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 can be super reclusive and hermetic, and then I can be in California and host dinner parties and drink wine. It's all me.
I can play piano, and I write everything on piano, but I don't really feel like a piano player, necessarily.
I gave in to the idea of paying attention to what you like and letting it help you make better stuff.
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.
I think sitting behind a keyboard can be a security blanket.
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.
I'm giving into my tendency to want to blur and blend the lines between art and life, and privacy and sharing.
I'm not really good at anyone's songs but my own.
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.
Something I've learned is that it actually takes a lot of work to make something great.
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.
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.
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.
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.
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