I feel really held in being vulnerable. That's always been the kind of music that I've gravitated to as well, but to feel really supported by my audience in that is a real privilege.

The main rhythmic loop in 'Alaska' is me just patting on my jeans.

This job forces you to ask yourself so many questions: Do you want money? Do you want power? Do you just want to be good at your craft? I don't know what I'm doing. I just want to be happy. But I know I have to keep making music.

That's why people come to live music, right? To see something go wrong, something human, something vulnerable.

The make-up and the costumes were me being scared. I needed to create a boundary between me and the audience. To project this bigger version of myself. Outwardly, it looked good, but inwardly, I began to feel horrible.

I never doubted the music.

When I was little, my mum would take me to see the orchestra, tell me to close my eyes and think about the story the music was telling. I always spoke about colours. I'd talk about how purple the oboe was.

It's not like I see colours. It's just, for me, an incredibly strong association between music and colour.

I listened to birds and crickets, looking for the ways that rhythm appears most naturally in the world. I listened to the Smithsonian's field recordings of pygmy choirs from Africa.

It's funny because, based on the music I was making before, if you'd asked me who was the one gatekeeper or influencer whom I'd want to hear my music, I don't think Pharrell would be the first person I'd pick.