He [ the son]'s grown up listening to all types of music, and the natural form of rebellion is to find the one genre that maybe he hasn't listened to and to make that his thing.

I've let go of being a super perfectionist on every single note and wanting the pitch to be absolutely perfect all of the time. I grew up watching the best of the best.

I love music. But I'm not gonna work myself to death. If there ever comes a point where I'm not enjoying it, then I'm not gonna do it anymore. I've promised myself that. I've written it down on paper and signed a contract.

Our mother always taught us to be in control of our voice and our bodies and our work, and she showed us that through her example. If she conjured up an idea, there was not one element of that idea that she was not going to have her hand in. She was not going to hand that over to someone. And I think it's been an interesting thing to navigate, especially watching you do the same in all aspects of your work: Society labels that a control freak, an obsessive woman, or someone who has an inability to trust her team or to empower other people to do the work, which is completely untrue.

I always have looked at "indie" as a term of "independence." Never associated a sonic gesture with that in the same way that pop music has always meant "popular" to me it didn't define a sound. And I think now that has been the context for things. If something is indie, it almost has this sonic association with it, or pop has become this term of shame almost, like, bubblegum sweet pop.

I've also learned to only write songs and melodies that really work for my voice and that I won't have issues doing live. Because you can get really, really comfortable in the comping process: out of five takes, maybe one of those high notes that you struggled to do, nailed it, and then live you're having that challenge of really having to recreate that.

I actually love my natural hair when it's in a twist out and it's been slept on for five days and revived by the steam of the shower.