I think it's really important for the audience to feel connected, and when it's good it's this amazing, symbiotic relationship. I try to give as much as they can give. We're not avant garde and we make no claim to be revolutionary, but I think we are sincere.

Sometimes I say things in interviews and then I see them in print and I think, "What an asshole."

When I am onstage, singing all these songs... what's going through my mind is nothing. That's what's so amazing about meditation - achieving that state, getting to a place where you're clear and present. I'm not thinking about anything except connecting with an audience.

If you're a woman musician, that is your qualifier. I've had people come up to me and say, "You're good for a girl." My only issue is, when that stereotype and stigma already exists, sometimes it's perpetuated by people who may not really play guitar. You somehow need to transcend that division of gender.

When I started doing these advocacy groups, it sort of propelled and compelled me to write songs, because otherwise I wasn't really sure what I was going to do, music-wise. I wasn't particularly motivated to write songs. But this level of humanity and spirit that I witnessed greatly impacted and so inspired me, so that I felt this sort of renewed vigor to write music. As far as how grounding it is, yeah, it's the ultimate amount of perspective.

Because I grew up trapped in the suburbs 8 miles outside of D.C. and I've never seen what people who live in D.C. look like.

I've always felt for little children because I love the way they fashion sentences - their vocabulary is limited. They have to navigate around to get to the meaning. It's a shame we bypass that when we gain more words. In a way, it's less honest and less direct. It's something that I appreciate about kids, and I will steal from them at will.