Andrew Bird Thinking Quotations

I think when I was pretty young I got really into the tone of my instrument and I remember just playing one note for an hour to just kind of feel the resonance of the violin.

Well, my main instrument is violin, but I think of myself as a songwriter who happens to play violin.

I think I'm still a little too intense for my own good sometimes.

When I start asking my friends, "What do you think this means?" And it leads to way more interesting conversations than what it actually ends up meaning in the dictionary. Like "apocryphal," for instance.

If something gets under my own skin, and keeps reoccurring, it starts to take on a certain weight and value, and I think, "I have to put this in the song. I have no choice but to mention Greek Cypriots in this song." It's a little internal challenge to myself. Like creating little imaginary rituals in yourself to help the song go from nonexisting to existing.

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.

People who are thinking about your music almost as much as you are, that almost never happens.

I think jazz was just seeking respect and validity because a lot of people didn't believe it was a viable art form, and then they got a lot of attention in Europe. A lot of bands that can't catch flies in the US have these followings in Europe, [but] it's less and less the case. American audiences are way more sophisticated and adventurous than anyone thinks that they are.

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.

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.

I think life is a wondrous thing. I'm happy to try pretty hard.

Sometimes I just think we're not meant to fly halfway around the world in a day. That some kind of mutation is going to happen.

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.

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.

In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.