Your new album, Dear Life, sees you at your most experimental, particularly with the production. Did you set out that way?
“It happened out of necessity, really. I started in my studio in Nashville, and then after I’d recorded a few songs, I found out that the building was being demolished! So, I put everything into storage and put a little setup in the basement of my house. I couldn’t set up drums anywhere, I couldn’t be loud because my kids were home, so I’d make do with software instruments, where I could get under the headphones. And it was fun. I have a great space now, but I kinda liked it when I was having to make do with all these obstacles.”
Starting writing before you knew you were making an album, did that free up the creative process a bit?