I don't even wanna say female guitar-players, just guitar-players, because music of all things doesn't need to be gendered and stratified, that's so boring.

Everybody's got a dark side, but mine doesn't include being around people who are mean.

I got offstage and was just looking at my hands, and they were shaking. I was like, 'I wanna kill someone! What's happening?'

I'd listen to things that felt really good in the moment and realize they were clouded by enthusiasm or caffeine. And things that I was struggling to get out ended up being really compelling. It's an emotional roller coaster; there's exhilaration and there's shame.

All these things that we are very nostalgic for come from a place of technology dictating [art]. This time and place is no different.

The schematics are a little bit tricky, but once you get it down you're able to really program an entire show. Every song has a lot of different guitar sounds in it, so that's what it is.

I think every time I play, every show is different, and I think that at a certain point a song isn't about you anymore. It's about the audience, it's about how the song has worked its way into other people's lives and that kind of keeps the meaning of the song new, because you see it reflected in other people every night.