I like writing love songs. I really like romantic poetry.

There's this poet named Walter Benton, I really like his stuff. He always uses landscapes as a metaphor for the female body.

If you've never been to Michigan, everyone thinks it's completely rural. It's a destination state. You don't really drive through; you're going there for a reason.

My favorite songs of all time are songs that take you on a journey and give you pleasurable moments you weren't expecting.

I like the idea of creating from your inner youth. You don't have to think too hard about it. Just make what feels good.

The ultimate language of love is music... The ultimate connector.

I feel like I'm never playing the same sized venues within two or three shows. It keeps me and the band fit in a way. It keeps us on our toes just because you don't get used to one size and one energy. It's good to switch it up.

Dreams are pretty unexplainable. Have you ever tried to explain a dream to someone, and they're like 'Yeah, that sounds not as exciting as you think it is?'

I like to buy books at airports sometimes.

There's a book called 'The Baron in the Trees.' A friend got that for me because I was kind of a tree-dwelling nomad for a bit. I kind of associate myself with the book.

A big piece of my heart is definitely in Michigan and will always be in Michigan. Growing up there is definitely a big part of who I am as a person.

I grew up watching 'The Tonight Show' and Jimmy Fallon on 'SNL.'

I grew up with my mother as a Tonic Shaman.

My vocal influences are a lot of jazz singers: Billie Holiday, Julie London, they had this tenderness to their voice.

I really like Colin Blunstone, the lead singer of the Zombies.

Yeah, moving to Los Angeles definitely influenced my sound.

It's very easy in the studio to get overzealous with your vocal takes, thinking, 'Oh yeah, I can do it over and over. I can sing at the top of my range for this whole song.' But when you're doing it every night on the road, it's pretty intense.

I bought a Three Dog Night album when I was pretty young, and I remember listening to all those songs. That's just greatly crafted songwriting, and the songs have such great harmonies. I remember marveling over those and trying to figure them out on piano. That was my early education - figuring out records, older records, as a kid.

My folks bought a baby grand piano and that's where I did the majority of figuring out the songs I heard on the stereo.

I feel like piano is my main instrument. I'm most comfortable on the piano.

I had a band when I was in middle school, but I was the drummer. I kind of thought if I was going to be in a band, I'd be the drummer. I'm innately drawn to rhythm. But we didn't have any shows. We just jammed in our parents' basement.

Allowing yourself to suck is the hard part of writing music. If you allow yourself to suck, you will probably write something better.

No, I don't think songwriting is emotionally challenging - I feel like it's almost a way to sort through your emotions and put them out there.

I feel like music is always alive and well.

To make a genuine record, it takes more than a cool beat and some auto tune.

Circuses don't treat their 'performers' very well - whipping them, trying to make them terrified.

I have the luxury of having the choice to perform and go up on stage every night.

That's one thing I really wanted to work on after 'Dopamine,' my falsetto.

Nothing grounds you like a real authentic Mexican taco.

I have these lacy shirts that look kind of like my grandma's curtains that I wear.

I grew up in Michigan. I feel like a lot of my childhood was in solitude, in the woods or making tree forts.

In 2016, I was pretty green. I was budding. Some flowers were shooting off.

I try to challenge myself.

I'm influenced by a lot of different genres of music. So I'm constantly trying to rework production and make things interesting in the live show and on records.

As far as playing instruments, it just feels good to have it under your hands. Cause sometimes those instruments have minor imperfections. Sometimes because they're so old, they're always out of tune a little bit.

I love learning how people hear my music because everyone has different references.

No one pursued music professionally in my family but they are all music lovers.

My parents bought this baby grand piano, which was in my living room, that I owe a lot to. I would just play it and write on it for hours. It was my favorite toy.

My folks would have parties and all I wanted was to be the entertainment.

I have a short attention span.

That's the worst and best thing about being in the studio, feeling completely lost and not knowing how to put the final touch on something. But once you find it, there's nothing like that feeling.

I grew up a huge Roy Orbison fan. He had such a crazy range. And I grew up listening to old jazz, Billie Holiday, Nina Simone. I remember trying to imitate female jazz singers because I had a higher range.

When you listen to music, you can tell if it's a real love song or not.

I kind of lose my mind a little bit if I'm not making something.

I feel very short-attention span for like accomplishment. It's like 'oh that felt really good' and then it's kind of like an immediate emptiness of I need to make something else - I don't like to dwell on things too long.

I guess that's always the mystery of music. It's like why does this song make me feel so grey or why does it make me feel sad or happy or nostalgic and so I'm most fascinated by breaking that down in my music.

I just like the obstacle course of figuring out something.

I always found creative ways to make money since I was pretty young kid.

I do like how the music can be misunderstood.

There's beautiful things about tour - you're seeing the world, spreading music and I'm able to call that what I do. But it's about living lightly and abandoning things.