I grew up in a really rural area in Maryland.

I find, as a woman and as a producer, I spend a lot of time convincing people I actually did the work.

The main rhythmic loop in 'Alaska' is me just patting on my jeans.

It's been really fun to see what happens to my body when I don't have an instrument attached to it.

Graduating from college and starting your life as an adult is a giant transition no matter what.

Part of success is having a good story, and as a journalist, I totally understand. But it meant that my many, many years of focus and hard work got kind of prepackaged into a Cinderella story. I'm super grateful that it happened, but it left me feeling like I never got to be a full human in the experience.

I want to have a long career. But that's based on wanting people to buy into my voice and not into a fabricated image.

I just didn't really know who I was, so I didn't really know what I sounded like. And so I did a lot of writing, and I studied abroad, and I fell in love, and, like... I got to be like any other college student.

I've always been a very visual creator. I make mood boards or sit with coloured pencils and scribble and try and figure out what I'm trying to work through musically.

Folk music usually romanticises the road. 'Back in my Body' tells the opposite story.

Writer's block is your self-critic getting in the way, because creativity will just flow otherwise.

'Alaska' was filmed at my family's farm in Maryland; 'Dog Years' was filmed at the summer camp I grew up going to in Maine.

I think so many of the themes from the natural world mimic emotional themes in our lives.

Something really intense happened to me during the 'SNL' performance. It felt like the person I was made to be faced the person I'm becoming. It was the first time I felt like I was able to make any sense of ownership of my work.

New York is so strange. Every time I'm there, I very rarely see someone who's dressed cool.

I played in orchestras all through high school and taught myself how to play guitar.

The only thing I wanted to do in my music is be human and communicate all the aspects of that, which often means being vulnerable.

Being 'back in my body' means being able to do the things I love, but do them in the way I love, and in my way, and in my time, giving myself the opportunity to just be me.

If you're not changing, you're not growing; you're not being present. Change is essential.

As a producer, as a songwriter, I've spent a lot of time either in my bedroom or in studios, alone.

It's funny because, based on the music I was making before, if you'd asked me who was the one gatekeeper or influencer whom I'd want to hear my music, I don't think Pharrell would be the first person I'd pick.

What I love about going home is that, if I turn my phone off or don't open my computer, nothing's changed. Obviously, the world has changed for me, but home looks and feels exactly the same.

I just kind of, like, know who I am. I think that comes from having an incredibly strong sense of purpose for a very long time.

It's not like I see colours. It's just, for me, an incredibly strong association between music and colour.