The Hadley Street Dream is a tribute to making a vision come to life. My father built a compound on a dessert city block, he saw something in that space we couldn't see. It was years later the album was born right there on Hadley St. He built the studio I started recording the album at.

I think the thing about what I want to achieve for the label is it to really be a home for artists who are already developed, who already have a great sense of their artistry or their imaging, who don't really feel or want that marketing push.

I just feel so much joy and gratitude that people have connected to it in this way. The biggest reward that I could ever get is seeing women, especially black women, talk about what this album ['A Seat at the Table'] has done, the solace it has given them.

My parents only played Isley Brothers, Marvin Gaye. That's when New Kids came out, and we wanted to jam that. My mom was like, "Put that thing off and put my damn record on". So from old school to '90s to recent, it's just always been there.

As an artist, everybody has the opportunity to celebrate and speak their truth.

I don't really have guilty pleasures. Anything musically that I fully, fully believe, is good no matter who the artist is, no matter what the marketing is behind it, I stand pretty firm.

I remember Björk saying that she felt like, no matter what stage in her career, if a man is credited on something that she's done, he's going to get the credit for it. And, unfortunately, that still rings true.