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.

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.

When you're a songwriter, people wonder about your personal life and the meanings behind the songs, and that can feel pretty invasive, so you become protective about your inner world.

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.

Everybody has had the experience of something they love - whether it's a pop song or a painting or a movie - feeling so perfect to them that it's almost like it came from another planet. It has nothing to do with ordinary life, which is very plain. And there's something depressing about that in a way, because you feel like you're this small little human, and you feel like it has nothing to do with you.

If you were a performer that only had an acoustic instrument, back in the day you couldn't hide behind your guitar pedals or the production or the vibe. There was performance and then there was the song, and that was all that you had.

When people downloading records for free you start to think, "Is it worth spending all this money to make a record sound good, especially if it's going to end up as an mp3?" But I can't drive myself too crazy thinking about that. On one level, being involved in art is all a quixotic thing to begin with.