I'm fascinated by Catholic mystics, even though I grew up Mennonite in Pennsylvania.

Hearing your voice and your instrument kind of breathe in the room, it affects the way you perform the songs. For instance, if you have that reverb, you can give the songs a little more space. You can play them a little slower or you can play less of the guitar part and just let it open up, which I really love. It's so nice to play a listening room, because the audience feels a certain way too.

Whether or not you're writing fiction or you're making sculptures. You're trying to create a space. You're trying to make something where your own epiphanies and your own desires and your own understanding of the world can reveal itself.

You don't always get lucky enough to have songs that can breathe and shift meaning. But every once in a while you open up a window and something passes through. It's really nice for me when I discover those songs in my catalogue. It's one of the reasons I try not to get too specific about what my songs mean.

There's something about Saint Francis's approach to life, zero expectations but pleasant surprise. In a lot of ways he was a really conflicted person. Some people would say he's masochistic . I don't really know, but I've always loved his reverence and his mindfulness.

I'm fascinated by Catholic mystics, even though I grew up Mennonite in Pennsylvania.

I kind of talk about songwriting in the sense that it's really not my job to try to state hard truths. I'm not out to say this is what truth is, this is what's false, this is reality, this is not reality. What I prefer is to try to create a space where truth can move.