It's not a lot, but we have 8,000 people following us. I get the biggest kick out of it, to hear words that I wrote and chords that I wrote being sung by somebody else. It's a true honor, and it might sound intense, but it's one of the most rewarding parts of the songwriting experience.

The one thing I worry about with that is whether or not we're edgy enough for the young kids. You know, does a 20-year-old like the fact that he can play it for his dad? Is that cool?

I'm hoping that when people hear a live Dawes song on YouTube or at a show and then they get that studio version, hopefully they're excited, rather than saying, "Oh man, I wanted completely new material I've never heard before."

It's not a lot, but we have 8,000 people following us. I get the biggest kick out of it, to hear words that I wrote and chords that I wrote being sung by somebody else. It's a true honor, and it might sound intense, but it's one of the most rewarding parts of the songwriting experience.

That's happened a couple times: Billy Joel. It was just, "You sound like Billy Joel." And I get really upset about that. No offense to that guy, but it's not for me.

I think that the oversaturation of music market right now will eventually start taking care of itself, where some bands are like, "We just don't want to do it anymore," and other bands say, "Things just keep getting better." It just depends on where you bring your joy out of it. We're lucky because we are happiest when we're onstage.

I know a lot of bands that will make their first record and get to a certain level, and then when the second record comes out, they can start where they left off as a headlining act playing in front of a certain number of people, or they can go back out and make a lot less money and open for people. I feel like if you go out and just go right back into that headlining stuff, you're playing to the converted.