There's fatigue but also a deliberate desire to want to reach absolute perfection at every concert.

Years ago I sang on a track using that voice and someone asked, 'Who is that terribly depressed man?' But Patrick loved it. He said, 'You sound like a young boy, like a child, like an old woman, like an old man,' and really, we all have all of those things inside of us. I don't do any vocal gymnastics to make the voice better as I age. If it comes out rougher, then it's true to what's happening. Singing is who I am. I didn't train for it, any more than I trained for anything else I did. I probably should take better care of myself physically, but it goes against the grain.

Music is a place to take refuge. It's a sanctuary from mediocrity and boredom. It's innocent and it's a place you can lose yourself in thoughts, memories and intricacies.

The second and sometimes most important part of the creative process is performing it live, so that the work can evolve to a different level and it is also important to make that connection with your audience as they are the reason why you make this work in the first place.

A true collaboration is trickier than a marriage because you can't hide.

I suppose musicians have the kind of arrogant attitude that they can actually offer the world something, because through their passive power, they're able to be the strongest arms that they can be, incredibly strong. That's what keeps us going.

There's the false security of feeling a great force of love from your audience one day and then the next morning you wake up and you're exhausted, and that love is something you have to reach for the next day.