LP

I have a lot of stories about being mistaken for a guy.

My mom died before she knew I was gay, and my dad thought it was a phase, then realized it wasn't.

My thing with New York was that it felt so insular. When I went to L.A., everybody I knew was a cool, amazing musician. In New York, they'd be hunkered down trying to form a band. But in L.A., guys in bands were also playing with other artists, touring with other artists, and collaborating with other artists.

It is very hard leaving home for life on the road. The toll that it takes is actually immeasurable, and you can think all you want about what it does to your relationships, but the way it actually plays out is very deep and very unique to those personalities that are involved.

I studied Paul Simon's 'Slip Slidin' Away' and 'Still Crazy After All These Years.' I wanted to explore adult themes, portraying the hurt that's in even a good relationship.

The thrill of writing songs for other people, when you get that right, that person's soul speaks to that song; you've done them a favor and the world a favor. That's what writing is all about - you're always trying to get the real picture.

I definitely felt the love from L.A. from the get go. People appreciate good music out here.

I'd love to do something with Bruno Mars because I love his voice and the playful and intelligent way he delivers a song.

I feel like how I live my life is my own political statement.

I was having a nice anonymous little time as a writer. I really was on the writer path. I was sort of minding my own business. I loved making a living in music.

You go to a studio with a guitar, people are like, 'Oh this girl's going to write this song on a guitar.' Or wants to, or whatever. You go with a ukulele, people are just like 'Eh, well, whatever.' They don't really care. It's a very non-threatening kind of instrument.

There is a pop element to what I do, but I'm going for a deeper, more left-of-center vibe. That's the sound I've always been looking for.