I love the idea of leaving some of the original abstract thought in, because the problem is that when you pick up a pen you become a snob, your own worse critic. You edit yourself in a way that is non-creative.

I pick up my guitar and play. Something might come, and then the pen comes out. Then an edit, until something comes out that you're actually satisfied with.

Keeping the pen out of your hand as much as possible is the best way to write a song, in my estimation. But the pen must come in to tighten it up.

Sadness is a very interesting idea, this idea of sadness being some kind of default setting that artists will go into. And then I started thinking about this idea of sadness and happiness, and the idea that sadness is very loud, and happiness is quiet.

A song is like a saddle: you ride it for a while, and if it's the right kind of song you can sing it for the rest of your life.

You know, when I was a kid waiting on the bus, I remember that was when I imagined my life. I imagined everything that I was gonna be when I grew up and I imagined all of these amazing journeys and amazing people I'd meet. Of course, all of it has kind of come to fruition.