International Music Scene Quotes

A personal highlight was probably when we got a No. 1 in the U.K. and when the album went to No. 1 in America. The top four that week was us, Adele, Guns N' Roses and Bruce Springsteen. It was ridiculous seeing those names there. Being the first band from the U.K. and Ireland to go to America and debut at No. 1 is just unbelievable.

Telling people that I wanted to make dance music, or be on the radio, they looked at me like I was crazy because there was nothing like that in Lichtenstein when I was getting started. That's why I went to Germany, because there is industry there.

I know they call it the British Invasion, but musically, I call it the British Infusion.

Not only did I get to play with these great international musicians, but I also had the opportunity to jam with the local celebrities in Toronto, people like the Walsh Brothers, David Wilcox, Kim Mitchell and the like. It was a great learning experience.

We got a chance to go and play in some places that the usual European tour by an American band didn't go to.

The situation in America is when it starts moving there, all the bands from England move over to America and work from there, so that they're available all the time for everyone that wants them in person.

In the English market, I would love to work with Drake and Rihanna. Who doesn't, right? In the Spanish market, maybe Romeo Santos.

The Spanish and the American audiences are lunatics. They are very passionate and, like the Irish, they don't have as many inhibitions. If you are playing somewhere like Austria or Sweden, it takes them a little while to come out of themselves.

It's just really cool to go to countries and play festivals for people who don't really know your band or don't ever get to see it. It's really nice.

When we tour in America, the shows are great, and the fans are just as passionate and excited as anywhere else in the world, but in other parts of the world, in parts of South America and in parts of Europe and Asia, the size of the venues and the amount of people we get at concerts is considerably more.

I don't know what Swiss musicians need to do to be heard beyond the borders of their own country. It was always clear to me that I belong everywhere, that music belongs everywhere. It simply never occurred to me that I had to limit myself to a country.

I am international. When I put out my second mixtape, we did four tours and a tour overseas.

There is beautiful music in every country in the world, but there is only one kind of music that travels all over the world: Black, American, Jazz!

Anywhere in the world is a great gig if the people are pumped to hear some music.

I am worried that young Japanese people are not very curious about the outside world - which is so different to the way we were in the Sixties and Seventies. All they want to listen to is Japanese pop. They haven't even heard of Radiohead!

It was so strange, coming from Nashville, Tennessee, where I was playing to 15 people, to going to London and playing in this crowded little dive pub. I know Tom Petty had a similar thing - I realize, on a lot larger scale.

America is very far away from Korea, so we were very impressed that people knew K-pop, let alone liked it!

We've seen progressive rock all over the world, in South America, Europe, Asia, across the US and North America and Australia. There's huge audiences for this stuff. For me it's always been there and it's just a matter of time before the people have more of the means to spread the word.

When you live in a small country such as Israel, the dream of any musician is to go abroad.

I am definitely pro-European, even pro-global, and house music and electronic music has developed a network all over the world, between record shops in Berlin, Tokyo, London, Chicago, Minneapolis and L.A. That's really what I feel part of, rather than being French.