starts with a handful of apologies about the time. It’s 6 p.m. in New York, and 8 a.m. in Melbourne where the singer-songwriter resides. On her end, she’s apologetic that our call means it’s technically past working hours on the East Coast. For me, I can’t fathom her end of the deal, an 8 a.m. on-camera interview. “Oh I actually got up early and I've just been dancing in my backyard, which is nice,” she shrugs.
No. And they're having a completely different experience. Someone's reading what you wrote or hearing what you wrote as the whole picture, whereas you've already done that and so you're forgetting how to do that even. You can't really objectively or from a fresh new place, do that. So it's nice. This part of the process is nice, I think, because when there's other people with eyes and ears on it, it's just easier to feel validated or a bit more confident.
And then it was probably another year of writing on and off, starting to record songs and then that not quite having the grasp on it yet, and then going back and writing and just really figuring it out as I went. Because the first record, obviously being your first album, you've gathered those songs over so many years, whereas this was such a new process where I was like, "Oh yeah, I don't have the songs yet.
I was also picturing festivals and crowds and stuff like the Florence feral energy that you were talking about. I was picturing that world and how we might perform to that world because it was informed by just having toured some of thesongs and wanting to expand and create a bigger sound. So I'm not sure if I really had my finger on the pulse of reality.
I think sometimes we forget we can have really deep and personal connecting songs that are not all doom and gloom. Especially back in 2020, that's something that we weren't really getting a lot of.
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