I remember getting up and singing with them at Mile One arena in St. John's. It was such an honour that they asked me, but all I could think of was, "But I'm such a fan!" Later I sang on one of their records, that was awesome.

Maybe I'm not giving people in the audience enough credit for actually thinking about what they're singing, but it's awesome when a rock'n'roll groove and melody can transport something from Barometer Rising or whatever [ed: it's from 1958's The Watch That Ends the Night] into [Toronto's] Molson Ampitheatre and have people just owning it.

My friend worked at a record store in Burlington and I really liked R.E.M. and a lot of music, but I didn't go to see much. I was 16, so I wasn't in bars unless I knew the band and could get in.

My drummer right now, who was also the first drummer in Weeping Tile, Jon McCann, told me that [Hip drummer] Johnny Fay took drum lessons from [McCann's] dad, who taught a lot of the drummers in Kingston. He said that when he was in Grade 9, the Hip were the model; the goal was to get an agent and gig as much as possible.

Gord [Downie] does so much Waterkeeper stuff. They were involved in [protesting clearcuts at] Clayoquot Sound [in the early '90s]. It's hard sometimes to use the capital you have as a beloved rock band and put it to various causes, especially when they're a bit more controversial, like energy issues.

As with any music that one feels quite close to, I'm very critical, too. I care a lot. I pay a lot of attention.

I was just thinking of Rush. I went to see Rush a few years ago, because my record label guy in the States really wanted to go. We had crazy good seats. It was fascinating watching the crowd - mostly men - who were so moved by these really esoteric lyrics. I don't know Neil Peart's lyrics super well, but they're not that straightforward to me.