Writing from life is how I feel most comfortable.

With my own music, I'm much more reluctant to say, you know, 'This record slaps!'

Connecting with people who are able to maintain a sense of humility is really useful.

The midterms are a chance for people to vote out those they believe are failing to address the concerns of citizens.

It's like a cosmic joke that people dream to perform in front of a huge crowd. But it is a welcomed challenge. I hope I always have that positive apprehension.

Especially in the sphere of social activism, I think we tend to unwittingly conceptualize progress or revolution as black and white and having a clear beginning and end.

I love 'Exit West' by Mohsin Hamid. It's a magical realism retelling of the refugee experience, where people find these magical doors that transport them to another country.

When I talk about what I'm feeling, I can get outside of it and analyze it. I think that process, especially on 'Sprained Ankle,' happened after it was recorded. All of those songs are just documentations of how I felt at that time. I was writing them because I needed to.

I didn't grow up on country and blues, I was just a kid listening to VH1 and then I realized I needed to expand my musical horizons. Now I have a deep appreciation for southern heritage music.

Those parts of myself that are too ugly or dangerous are precisely the things I feel convicted to share.

We always have a great time touring Germany, but one of my favourite museums in the world is Museum Ludwig, an incredible contemporary art museum in Cologne. I could spend all day in it.

We think empathy is innate, but it's not. It's a muscle you're working.

I can make a record with six-part string arrangements and the best musicians in the world and have it be not genuine. I'd rather make a genuine record that I truly stand behind and have it fall where it may.

Writing songs has always been a process where I divulge a lot, just because music is a tool for me to sift through and process intense emotions. But having music be my primary occupation has changed how I interact with art.

Sometimes you want to complain and be like, 'Why? Life is so horrible.' But it doesn't change that there are redeeming qualities and a universal capacity for redemption and grace. There are still things that make it worth it and bearable.

Songs like 'Everything To Help You Sleep' or 'Claws in Your Back' took a little bit more grappling with the actual poetry for me to feel comfortable with the song. And there's a little bit more song crafting going on, and I had a specific idea in mind of the imagery I wanted to evoke.

I love Hank Williams, he's the original emo kid. Some of his lyrics remind me of, like, Promise Ring lyrics.

I think it's possible for Tennessee to be flipped to a Democratic majority, which would be beneficial to enacting policies that I would like to see, but beyond party allegiance, we have an opportunity to involve ourselves in change that will empower us not just now but in the future.

Many of my songs just come together in quatrains because that's how a hymn goes.

If I can say so without sounding presumptuous, I want to model women being collaborative instead of competitive.

My dad took me to the skate park every single weekend to see alternative bands.

When I was in 4th, 5th, and 6th grade, Green Day was my formative entry to punk. I wish I could say I was listening to Minor Threat and Black Flag, but I wasn't. Bay Area punk bands were doing it right.

Every girl is a singer. I wanted to learn the solos and play lead guitar. I would meticulously teach myself solos so when dudes were like, 'Oh, you're a girl, you can't play guitar,' I could rip these insane Telecaster blues solos and tell them, 'Yeah, I can burn up a fret board.'

Cameron Esposito is a musician and podcaster from the States and she's hilarious.