You did some songwriting with Sam Hollander (Panic! At The Disco’s “High Hopes,” Fitz And The Tantrums’ “HandClap”) for this album. Even though those songs didn’t make the cut, was that a way to avoid stasis—to get in a room with a stranger, be vulnerable and try to approach writing from a different creative place?
I wouldn’t entirely count those songs out yet, but we didn’t end up finishing them for this record. It’s fascinating to me: I love the craft of it. Everybody approaches it a different way. Everybody has a different kind of aural tradition of how they figured it out or was taught to them. The same thing goes for people who produce records: Everybody makes records a little bit differently. When you get the chance to work with somebody else, you learn so much.