“Sometimes when I perform, and it’s obvious the audience is just there to party, or if I feel a wall between me and the audience, I get existential about it.”

Tour isn’t good for writing, but it’s good for inspiration.

I think it’s our responsibility as artists to not only fight for our art but fight for the communities that are the reason we’re able to continue making art, especially since, in Brooklyn’s case, we as artists somehow made it ‘cool’ enough for the bigger money-making industries to start taking over.

People started calling me that, and I started being treated in a specific way.

What’s important to me is that my songs can exist without any material anything. It’s very reflective of my ideology.

I tend to kind of try to use what’s in my environment to the best of my ability rather than seek out things that I don’t already have.

I always have strong urges to sabotage myself.

On tour, I don’t drink, because I don’t think in any other job you are supposed to get to work and drink whisky.

I have a very conveniently photographic memory of emotions – it’s overwhelming, because things don’t fade for me.

It’s nice to know there’s a big world with many perspectives. I tend to get so stuck in my own small world easily, and going out into the world reminds me that I’m not the center of the world – in a good way.

I hope to be a writer and musician my whole life, fingers crossed.

You can never learn enough about music.

I couldn’t wait to get out of school, but once I did, I didn’t actually know what I wanted to do with myself. I don’t really know how it happened, but I just started writing music and realized that’s what I wanted to do.

I really like The Cars. They’re just so over the top and super pop, but I don’t feel guilty. I’m proud of all the music I listen to.

I was one of those girls people called ‘intense.’

I don’t think I’m alone in this: I’m obsessed with trying to not only be happy but maintain happiness, but my definition of happiness is skewed more towards ecstasy rather than contentment.

I feel like I’ve always wanted to live in one place and stay in one place, but I always end up choosing things that make me travel.

I’m not sure I’ll ever be famous by anyone’s definition. I can only hope to be allowed by the audience to continue my life’s work.

The audience is like my instrument. It’s not just me up there, it’s collaborative.

I’m glad to play for them. But I’d rather play for an audience where half of them were not into it than one where all of them were pretending to be into it, for fear of being uncultured.

Don’t dance for the audience; dance for yourself.

There’s not like this separate caste system where it’s like, “I’m the musician, you’re the audience. Never the two shall meet.” It was a case where it was like, “Hey, you know what? I’m on your level, man.”

It’s spiritual – a good feeling. And although you don’t know them personally, the audience are like your friends.

We were in front of a live audience and I would be acting with the man who was playing my lover, and we used those words, and the audience would titter and laugh, and make me uncomfortable doing the scenes. …

I’ve always been fascinated by the difference between the jokes you can tell your friends but you can’t tell to an audience.