"I can't wait to get out. It's been much too long, I don't like being home. I'd rather play. This tour is going to be really big. We're gonna have the biggest show we can have. It's gonna be different not like the old KISS shows"
About this Quote
Restlessness is doing the talking here, and it sounds less like glamour and more like survival. Eric Carr frames “home” as a kind of confinement, a place where time stalls out and identity blurs. For a working musician in a famously high-intensity band, the road isn’t just a job perk; it’s the environment where you’re legible, where your energy has a purpose. “I’d rather play” is a blunt mission statement: performance as relief, performance as proof you’re still in the game.
The quote also reads like a quiet bid for belonging inside the KISS machine. Carr was the “new guy” in a group with a mythic past and a fanbase trained to compare eras. When he promises “the biggest show we can have,” he’s speaking the language of spectacle that KISS practically trademarked, but he adds a crucial pivot: “different not like the old KISS shows.” That’s not just hype; it’s a preemptive argument with nostalgia. He’s positioning the upcoming tour as evolution, not imitation, and by extension positioning himself as more than a placeholder for what came before.
There’s an edge of determination in the vagueness, too. He can’t specify what “different” means, because the specifics are still being built, negotiated, sold. What he can offer is appetite: movement over stasis, future over legacy. It’s the sound of a drummer trying to out-run the narrative and hit something loud enough that people stop asking him to be someone else.
The quote also reads like a quiet bid for belonging inside the KISS machine. Carr was the “new guy” in a group with a mythic past and a fanbase trained to compare eras. When he promises “the biggest show we can have,” he’s speaking the language of spectacle that KISS practically trademarked, but he adds a crucial pivot: “different not like the old KISS shows.” That’s not just hype; it’s a preemptive argument with nostalgia. He’s positioning the upcoming tour as evolution, not imitation, and by extension positioning himself as more than a placeholder for what came before.
There’s an edge of determination in the vagueness, too. He can’t specify what “different” means, because the specifics are still being built, negotiated, sold. What he can offer is appetite: movement over stasis, future over legacy. It’s the sound of a drummer trying to out-run the narrative and hit something loud enough that people stop asking him to be someone else.
Quote Details
| Topic | Music |
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