Ryan Tedder Quotes

The crowd can be a little different in some places. For example, in Europe, people tend to be very respectful. They try not to make too much noise at inappropriate times. In other countries, people can be very still. Sometimes I'm not sure if a crowd is into it until the end, when they usually want me to do something crazy for the encore.

The Apollo seats 3,600 people: I could hear them making a huge noise for Milton Jones and Lee Mack. If the audience doesn't make the same amount of noise for you, you feel like you've failed.

Here's the funny thing: Nothing drives a performance like an audience that gives back and even takes over. ECW was a product that will be remembered as much, if not more, for its audience interaction as for the things that happened in the ring.

When you get onstage, you can see everyone in the audience's face, down to the detail. You can see who may or may not be yawning.

It was really great to also see the response that people were having to 'Treme' 'cause you're in a vacuum when you're on a TV show. You see the response online, you read about it and all of that, but actually to be live and have that many thousands of fans come out, it's really wonderful.

Whether I am performing for an elite crowd or a crowd of 20,000 people - the moment someone asks for 'Agneepath,' and I respond 'Agneepath' chahiye?' the noise in the crowd, shows that this song has become huge.

I just feed off the energy of the audience.

I know what happens every time I get in front of a UK crowd - they just go nuts and they are so nice and excited and crazy and they won't sit down.

We play a hip-hop song and suddenly 25 people on the left jump up and put their hands in the air; then you play Lost Cause and they're like, I don't know about this one.

My first tour sold out in Glasgow, and they were one of the loudest. I couldn't hear myself.

There's nothing like walking out and watching the people get turned on. Nothing in the world could replace it.

That's kind of fuse for the show - those first 10-15 seconds you're onstage. The curtain drops and you see the crowd for the first time and they see you for the first time. The response and the energy that's going on right there - to me, that sets the tone for the rest of the night.

Stand-up is successful if they laugh. It's unsuccessful if they don't laugh.

We would play songs live on stage, and then we'd watch their reaction we were receiving immediately, if people were dancing and singing along. If they weren't, then we'd go into the dressing rooms of the different NBA teams that we were playing in their arenas, and we'd change the songs right there.

Applause that comes thundering with such force you might think the audience merely suffers the music as an excuse for its ovations.

I did one touring show with Horatio Sanz. We went to, I think it was Iowa State University, and we were in this field house, so people were sitting on the floor. It started out with 2,500 people in there. We delivered the most mediocre improv, and it went from a crowd of 2,500 to 250 people in the course of 45 minutes. It was grim.

When you hear people scream because they're about to hear a song that has been a part of their life, there's nothing like that.

I don't know how to get a crowd singing along. That's not what my music does.

Crowd involvement plays a huge part in the performance of a professional wrestler. The only thing I do not want to hear when I am in the ring is the sound of indifference.

There's nothing like performing in front of a live crowd and just having people literally react to whatever it is you do, and there's nothing better than when you get that connection with the audience.

We were playing shows still when we wrote 'Phoebe' and 'Rock All Night.' We got to test those songs in a live setting, so it was nice recording them and knowing which ones really resonated with the crowd.

Obviously, there's nothing like being in front of a live crowd. That's what makes a wrestling show - getting that instant feedback and taking them on an emotional journey through what you're doing in a ring. Nothing will ever replicate that.

Some nights you walk off stage and go 'That was a good crowd.'

Playing a room, it's a real dictator-type situation - you can really move the crowd the way you want to. In a festival, there's a sea of people, and it's harder to lock in on any one group.

When you're growing up, what it's really all about is playing so well the crowd get into it, and the roars you hear are those that you are creating.