I got an email from my dad after the Super Bowl, and he was like, "Will you send me all of the Beyoncé Knowles songs that you have on your computer?" I'm like, "You never listen to Beyoncé. I'm so excited right now." It's good to embrace new things. I like when I can show people that it's not all one genre, and everything is very much inspired by everything else.

I had a really bad blushing problem when I was younger. The first time I ever performed was in an English class. I had an essay that I was supposed to write, and, instead of writing an essay, I wrote a song. So, I was playing this song in class, and I literally turned the color of this sweater that I was wearing, completely red. I think it was that feeling of challenging everything in me, my introverted personality. Like, "This is what you have to do. It doesn't matter if you do it wrong, you just have to do it."

I have this friend who has a theory that lots of towns have energies. And, for instance, certain places in Alabama have bad ones because they were built on reservations or built on cemeteries or something. But Nashville has a really gravitational, magnetic pull.

When I did the video for "Piledriver Waltz," I was thinking about rodeo clowns, and how they're risking their lives just to keep an entire arena laughing. They're in danger!

It was so strange, coming from Nashville, Tennessee, where I was playing to 15 people, to going to London and playing in this crowded little dive pub. I know Tom Petty had a similar thing - I realize, on a lot larger scale.

Growing up in Nashville, especially in a music business family, means growing up with knowledge that seems like common sense until later in life when you realize people spend thousands of dollars a semester trying to learn or pretending to learn while looking for some intern job on music row.

Words are very much my thing. I'm very picky and choosy with them. So, I kind of edit myself to the point of, almost stumping myself, sometimes.