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There's this idea of a star, and this person is very aloof and writes all the music, and they don't talk to anyone unless they go through the record label. And I always felt very uncomfortable about that.
I always wanted to act. I am very passionate about the art. So when I got the opportunity, I was more than happy.
I've always had a love for poetry and when I got signed to a record label I thought, 'How odd that I'm doing a record before a book of poetry,'
I should be the one to say what I do. It's just not done that way anymore in Nashville, and I can't do it the other way. That's how our record label came about.
Secretly, I had always wanted to go to Vegas, and have my own really bad act!
When I started recording, I thought I'd be able to do all kinds of records: jazz, country, dance - and I've always wanted to do a gospel album.
Originally, after 'Tambourine' came out, another record was supposed to come out, but I had issues with my record label at the time, which was Interscope. We couldn't agree on a record, so that took some time. I had to leave them and find a new label.
I tend to start books with a very broad outline, but I always leave room for happy accidents. With 'The Passenger,' there were perhaps too many of those.
My record label always says you shouldn't talk about money because it makes people extremely uncomfortable. Refugees can't talk about money. Rappers can talk about money; refugees can't talk about money.
