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I've always found that whatever you say about indie rock, it is the most inclusive genre or title for anything. It doesn't pin you down too much, like other labels would. It's just newer, it has less baggage.

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
Always
Rock
Indie
Would
Rocks
Inclusive
Like
Whatever
Baggage
Less
Pins
Found
Title
Doesn
Titles
Anything
Labels
Much
Genre
Newer

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When I'm onstage, I'm completely comfortable, and I feel very vital and alive.
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If you take a little time, let's say three weeks off, after recording a song, and you listen to it every other day, you're just going to know eventually.
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There's always a tension between wanting to write a really concise, instant gratification type song that gets under your skin the first time you hear it, and wanting to really stretch out. I think it's a healthy tension.
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The melodies come out so strong that I'm like, Oh, crap. It's really better if they could both be kind of able to compromise, but the melodies, even more recently, they come out very fully cast and formed.
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Some of my earlier songs are kind of more about mental illness.
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There's kind of this unequaled thrill of playing a half-finished song, it's kind of sense of slight embarrassment like you're blushing. I like doing that. I did that with Eyeoneye and it was almost a curse on the song for a while I debuted it when it was half-finished in a very public way
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I write a lot more when I'm happy, because you're hopeful, you're motivated.
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I've done my share of busking, and it's fun until it isn't. There are musicians in the subways that will make you cry, they're so good.
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I think any songwriter or record, no matter how good it is, can become tedious if it's the same person's point of view. After four tracks, you start to get worn down no matter how good it is. It can be relentlessly good, but it's still going to wear you out.
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Most of the songs that I appreciate are lyrically vague.
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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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The earth almost looks like it's packed down and dense from so many feet treading over it.
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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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I guess I'm attracted to more archaic words because they can be imbued with more meaning, because their definition is elusive.
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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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The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.
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Some of your best songs come from a desperate attempt to escape, so sitting in an airport for hours I can just start pulling out little fragments of songs from my head. A lot of times a melody will just occur to me and be my companion for a couple of months.
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There's songs that could either be taken as a conversation between two people, like The Privateers, or Why, from a much earlier record. Or Glass Figurine. That's my version of a relationship song.
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Music as a social conduit has always been important to me.
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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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