I honestly think that it was when the actual voices started to stand up for me. It was the iconic artists like Tony Bennett or Barbara Streisand or Liza Minnelli. When people like that take you under their wing and say in quotations, "He's the next one. He's got my stamp of approval," people trust them.

Who I am is a dad and a family guy. When I look in the mirror and talk to myself, that's what I want to reflect.

It's a bit shocking when you show up in Africa or you're in the middle of Spain and there are people that know the words and the young kids singing along.

There was no way I was ever going to get a fair shake. How good could I be? I was Canadian. I wasn't from New York. I wasn't from Vegas. I was born in 1975, not 1917. My last name wasn't Sinatra or Darin or Martin. Early on and often, there was always the comparison. "He's good, but he's no '[fill in the] blank.'

There was something that was very manly about having the strength and having the courage to sing about love and romance. And I don't know what happened in our world where that was turned into being soft, because I don't think it's soft at all.

I get to study and I got to mimic and what I basically did was I stole from every person that I could steal from. I was an imitator. That's what I was. It was years before I could take all of these things that I loved about all of these different artists and put them together and find my voice.

I think I was annoyed going through the '90s just as a guy who loves music. There wasn't a lot of music for me. Everything was groove driven. We lost the plot with the melody. There's no more melody.