The ephemeral nature of live performance is the part I love most - it's a monk's sand painting, carefully constructed, then wiped away in an instant.

Isn't that the goal, as you grow older? That you start reclaiming those parts of yourself you didn't recognize or didn't think were there all along? That's what happened when I made The River and the Thread record.

I think any young person who is going into the same field as their parent whose parent has been very successful, it's complicated.And it was complicated for me.

I have a real worker-bee mentality. Just show up, just do it. Even if you feel like s--t and you think you're terrible and you'll never get better and it will never go anywhere, just show up and do it. And, eventually, something happens.

Being in the studio is like painting, you know, you can really take your time, and try different things, and kind of go deep into it.

There's always that moment when you realize what it's going to be. You might have an overarching theme and you need to fill in the blanks - and then there's this "Aha" moment when you see where it's going. That's the most satisfying part of writing.

I dream of songs. I dream they fall down through the centuries, from my distant ancestors, and come to me. I dream of lullabies and sea shanties and keening cries and rhythms and stories and backbeats.