I've been having this really weird anxiety dream about arriving too late or too early, and the people in charge are like, 'You have to leave! You have to go back to the hotel and get ready!' And I use the wrong exit, and I'm running down the red carpet in ­pyjamas, like, 'No! Don't look at me!'

I've always been able to just concoct a melody quite easily - it's just kind of instinct, really. You've got to channel your subconscious.

I quite like the drama of an encore. I think an encore is for those artists who are inclined to do dramatic gestures, and I certainly would say I am inclined towards them.

The stage is the place I feel comfortable - it's almost as if real life is where I feel most nervous. Conversations are a lot more nerve-wracking.

When I first started, especially because I got the Critics' Choice before I'd released an album, there was a lot of scrutiny on what my character was, what my background was, what colour my hair was. I fought quite hard for the music to overtake the personality aspect.

Being heartbroken is like having this really horrible freedom. You can be selfish with your thoughts, which can lead to manic creativity, but at the same time you're just really miserable.

I can’t worry too much about the everyday things. Otherwise I’d lose touch with my own world, that helps me as an artist, but it’s frustrating for the people around me. I’m vaguely functional, but there’s always something slightly off.