off a set list; I like to keep it more in the moment. I like to have information about where I'm going, what might be happening in that particular region as well. I like for people to feel like the show is for them.
What I've discovered and try to integrate into my show is when you're up there, and you are loud and more visible, you're setting a tone for how people can behave and how they can feel comfortable behaving.
I think working for the audience, for me, is the most fun. It's really a chance for something to work towards. It's where everything kind of comes together, and you have to make it work. You have all these people who are sitting there, wanting to have a good time and wanting to laugh. You really have no choice but to pull it out.
I feel like, anytime I'm onstage, I tend to feel very connected with people in the audience or with the sort of heartbeat or tempo of the audience.
I've learned how to be a better performer on stage and interact with the fans, make it feel like a collective experience more than just me singing songs on a stage and feeling really detached.
I never look at a note. I just roam the stage. The people do not want to leave.
If you have got the public in the palm of your hand, you can be sure that is where they want to be.
You really have to be a good entertainer, or the show won't work. For me, it was all about having fun with the audience, which meant that I could usually forget that the camera was there. It was kind of like being in the classroom.
When you're in a big theater, you want to reach the very top of the place. Up to the highest seat, so that each person feels like you're talking to them. There's really no difference when you're in a smaller place; you just don't overdo it. It becomes far more personal.
I have to feel the audience. I enjoy that feeling of community. There's something sort of spiritual about it in a lot of ways. It's like we're all doing this together.
I like my messiness on stage, though I watch comics who come at a joke from every angle and I think, 'Yeah! That's how it's done!' But for me it's the audience. If I feel connected to them, I have so much fun, and if not, it stinks.
When you can tailor your act, you want it to be about yourself but also about the people in the room and the experience you guys are having in that moment; it is really a special thing.
As scary as it is, I like making real, direct eye contact with people from the stage. In a sense, it's like modeling: that feeling of locking in and projecting some kind of emotion to try to captivate people.
When playing any song in front of an audience, you're watching them experience it, and it changes. In a lot of ways, it's almost like the music is just the background buzz to what's happening between you and the audience in the room.
My whole thing is not just to play music for people, but to make them part of the evening.
Whenever I perform, people get me because I'm talking about things that people can identify with and relate to. I'm not just up there doing jokey, jokey, joke.
In a place like the Greek Theater in L.A., to try and create a close connection with the audience seems almost antithetical to the architecture of the building.
