I use a lot of specific places in my songs - traditionally, a lot from Minneapolis and St. Paul, where I grew up. Most people, especially when you get into international touring, have not been there. So you say, "Well, isn't it risky to talk about the corner of Franklin Avenue and Lyndale?" If you do it right, someone should say, "God, I know a corner like that." Offering specific details to describe something universal.

There's somewhat of a real fascination with American bands and American mythology in London, so I think we've tapped into some of that. Maybe because of the way the press works or whatever, they have extremely knowledgeable music fans over there. People who will sit there and talk to you about some record that came out in 1967 out of Memphis that you've never heard before.

Being on a microphone nightly has made me better at what I do, made me better able to sing a little bit, but also more confident at trying it.

I think the other thing that shaped me a little bit is that I really didn't have any success in music until my early to mid-30s.

The idea of anyone collecting compact discs just seems bizarre to me.

I graduated high school in 1989, and there was no alternative rock radio, and there wasn't really good college radio you could get on a car stereo. Once you get a car at that age, you're spending all the time you can away from home, sometimes just driving around aimlessly. Listening, or not even listening, but subconsciously soaking up this classic rock barrage.

I think when you are doing a song you're trying to give people enough details that they connect.