It's a little cheeky; growing up in Santa Fe was kind of a weird experience, because it's such a touristy town. So sometimes it feels a little like you're in a town that's just on display. You walk around downtown and all the shops are galleries or high end boutiques, so it can feel like you don't belong there even though you are from there.

I put myself in the studio and I really made sure to say, 'Well, if I would normally reach for a trumpet, why don't I reach for the next nearest instrument instead?'

It's a weird thing to be nineteen and be in the public eye. It was a crazy thing, it was a big deal to me, and it changed me in a lot of ways. And now that it's five, six years later, I wanted to look back at that, the start of it all, the excitement and the naïveté about it, and it just fascinated me to reflect on all that.

I mean the reason that I started writing close to home, "Santa Fe," et cetera, was a kind of looking back on past events. I don't know, it's just some of the dark spaces I've been. And it feels like with a music career and whatnot, I've been able to crawl out of those places. So it's interesting to look back on them and try to hold on to the feeling of what you went through.

I'm not an amazing trumpet player. It's mostly smoke and mirrors. You shake the trumpet and it starts to vibrate in a ridiculous drunken way, or you flop notes at the right time and you don't have to play stuff that would take seven years to learn.

I want a song that raises the hair on the back of my neck when I sing it live and I want to feel it every time.

I like to think that location, travel, etc, is a launching point for purely imagining.