I loved all that riot-grrl scene and Nation of Ulysses and Bikini Kill and Huggy Bear. I loved it. It was the moment sort of first growing up where bands had stopped looking like roadies.

When I was a kid growing up, I lived in a little rural village called Woolton Hill, and the nearest town was Newbury. No bands played anywhere near us, so as much as I wanted to be on the grid and in the loop, I never was.

I saw a picture of a girl using an eyelash curler when I was a kid, and I thought it was some sort of torture device, the eye guillotine.

The Tin Drum' is one of my favourite books of all time - I've probably got 12 or 15 copies with different covers, different translations - but it's also just about my favourite film.

The process is always the same. I get an inspiration for a new song, I put it down on paper immediately so I won't lose it. When I am ready to go to the studio with it, I play it a few times on the piano and edit, add, and type the lyrics and take it to the studio. Sometimes I don't have anything on paper.

The ups and downs of being a young creative are very real no matter where you are in terms of success, so I think having the courage to be consistent in what you believe in is super admirable.

The inspiration behind '1950' was... gay history and the way that our people had to hide in public and how that affected the way that we love each other now.

I was always curious about motivation and intention, and really, that's a lot of what acting is. I was a little bit different.