Quote

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

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
Playing
Public
Unequaled
Almost
Blushing
Half
Slight
Song
Embarrassment
Sense
Thrill
Kind
Curse
Way
Finished

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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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It's like you don't know you're making a record unless you're half-killing yourself.
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Playing the violin and singing and whistling are just three different ways of making sound.
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All the folks I play with come from jazz backgrounds or at least appreciate spontaneity within the parameters of a pop song.
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I have the barn, it's just kind of like a studio. Almost all artists have la studio to work in, and that's really what it is. A place to get away. I'll spend maybe four days out there if I can, just completely immersed - like where I don't bathe or brush my teeth for a few days, just get up and make coffee and experiment until the sun goes down.
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With digital sound just becomes simply information, not the sum of its parts.
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I am, in some sense, a writer. Even though I kinda downplay the word thing, I do enjoy writing sometimes.
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I don't like super-descriptive modern fiction. I like, Here's what was happening in 1582 all over the planet. Then that gets my imagination going.
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Every time I get up in the morning, melodies occur to me and I start trying to shape lyrics to melodies.
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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.
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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 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 weirdest time is when I'm having to explain myself all day to journalists, and then I don't perform, so there's no release, just a lot of self-consciousness. Then what do you do with that at the end of the day? How do you release your brain from talking about yourself all day?
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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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The orchestra's an amazing instrument, but I don't want to just arrange my songs for it. I think that might be kind of boring and a little bit overdramatic, perhaps. I'm still just having too much fun doing it my way, for the time being.
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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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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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Guitars are kind of just, you know, sexy, especially old vintage ones.
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I still play solo shows. And some of those shows are still some of the best, most gratifying shows.
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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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