How do we let people pay for music?

I draw the line at letting people into my songwriting cave. To me, that's where the alchemy happens and where the mystery is.

I kind of rely on my artist friends to make my physical music worth buying by having them all come together and create beautiful artwork that everyone is gonna want to own to support my record.

I don't feel at home in New Orleans. I don't feel at home in Austin or L.A. And I just felt immediately at home in northern Australia.

In both the art and the business worlds, the difference between the amateurs and the professionals is simple: The professionals know they're winging it. The amateurs pretend they're not.

I nurture my close relationships like priceless lamps. That's part of why the job itself is inherently difficult and kind of a paradox, because you're out there touring and traveling and going a million miles a minute, but the things that are keeping you steady and stable can be really hard to nurture when you're going fast, and your relationships, which are the number one thing that help me through.

I've watched so many women, from Kathleen Hanna all the way up to Taylor Swift, whether they're pop artists or rock stars or fine artists or writers, it is the subhistory of female artists that if you're going to make art, you're also going to have a full-time job of defending your right to make art.