Most of the musicians that I'm playing with now have jazz backgrounds, so they're comfortable with improvisation. And they all know to make eye contact with me, and I'll give them some kind of sign when I think that the song's ending. Or maybe I don't even have to, because they all sort of feel it at the same time.

You understand your place in it, and you feel an incredible love for everyone and everything, and you're just sublimely happy, and then you're suddenly jolted back to reality, and you've got to deal with the world as it is

I started off in architecture, and I just couldn't fit into the vibe there. I just felt more at home in the Art Department, so I just ended up there. But I would be an architect if it didn't require so much engineering.

Like the ability of all the musicians to end the song at the right time. Or when it's time for a chord change, but nobody knows what the chord should be, and you all, you know, it all just changes, magically, at the same time. It's when you pick up your phone to call someone and that person is calling you.

When I met someone who I thought was really talented, I would just be like, Wow! How did you get that way? And I met a lot of people who would just do anything to claw their way to the top, and it was just shocking and awful for me to see that for the first time. And now I live in Manhattan so I have become desensitized to that.

I just know of so many musicians who burn out because they go on tour and they have to play their one-hit song over and over and over and over again. And they are not moved by their own song. And then when you go and see them perform there's something off.

It's the sense of walking back into the Garden of Eden or something like that. Where suddenly everything is perfect and you see how you're connected to everything in the world.