Quote

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.

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
Like
Patience
Areas
Research
Metaphors
Imagination
Potentially
Words
Fertile
Didn
Sets
Anything
Metaphor
Great
Area

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Guitars are kind of just, you know, sexy, especially old vintage ones.
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Playing the violin and singing and whistling are just three different ways of making sound.
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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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What you see with your eyes when you're making music is going to have a profound effect on what you hear.
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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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Melodies are just honest. They can only be what they are. Words have the capacity for deception. Theyre all full of subtext, and some of them are cliche and overused and vernacular. Theyre tricky. All I can say is, words are tricky.
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Sometimes I think I don't have much choice in the matter. It's just what happens, and I'm following my instincts the whole time.
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There's a lot of interesting words, nomenclatures, in science.
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I really like the sound of analog things where clearly there's something being touched. You can sense that something is handmade. So much with digital, there's a disconnect.
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When I'm onstage, I'm completely comfortable, and I feel very vital and alive.
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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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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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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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Playing the violin and singing and whistling are just three different ways of making sound. It's not trying to replace a band, per se. It's become a completely different thing. And it's not just simply an effect. It's just a very surprisingly intuitive thing.
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I also don't believe that everything happens for a reason, which is in a similar category of world-views.
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Sometimes the word dictated the melody.
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Some of my earlier songs are kind of more about mental illness.
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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 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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Songwriters can sort of get away with murder. You can throw out crazy theories and not have to back it up with data or graphs or research.
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