I do rock the sunglasses. To a rude point, at times. But I don't care, it's my first defence. I'm shy, so I've gotta have something. I need some protection, man.
I like diversity. I'd like there to be all levels of gay and straight, all different variations of gender, all colors, all creeds. I'm into seeing that.
I think everybody needs to find out who they are and who their, like, inner superhero is, or who you like to be. The world would be a better place if everyone was doing what the hell they wanted to do and being who they wanted to be.
I have a retro feel to my work, to my person, but I also have a futuristic view of what's possible. We can have people in pop that have more diverse looks and attitudes.
No matter what, if you write a song that's great that everyone expects to be a hit, then everyone's going to be expecting another one from you. If you write a song that no one notices, you're going to want to write one that someone will.
It's interesting what a new song can do to the other songs. A new song can be the grout of the record, tie the songs together, and define a new room in the house, helping the other rooms make sense.
I'm always working my own thing. A few times a week - I try to not go too crazy - I'm working with some other artist. But I'm constantly working my own stuff, and my own stuff seems to come in little bursts.
If Hillary Clinton had been president, we'd have had a false sense of security. Trump has brought everything to the light - racism, homophobia. It's one of our darkest points, because we should know better.
With Joe Walsh, that was kind of random. I'd written 'Hi-Roller Baby' for myself while I was at Island/Def Jam; literally, four years later, it got cut. Songs can be around for a long time.
My thing with New York was that it felt so insular. When I went to L.A., everybody I knew was a cool, amazing musician. In New York, they'd be hunkered down trying to form a band. But in L.A., guys in bands were also playing with other artists, touring with other artists, and collaborating with other artists.
When the major labels didn't work out the first time around, it taught me not to force things. You gotta let it flow.
I was done with my second major label deal, and I was doing a lot of urban sessions, and I had an acoustic itch. And you know, I picked up a ukulele. I always wanted one. And it just resonated with me. I would wake up with this uke in my hand. For me the ukulele just opened this door in my heart.
When I wrote for myself before as an artist, I probably wrote about 15, 20 songs a year. I thought that was a lot. Then, when I first started writing for the people, I wrote, like, 65 songs in a year for two years in a row.
I appreciate good work no matter where it's coming from.
There is a pop element to what I do, but I'm going for a deeper, more left-of-center vibe. That's the sound I've always been looking for.
Jeff Buckley songs are kind of random but so catchy.
It is very hard leaving home for life on the road. The toll that it takes is actually immeasurable, and you can think all you want about what it does to your relationships, but the way it actually plays out is very deep and very unique to those personalities that are involved.
I studied Paul Simon's 'Slip Slidin' Away' and 'Still Crazy After All These Years.' I wanted to explore adult themes, portraying the hurt that's in even a good relationship.
I just want to feel free. If someone feels inspired by it, then fine.
'Girls Go Wild' was born out of a Joshua Tree excursion with some close friends after coming home from a long bit of touring.
