There’s a lot of space on this album, too. How intentional is that? The last song is just a jam.
SB: I ran out of words so it was just like, alright. It wasn’t anything that I thought about it was just like, I ain’t got sh*t else to say.
Is that how a lot of the songs happen? You’re sort of in the studio and you’re writing and you’re like, this is what I got—
SB: Well I don’t write, I just go in the booth and do my thing.
I kind of got that impression. Especially on “Find It”. It sounded like the lines were just coming to you. Do you do a lot of takes?
SB: I sing it through as if I’m performing. I’m not really good at punching in.
It didn’t seem very punchy.
SB: I don’t have a formula. I just do what I feel.
That Miley album I think is a pretty good album. But that particular song (“Adore”) I think is fantastic—
SB: Thank you
And I was so excited to see that you’d written that. Was that session special in any way?
SB: I freestyled that song. I was like four hours late to the studio. And this was like the first time I was working with Oren (Yoel), who produced it. And I was drunk boots and bangles and I went in the booth.
This dude that I was dating at the time, he was falling asleep, and I started singing “Baby, baby, are you listening?”. And then it became a whole song.
So then [Oren] played it for Miley, and she said “I need this song.” But it was supposed to be for P.S. I Still Love You.
She went, cut it on her on with a producer, and then I heard it and I was like, you can have it.
SB: I just got comfortable performing. My music was always way ahead of where I was as a performer. I didn’t grow up wanting to be a singer, so I didn’t practice.
I didn’t even know I would end up doing that. Cause it always just feels like me against the school yard. I used to get teased miserably.
And whenever it’s me and a bunch of people, I want to pretend to pass out like I did in school. To leave.
So I’m just now getting comfortable in my thing. I guess practice makes almost perfect.
