A lot of times I use live musicians, but I don't want it to have that live funky sound so I'll just take the best loop of a drum part and repeat it over and over and over again so that there's consistency and it feels a little bit more programmed. But I have a love/hate relationship with comping as well.

I was working through a lot of challenges at every angle of my life, and a lot of self-doubt, a lot of pity-partying. And I think every woman in her twenties has been there - where it feels like no matter what you are doing to fight through the thing that is holding you back, nothing can fill that void.

I talk very slow. I move very slow. I definitely have that Southern drawl and although I never necessarily participated in the activities that go along with screw. I definitely was a huge fan of screw. Because melodically, I don't ever really sing very staccato or very fast. It's really about a groove; it's really about a vibe.

So over time, playing shows - after every show we would have pow-wow, I would have notes and we'd go over and we'd really restructure and re-do and now I feel really, really good about the show. But it's taken time.

I honestly try to have the approach that this is real life, this is the real world that we live in, and I don't really try to shelter [my son] from a lot of things that he's gonna see when he looks out of the window.

I actually was a ballet dancer - I studied ballet from three until 13 - but like very seriously, that's what I wanted to do. I wanted to be a contemporary ballet dancer. I wanted to go to Juilliard.

I have been writing songs since I was 9 years old, so writing has and always will be my first love and passion.