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There are a lot of recurring themes that I resonated with when I read 'A Portrait of the Artist as a Young Man.'

I was never academically driven in English, but, again, Tom Waits is a perfect example of an influence. He writes so immaculately and paints so perfectly a world and the characters within it. There are writers like that who are my influences: vivid and gifted storytellers.

Biggest musical influences would be people like Nina Simone and Tom Waits. A huge amount of writers like Leslie Feist and Paul Simon.

My musical education was grounded in blues and Chicago blues - John Lee Hooker and Otis Redding.

I tried to avoid anything that caused me frustration or grief or duress. I played FarmVille and procrastinated like all teenagers.

It's so easy to look forward when you're travelling; you spend your life looking forward, thinking, 'What's next? When do I get time to work on my music again? Or when do I get time to get my 'normal' life back?'

For me growing up, I had a Christian upbringing, and I just noticed this Catholic influence in school.

Being 16 is the worst time to be anybody, there is not enough tea in China to persuade me to be that young again. I wasn't very happy with myself.

Some of the earlier stuff I did in studio with producers was very pop-directed, which I was uncomfortable with.

Being in a studio is quite a creative and energetic process.

I used to almost not look forward to recording, because it was like, 'Okay, what am I going to have to sacrifice?'

I found the experience of falling in love or being in love was a death: a death of everything. You kind of watch yourself die in a wonderful way, and you experience for the briefest moment - if you see yourself for a moment through their eyes - everything you believed about yourself gone. In a death-and-rebirth sense.

One of my first festivals was Oxygen 2006. It had this amazing lineup with the Arctic Monkeys on their first or second album, the Strokes, Kings of Leon, the Magic Numbers and then the Who and James Brown. I waited in the pit for a good eight hours to see James Brown.

I love making music, but if you make something that inspires somebody else to make something, without getting too airy-fairy, you've contributed to the zeitgeist in some way, and that's just an amazing feeling.

I'm reading a lot of poetry because it's a lot easier to dip in and dip out when you've got 10 minutes to yourself.

I've definitely received a lot of support in Nashville; it's a huge music town. I like country music. Like any genre I'm largely unfamiliar with, there are elements I really enjoy and elements that go over my head.

When I first started to sing, I just swung at it with an axe.

I think it all started with Nina Simone. When I was maybe seven or eight, I used to listen to one of her albums every night before I went to sleep. For me, her voice was everything.

The best vocalists I can think of are female.

There is no singer I can think of who can touch Ella Fitzgerald. And when Billie Holiday sings, she's merciless about it. Her voice has just this immaculate sadness - even in happy songs, there was something that was so broken about it.

I always thought of myself as a very, very obscure artist.

I love Muddy Waters and Nina Simone. I also watched 'The Blues Brothers' movie over and over.

Growing up, I always saw the hypocrisy of the Catholic church. The history speaks for itself, and I grew incredibly frustrated and angry. I essentially just put that into my words.

I never wrote music for the mainstream.

My dad was a blues musician around Dublin when I was a baby, so the only music I would listen to growing up was John Lee Hooker and Muddy Waters. It's music that feels like home to me.

Blues is a very physical music.

There are a few Irish writers who have a very strong influence on me, especially on the 'Take Me to Church' EP.

I just hate getting my hair cut.

By nature, I'm an awkward person; I'm a gangly introvert.

I feel my duty is to make music.

Social media is an advertisement for the superficial extroverted self.

I'm uncomfortable with selfies and status updates documenting mundane pieces of my life, which I don't think should be of interest to anyone else.

Growing up in Ireland, there are a lot of aspects of God that hang in the air. And my music reflects that.

I don't know if I'll ever get married. I have no plans to not get married.

I think marriage is a scary concept. It's a scary concept for anybody. I'm not sure where I sit with that.

The myth of fame and the myth of success is cultivated because it is monetisable and it is profitable.

I'm always eager to make new music.

The way I did the first album... the way I wrote 'Church'... was just to trust my instincts with the music and let it kind of do what it does.

Either somebody has equal rights, or they don't. And certainly in the Irish constitution, marriage is genderless. There's no mention of a man and a woman.

I didn't even have that many close LGBT friends or anything like that, but I suppose it was growing up and becoming aware of how you are in a cultural landscape that is blatantly homophobic... you turn around and say, 'Why did I grow up in a homophobic place? Why did I grow up in a misogynistic place?'

You grow up and recognise that in an educated, secular society, there's no excuse for ignorance. You have to recognise in yourself, and challenge yourself, that if you see racism or homophobia or misogyny in a secular society, as a member of that society, you should challenge it. You owe it to the betterment of society.

There was a moment, a few weeks after I signed, that it actually hit me. I was signed to a major label.

It was a rural upbringing by the seaside. A real quiet place surrounded by fields. I had to travel into town for school and stuff like that.

The main thing is, I can't stay up late partying when I'm on tour. That's not good for my voice or my health in general.

I'm quite tame as touring musicians go.

It's a surreal experience filming promotion with Ryan Seacrest and meeting Top 40 pop artists.

Religion wasn't imposed on me.

I dabbled with faith, and I explored religion quite thoroughly.

By the time I was in my teens, I was listening to Delta blues and jazz.

I try to be happy. I try to face things without regret or make sure that I'm happy with things and leave nothing unsaid if I can.

I love the sound of voices singing together, congregational singing, anything like gospel, or folk, or sea shanties.

I spent quite a bit of time in choirs, growing up, and in the world-touring music group Anuna.

Rarely do I finish a song lyrically before I have a musical idea there, but then again, rarely ever would I finish a song musically before starting the lyrical ideas. So a lot of the time, they come in tandem, or they just come at a glance.

I find lyrics can come at any time during the day, as can music.

Especially on the road, it's very hard to find time to actually sit down and write.

If I don't think something's worth saying, I don't think it's quite there, I'd rather just not say it, to be honest. In that case, I'd rather wait 'till the thought is ready, 'till I feel like I'm happy with everything.

I would love to get in trouble with the Catholic Church. I'm not religious myself, but my issue is with the organization. It's an organization of men - it's not about faith.

I love a good party - but I'm not all that attracted to a celebrity lifestyle.

I hate nightclubs, and I get fed up very quickly in crowded rooms. I enjoy being around people I know.

I was always drawn to gospel music and the roots of African-American music. It's the foundation of rock and roll.

There's not a lot of room for thinking in popular culture; there's not a lot of room for being conflicted.

The public discourse online is not done through the polite language of debate.

It sounds like I'm joking when I say it, but when I wrote 'Take Me To Church' and a lot of these things, I didn't think they would be hits. I thought I was writing for a potentially smaller audience.

I figured the songs wouldn't make much of a splash. I didn't think 'Take Me To Church' would play on the radio or get in the charts, and I didn't think about dealing with a global audience.

I had just discovered jazz, and I started singing in a kind of blues cover band at the age of 15. We called ourselves - it was a terrible name - the Blue Zoots. We couldn't actually get our hands on zoot suits, nor did we dress in blue. We did covers of Screamin' Jay Hawkins and kind of Blues Brothers repertoire stuff.

The first time I heard Tom Waits, it was like everything just flipped. It was just this fascination with him. My cousin showed me 'Small Change,' and I just couldn't get over that this was a white guy singing.

I've been a total Tom Waits dork for a long, long time.

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