I have a lot of interest in interior rhyming; not just rhyming at the end of the lines, but playing around with rhymes within the lines, playing with where the syllabic emphases in the sentences are, lining those up at strange moments in the line of the song. I’m not sure if that comes across or not.

I give away CDs at shows if someone wants a CD but doesn't have any money. I wouldn't want to do that forever.

Families of privilege and money would have harps in their parlors, and their cultured daughters would learn to play. It's got such a strange history. But that wasn't the context that I learned it in, so the inherent friction between that history and the more humanist folk-y history wasn't in my conscience at all.

I can't play my songs on the smaller harp. I have a Celtic harp. I can't do the key changes.

I wanted to write songs which I think is a different thing. I wanted to write music that is informed by folk music. The chord progressions are obvious references.

In high school, we studied a lot of poetical forms. I was really interested in the math that was involved and the strange live break ups. That gave me a great amount of respect for a rhymed stanza.

I am always trying to write.