To me, recordings are little fourth-dimension artifacts, because they already are representatives of past, present, and future, just inherently in their existence.

I feel much more physically connected to my voice, and I like the physicality of the voice, and how the voice can physically occupy a song.

All you do is you go back to the Maida Vale Studios at BBC in London, and it feels like you're in a spaceship. It feels like you're in 2001 or something like that. It's massive and well constructed and highly technologically advanced and occupied by these wise scientists, engineers, and producers. Listening to it, it just doesn't sound like me - that's a younger self that didn't know who he was or what he was doing. I can't identify with a nebulous cloud.

I don't like the idea of being surrounded by hidden things; people you can't see in buildings and cars.

My booking agent, of course, here and overseas, their tendency is to want to build on a certain kind of measurable success, and I was thinking yesterday, what I'd like to do is maybe start to compile a list of the best 200 to 500 capacity rooms around the world and just start going to them again and again and again.

A vocal performance “Coming Together” is hard, but it's the kind of hard that if you work hard enough at it, you can do it and it feels great, because it was so hard. So we'll continue maybe even over the next couple of years to perform that and to expand our collaborative repertoire.

I do not want a personal relationship with my fans. Or to do anything that encourages them to think they have one with me. They can have a personal relationship with my songs. That's fine, but they don't know me.