Musician

You'd think that in this age, especially in the 21st century - especially with all the technology and all the discoveries that we've made - that we would figure out how to tackle abuse.

When you're in your 20s, there's maybe a little room for you to not be at the top of your artistic game, if you look good on a magazine cover. When you're not on the cover of the magazines anymore, then you realize that the work has to be great.

When one doesn't want the limelight, but is also creative in developing whatever it is they are, then you can have two equal people that aren't competing against each other. I think when you are in the same field, it's difficult to leave it outside and not compete. Then when the doors are closed; that pervades everything.

When I was little, my mom tells me, I used to say things like, 'Mom do you hear the string section? Do you hear the string section?' And she would look at me and say, 'No honey, I don't know what you're talking about.'

When I play live, it's a conversation that we're all having with the song, and the audience... their response and relationship with the songs is as valid as my relationship with the songs.

There's a richness to the old works if you look before the 1950s. The chord progressions and the language was more complicated, especially in the jazz and classical world.

Sometimes it seems like we're closer to our manicurists than we are our own souls. We have to find ways to get in touch with that and to listen to it and to hear it.

My husband doesn't know what my songs are about - even when they're about him. He's very British in that way. He doesn't ask, and he doesn't want to be told.

My brother was a fantastic cheerleader for my development as a musician. He was almost 10 years older than me and would really push me to develop as a songwriter.

If you think a child is going to be your accessory... it's not like a micro pig. It's not about putting them in front of the television. You need to read to them at night.

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