Words matter. These are the best Ted Dwane Quotes, and they’re great for sharing with your friends.
If you told me in the ’90s that I’d be in a chart battle with Green Day, I probably would have just laughed at you.
We’re a restless bunch, and we have a lot of energy – we’re never going to stand still.
Ninety percent of the time, I’m sitting in a bus driving through some place like the Colorado mountains and thinking, ‘Wow, we’re not in a pub in London anymore.’
We were thrilled when we were nominated for best new artist at the Grammys, but we were even more so when they asked us to play live.
Being a bass player in a band without a drummer for seven, eight years has been kind of weird.
You can’t just repeat. It’s valueless. So we – we’re really keen to challenge ourselves. I suppose a byproduct of that will be challenging our fans a bit as well.
There’s not a lot to hide behind when you make the sort of music we make.
There’s definitely a negative correlation between the higher the profile and the enjoyment of the gig.
Our spiritual home is definitely the U.K., but we have such a breadth of influence, and America’s a huge part of that, as I think it is for most bands.
I play the drums really, really badly.
A lot of the time, if you go into an arena, they’re pretty uninspiring. But we try to create an atmosphere.
As soon as we started playing sports arenas, we thought how great it would be if we could instead play to 25,000 people in our own way – a way we can control it so there’s not all kinds of company branding around the show – and do it in a way that celebrates the community.
There’s a point with every record we’ve made that the album starts to assert its identity, and I think that’s kind of what happened with ‘The Wolf.’
We don’t want to be as big as Oasis!
We’d never thought we’d get to travel so extensively, meet our heroes, and collaborate with so many people.
We kind of are Okies at heart. I don’t really know what an Okie is, but I feel like one.
We started off as Marcus Mumford, which is our singer’s name. But then it very quickly became apparent it wasn’t really a one-man thing: it was indeed a band. We wanted to give the impression of a family business, and we just liked the ring of Mumford & Sons.
We never thought we’d be commercially viable, and we were proved wrong.
When you write on the road, you are restricted to the instruments around you, whereas in the studio, you can plug anything in and try it.
We never could have foreseen the success of ‘Babel.’ It’s not like banjo records were soaring up the charts, you know.
When we made the first album, it was meant to be a snapshot of Mumford & Sons in 2009.
Without a drummer, you’ve got that sort of running, chicken-chasing, rhythmic thing happening with the banjo in the top end – it’s what gives our music a lot of its momentum, a lot of its energy.
In December 2010, we embarked on a slightly strange tour of India. We played every kind of gig you could imagine over two weeks, from sports bars to hotel bars to a beautiful outdoor amphitheatre.
People don’t really need to question our sincerity when it comes to our songs.
Because we are four creative people – four writers – there was no way that we were ever going to be satiated doing the same thing over and again. Change was inevitable for us. And a very natural thing.
We have big limitations by not having a drummer. It instantly informs a lot of our musical decisions when it comes to writing. What we end up coming out with is not very cerebral music.
I don’t know many artists who’ve managed to go a career without bringing these things up. Saying the word ‘God,’ ‘Jesus’ – it happens in a million rock songs.
It’s strange to think about the scathing reviews ‘Sigh No More’ got and then consider that we could win best album a year or so later.
I was a bass guitarist first before I started playing double bass – and I only started playing it because my teacher said I’d get twice as much work, as there’s not enough players out there.
Touring is something I do really well.
