I think we all have a certain number of "coming of age" songs, and then a writer has to expand and grow into more varied and specific themes. And the music industry is, like Jawbreaker says, "selling kids to other kids," so it makes sense that those early songs in a writer's life are often the ones that catch people's ears, and later work is more difficult and less immediate.

I try to write lyrics that will be able to function on their own if they get separated from the music. But I wouldn't want to take anything away from poets, who work without the frames songwriters get from melody, and I think lyrics should be considered as their own thing.

I always go into listening to a new record by Gord Downie solo or The Tragically Hip and think, "Well, I know what this is going to be, lyrically." Every song starts and then I think, "Oh, I have no idea where that comes from." He has this entirely original voice, both literal and metaphorical.

I think of Gord Downie voice as Whitman-esque. He has a poetic voice that contains multitudes, both the suppleness of the instrument of his voice, and just the lyrical boundaries that he pushes, which are really always thrilling to me.

I think we all have a certain number of "coming of age" songs, and then a writer has to expand and grow into more varied and specific themes. And the music industry is, like Jawbreaker says, "selling kids to other kids," so it makes sense that those early songs in a writer's life are often the ones that catch people's ears, and later work is more difficult and less immediate.

That's something I've certainly taken from writers like Gord Downie is that there is a whole potential for breaking out of meter. Even if you don't do it, you're permitted to. He gave a lot of writers permission to do that, to expand and push out the borders of what a rock song can contain.

In this frightening, anxious time to be alive it can be liberating to remember that nothing lasts forever. That can focus and invigorate our hopes.