I can be super reclusive and hermetic, and then I can be in California and host dinner parties and drink wine. It's all me.
The fact that I could sing in a way that might not be right for RADA but is right for me was a brand-new concept.
Something I've learned is that it actually takes a lot of work to make something great.
I can play piano, and I write everything on piano, but I don't really feel like a piano player, necessarily.
I'm giving into my tendency to want to blur and blend the lines between art and life, and privacy and sharing.
Touring is a whole other animal for me and a whole other skill. But I'm having a lot of fun figuring all that out and switching it from internal to external and putting on a show.
I think sitting behind a keyboard can be a security blanket.
Being in a space that's not a studio, it kind of creates an openness of 'We can do whatever we want here; we're not on the clock.'
I realized that there was much more to my voice than I'd ever been led to explore and that I could make my own songs.
In every song, there is a vocal element that doesn't have any words. I wanted to play around with how emotive and expressive my voice could be.
I think that being in an extreme natural setting, and letting the natural world and what it's doing permeate your thoughts, is super-interesting and super-important.
I gave in to the idea of paying attention to what you like and letting it help you make better stuff.
I'm definitely using different parts of myself, but I think when it comes down to words and melodies, I can't really force anything too much.
When I got back from London, I started with a new voice teacher in the experimental wing, who trained me to have my own artistry as opposed to forcing a technique upon me.
I'm not really good at anyone's songs but my own.
