Crowd Response Quotes

I don't mind a crowd's not laughing; it's the groans that slow down the show.

When I started out playing small clubs, you could feel the room recoil from certain kinds of songs. Anything that was too personal, that had a sentiment to it, or was laying out your feelings, was immediately booed. People would start throwing things. And anything that was really provocative or humorous or radical was embraced or cheered.

That's kind of fuse for the show - those first 10-15 seconds you're onstage. The curtain drops and you see the crowd for the first time and they see you for the first time. The response and the energy that's going on right there - to me, that sets the tone for the rest of the night.

I've been booed off the field, and I've been carried off the field by people cheering me. So I've seen both ends of it, and I can tell you the bad side of it gets a lot more attention than the good side does, but the good side is pretty darned good when it's on your side.

A good DJ is always looking at the crowd, seeing what they’re like, seeing whether it’s working; communicating with them. Smiling at them. And a bad DJ is always looking down at what they’re doing all the time and just doing their thing that they practiced in their bedroom

What would we be without the fans? They're more important than me, because they make our sport great; they make things happen. We put on the show, but if people don't react to it, we are nothing. So, the fans, basically we should roll out the red carpet for them.

Songs are like movies to me, and so you put yourself in the movie. You become a character in the movie. The new ones are exciting because they're fresh. But if it's not that, if the story is not what you get into, maybe it's the crowd response. You hit the first chords of 'She's In Love With The Boy' and 20,000 people start to scream, you're pretty motivated. You get what you need. And it's a great story. It works.

You would never do stand-up without an audience. I mean, no one would even consider it. It's like they're the instrument you're playing.

When you're onstage you have a certain faith that somebody's gonna yell somethin' back. Some nights it's louder than other nights and some nights they do, and on some songs they don't. But that's the idea. I think when you begin to expect a reaction from an audience, it's a mistake.

I don't know, I think the crowds are even more responsive now because the audiences are skewing younger.

When you are in a good theatre show, it is a wonderful and very fulfilling experience, entertaining a large audience and their showing their appreciation for your efforts.

When you play a smaller, more intimate venue, you can have real conversations with your audience, take risks, and stay current. You can also change the set list, on how the day feels or how the audience reacts. When you do arena shows, every arena looks and feels the same. You can't see who is in the room.

When you're playing live, those people who you're trying to please and reach, they're right there giving you feedback. And you don't get that feedback in the studio.

People influence each other, so one screening will be filled with laughs while another is dead silent.

It's funny to watch sometimes. You're walking through a crowd of people or whether you're just out there for driver intros, the amount of reaction you get and the people you're affecting is pretty funny.

I found doing that kind of comedy without an audience is just... for me, it's almost impossible. You need the audience to do their half of the work.

I went to see 'The Greatest Dancer' when it was filmed in Birmingham. And they announced the show's judges' names and then Curtis' name. The crowd went wild.

I've said some things on stage where the crowd was like, 'Whoa, that's bad' - and I never say it again because that's the feedback I get.

Some guys like myself, we like to play off the crowd.

It's such a thrill to perform live. You never know if you're going to get hit with a bottle or a bra.

I take audience reaction very seriously.

The Who always play 'I Can't Explain'; and we'll always play 'Wonderwall'. People ask us if we get bored of it. You can't get bored of 15,000 people shouting for 'Wonderwall'. That's better than drugs. You get a hard-on when you hear that.

I love Dallas, Austin and Houston. Why? Because some of the best comedians, like Bill Hicks and Sam Kinison, started their careers in Texas, and because the crowds there are comedy-educated.

We were playing shows still when we wrote 'Phoebe' and 'Rock All Night.' We got to test those songs in a live setting, so it was nice recording them and knowing which ones really resonated with the crowd.

It is amazing how soon one becomes accustomed to the sound of ones voice, when forced to repeat a speech five or six times a day. As election day approaches, the size of the crowds grows; they are more responsive and more interested; and one derives a certain exhilaration from that which, only a few weeks before, was intensely painful. This is one possible explanation of unlimited debate in the Senate.