You're making something that won't be what it is until some unknown date in the future. All aspects of the personal disappear.

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.

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

You make the world - with enough strength and enough luck you make the world that you live in. If you accept that there's participation to be done and an existence to be had - I tend to think there is only one way I want to go through this existence and that's with my eyes open and my chest out.

If I give a little hint or clue as to where my voice could be going, that would [be] read. Because people can listen closely, you know, you can sit with headphones or you just concentrate on music, you can just hear, sometimes, the desires of the voice itself.

There's nothing that compares to watching that final of Charles Mee’s 'The Glory of the World' play at BAM17 to 20 minute sequence in one sitting. It fills you with a giddy energy watching that. Then, being gifted with the silence that follows...I've never had a theatrical experience like that before, I'm sure.