Abigail Washburn Quotes
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I have a general sense of mission, and I intuitively know when something is influencing that mission. I think this is what I'm supposed to be doing. Doors keep opening. In the end, it's the best use of my skills. I've finally consented to the idea that I'm an artist.
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As a child, I went to peace and ERA marches on the back of my mom and grandmother. Through them I learned that I wanted to find a way to make the world a more kind, compassionate place.
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For most Americans, my Chinese music feels like a novelty, and it's not what it is for me.
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Whenever I visited China in the past, the relationships always felt superficial; there was no time where I felt those moments of conflict and delight that make you feel close to another person. But since I started touring there in 2004, I would always collaborate with local musicians, and that opened up a new level of intimacy.
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I had no intention of becoming a performer, and yet under miraculous circumstances I was brought into the music industry fold. If divine powers hadn't intervened, I'd still be living in China working in some area of Sino-American comparative law.
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In some ways, my most comfortable feeling has been that of being an outsider coming in, but over the years I've tired of that and I'm ready to feel at home. That's what music gives me: a feeling of absolute home.
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I sang in a reggae band. And then there was a soul band where I sang back-up vocals and some lead. And I was also in a women's a capella group. And I was in the gospel choir at school. Actually, I've always been in choirs. Or some kind of group. Just because I love singing so much. But I truthfully never thought of it as a career.
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I'm, I guess you could say, the Chinese-speaking, banjo-picking girl.
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My parents played the radio, but music was never an obsession or something that I thought I could call a career.
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You have to try things you're really afraid of, even if you pee yourself a little bit.
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I reside in a new colony for the Chinese-singing banjo player, with a population of one. At least I have something I have to do with my life.
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One thing I carried my whole life, especially from my grandparents in Chicago, was a huge idealism for the world.
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I feel like my kind of music is a big pot of different spices. It's a soup with all kinds of ingredients in it.
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I really believe in the power of music.
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I've moved around so much my whole life, and I've gotten so used to being the Other in situations - the foreigner, the outsider. The first time I've ever felt like there was no separation between me and the other elements was in music.
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I believe in the old, because it shows us where we come from - where our souls have risen from. And I believe in the new, because it gives us the opportunity to create who we are becoming.
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I'm no ethnomusicologist. There is a connection between the five-note scale used both in traditional Chinese music and the blues, but I don't really understand it. All I know is, whenever I play with Chinese musicians, we seem to belong to the same musical gene pool.
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'Halo' I wrote with my grandpa in his nursing home. When I went to visit him, he'd often comment on my halo. But of course, I couldn't see. And he always - he had pictures of Jesus with these beautiful halos. And so I asked him if he'd write a song with me about Jesus' halo.
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One of my favorite albums in the world is Bruce Springsteen's 'Nebraska.' Each song has this very distinct character who has something profound to say.
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I would say I've always lived creativity, but now I - I do it with an intention that's got a completely different power.
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My whole drive is to make sure that music is a common space where we search for beauty and share it. It needs to be louder than any conversation. That's where we have to go as a human race.
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I believe in music because it has the power of change.
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I would still describe China as a vast, invigorating puzzle that will never make sense to my western upbringing.
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I played piano and was always in the choir. I tried to play flute because all the pretty girls played flute.