Quote

Every time I get up in the morning, melodies occur to me and I start trying to shape lyrics to melodies.

Andrew Bird

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Andrew Bird
Age: 51
Born: 1973
Born: July 11
Fiddler
Film Editor
Guitarist
Jazz Musician
Musician
Singer
Singer-Songwriter
Chicago
Illinois
Andrew Wegman Bird
Andrew W. Bird
Time
Lyrics
Melody
Shape
Shapes
Morning
Start
Trying
Melodies
Every
Occur

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There's been this perception that Europeans still hold on to, that they discover the real talented ones in American culture and give them proper credit and that's not true anymore - it used to be. A lot of jazz musicians would get respect in Europe.
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You can build up expectations for a song before you record it, and then it's like nothing's good enough in the studio.
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I create little challenges for myself, like, 'Okay, whatever you do in this song, you've got to somehow work in Greek Cypriots,' or something like that.
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A good espresso to me is a little bit salty you just become used to a good taste. Anytime I go into a new place and they don't clean their machine properly or the water temperature isn't right, it tastes awful.
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The first splurge of creativity is kind of free, and the last 30 percent is painstakingly hard work, but it's good to light a fire and make it public and create that expectation. It's become part of the writing process, really, a way to ask the audience what they think, how they think it's going. I can't write songs in a vacuum.
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The real drag is trying to fly from country to country, day of show, with all your gear. You get hassled all the time. It's hard trying to keep it together.
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I've always felt that dark lyrics with dark music is pretty useless. Maybe that's a strong statement - not useless, but for me, it's just boring.
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I didn't have the patience for the research, or anything like that. I just like how it sets the imagination off. It's just an area that's very fertile for great words. Great metaphors, potentially.
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I can't relate to the process of just disappearing and writing a record, all at the same time, followed by the sort of drudgery of going out on tour and trying to recreate the record, playing the same 12 songs every night.
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Well, my main instrument is violin, but I think of myself as a songwriter who happens to play violin.
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I finished touring the last record and I started recording new .I never really left the bubble, which is I think a good thing. I was just very focused. Maybe I should have taken a break or something, and not done such a long push.
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The earth almost looks like it's packed down and dense from so many feet treading over it.
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I'm a terrible Scrabble player.
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The first notes I still play when I start a sound check are classical. Those are my roots.
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Just don't let the human factor fail to be a factor at all
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I've never approached classical music in a formal way, ever. I couldn't read very well. I'd have to play every piece and internalize it, almost as if I had written it myself.
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I have some irrepressible pop impulses to write an appealing, concise song. And I also have some irrepressible kind of restlessness as well, and I need to keep myself interested. When I'm left to my own devices, there's a struggle.
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I definitely have to give myself permission, like on Master Swarm, to rip a lead on that. Just play a violin solo that's - it's a bit showoff-y, but it's fun, so who cares?
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I've literally opened it up to suggestions and it's totally chaotic and kind of a bad idea. You don't need the actual feedback to get a sense. When you're showing a song for the first time, people can feel that newness.
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I'm coming from a place that's more experimental and indulgent already, so for the last 10 years, it's been more like, How can I defend my own sensibilities by writing a nugget of a little catchy pop song? That's how I'm stretching myself, by writing something really simple.
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