I'm 21 years old, and it's kind of uncomfortable for me to talk about, but I'm in the 1 percent as far as my income and tax bracket. But now that I'm here, there's no amount of money you can wave in front of my face that will make me understand depriving people of human rights.
The 'Room 93' EP was just kind of picking apart the sense of voyeurism and the sense of isolation and turning it into, essentially, a little black book and reflecting on - at that time - 19 years of me forming relationships with people.
In one week, I went from being a girl who owed a guy thousands of dollars - my manager Anthony was paying for my outfits, paying for my food; I was sleeping in his parents' basement - to taking meetings with every major label in America. The next morning, I had a record deal and wrote him a cheque to pay back all that money.
I'm open about having bipolar disorder. I'm open about being of mixed race. I'm open about being bisexual, and I have this wantingness to talk about it, and for me, it's about more than being a role model for any specific community.
For me, writing about hotels is like writing about being in a parallel universe. The sense of voyeurism, and the sense of removedness, and there are all these people silently above you and next to you.
It's hard because I think I fall into this in-between space where there's something that's innately feminine about me, and there's also something that's kind of androgynous. I carry myself somewhere in between, and I think my music lends itself to that as well.
I think escapism is something artists write about pretty frequently - it's something everyone can relate to, the concept of wanting something more, wanting to find solace, wanting to have something better.
I'm learning slowly to not be as much of a control freak. I can't afford to be all the time, but I'm getting better at communicating. Delegating parts of my vision for other people to execute has made it an easier process for knowing what I want, and what people can handle, and what I should probably save for myself.
As a songwriter, pop music really is a love and a joy and a science, and I feel like a lot of people look at pop music with a very formulaic perspective in numbers and patterns, but an outsider would think that the process is very natural.
All the musicians I loved growing up were men. I loved Leonard Cohen, Mick Jagger. I loved Alex Turner from the Arctic Monkeys. Even today, I love Van McCann from Catfish and the Bottlemen and Matt Healy from The 1975.
I love films that show people in a way that's so real it's almost unsettling, and that's what really inspires me because I write about people. I write about people that I know, so I want to portray them and portray myself in a way that is unapologetic.
I'm a musician with a very unique mental state, I suppose. I'm agoraphobic. I'm scared to leave my house. I haven't been alone in, like, two years. I'm either with my boyfriend or my assistant, my manager or my tour manager. I won't go anywhere by myself; I'm too terrified.
I'm a human, and I'm multidimensional. If I was the perfect form of anything, I'd be boring. If I was a free spirit all the time, I would be boring; I would lack depth. If I was dark and enigmatic all the time, then I would lack relatability.
You can tell if there's magic in something. When you start it, you want to finish it and you want it to be perfect. If you're not inspired, and you're working hard to pull inspiration from somewhere and make a song something it's not, then it's very contrived, and I don't like to write music that's contrived.
I cultivated this fan base that I really didn't really understand or appreciate until I put my first headlining tour up for sale. 500- to 1,000-capacity rooms weren't an underplay for me at the time. I'd never done a tour before!
If I go out there and am myself, and I do what makes me comfortable and what I think is true to my artistry, and they don't like it, then that's fine. I walk off stage, and I know there's nothing there's nothing I could have done differently.
A guitar can be so human, so sorrowful, so angry, and I wanted to figure out how to achieve that vibe without having to actually use guitars, because 'Badlands' is a very futuristic record - and making it that in an era of futuristic music is a really hard thing to do!