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 always like surprising people and doing things at a young age and, I don't know, trying to do them at a higher caliber than what you'd normally think. I'm not saying I'm a virtuoso, but I always challenge myself.
I don't like washing away your body's natural oils and pheromones. Those are good. You have to keep those.
The Internet is a crazy archive of a lot of old everything. Paintings, drawings, old, new, and everything in between.
My first CD started as a studio project and I record everything with one other guy, so I didn't have a band. That's kind of how I like to do it, though. I like to create it with one other person, this guy, Tommy English, who produces everything. And then I go out on the road with a band who interprets it live.
We're always trying to make advancements in the arts and technology, so it's somewhat inevitable that we're going to make holograms of people.
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.
My parents played the Bee Gees; Earth, Wind & Fire; Michael Jackson. The best pop music to infiltrate a child's mind.
My music diet growing up was lots of sugar. Lots of retro-pop sugar. Motown, disco. A lot of English rock, like the Turtles, the Zombies, Bowie and stuff like that.
When I first moved to L.A., I lived in the Hills in kind of a wooded area that was just really chill.