Collaboration is such a thrill when you're working with someone you really respect. When it's just one person working alone you get a singular view of their world, and that can be great, too. But when you have different people working together with different aesthetics, different techniques, and different mediums, you get something bigger than both of them.

I try not to read reviews, but if it's a really important review or somebody sends it to me, I'll read it. It's really interesting when you read a review of yourself, you see this weird reflected image - it's like looking a funhouse mirror. Like, "It's sort of me, but is my neck really that elongated?" Sometimes it's vaguely embarrassing what people think of you. When I was in Italy doing this press-interview day, this guy asked me, "Are you a tortured soul?" It's embarrassing to have somebody think you're a tortured soul, or that you think of yourself as a tortured soul.

A good writer can simulate a page torn out of somebody's diary, and give you every little voyeuristic thrill you might get from that, but actually tell you a broader story. I think it's a noble idea that it's cathartic to open a vein for everybody to see, but ultimately, you're just getting blood everywhere and making a mess. I like the idea that there are deeper and more meaningful things to talk about than your own misery. But at the same time, there's something really interesting about skirting that line and making it seem like you're doing that.

In a lot of ways, the way you're making your bread and butter is off people who aren't necessarily who you're writing for.

I have complicated feelings about nostalgia. I think that sometimes it can be dangerous. It can airbrush the truth, or fictionalize the truth, which leads to the worst kind of sentimentality. But I'm also a sentimental person who feels quite a bit of nostalgia.

Culture dictated from above is the enemy of folk music. Whether it's stuffy classical music or pre-engineered pop where somebody's paid tons of money to make sure that everyone hears this song a certain number of times a day - that feels like the opposite of folk music.

I was never a kid who dreamt of being a performer. I started singing the songs because nobody knew who I was or cared at all. If I wasn't going to sing them, nobody was going to sing them, so I had to step in and fill that role myself.