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Records have never really been my strong suit. I've always been a much better live act. I didn't understand the language of the studio. You sing differently in a studio. The language, the craft - it's just a whole different deal. I avoided the problem on my first record by doing a live album.

I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real. It was like a psychological battle to be creative. I used to never feel pressure to be creative; it's always just been a fun thing. And then suddenly it's my job, and people are asking, 'Where's the record?'

You know, when I put out records that may not work or connect with the audience, it's because I'm pushing myself as an artist creatively, because I'm just bored doing what everyone wants me to do.

It's not my style to be thinking about what a record is while I'm making it: I just write songs.

Who you are as a performer is one thing, but when you're making records, you're dealing with musicians' tastes, their goals, their wants, their needs, everyone's individual pride.

We made records to document ourselves, not to sell a lot of records. I still feel that way. I put out a record because I think it's beautiful, not necessarily commercial.

When I first got my record deal, I was like, 'I just want to sing,' and I never put much thought into what really goes into a record. But as I got older, I developed a passion for writing.

I got caught up in doing records for other artists. I just stayed behind the scenes, and time just kinda passed.

I look at making a record and being in a recording studio as more of a craft; You have to be so much more careful and play simpler.

It's always performing for me. I write and I record so I can perform. It all ties to that. I've done it since I was a little kid. That's my absolute rush, is playing for different people every night, bringing something else to the table they've never seen.