Chords for Sufjan Stevens Belgium Radio Interview
Tempo:
76.7 bpm
Chords used:
E
Eb
Ab
Gb
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Soufiane Stevens, welcome to Belgium.
Thank you.
The name Jan is very common here in Belgium, in Holland, Germany, [E] but Soufiane isn't.
Does it have any Germanic roots?
I don't think so.
I think [Eb] it's actually a Persian name.
And Soufiane, it's Arabic, and it means comes with a sword.
Comes with a sword.
Right.
Does it fit you well?
I'm not sure.
I don't know [Em] if that means that I come to upset things or I [Eb] come with violence or maybe I just come well prepared.
[Abm] How did your parents find this name?
It's not really [E] common in the U.S.,. but it is sort of common in the Middle East. It's a Muslim name. And at the time, my parents, they [Eb] were very experimental in the 70s. They [Gb] were part of this group called Subud, which was kind of an enlightenment spiritual group. And the [Eb] guru of the group named Babak, he named everybody. And he was Indonesian, he was Muslim, so a lot of the names that he used were kind of Middle Eastern names. [C] Did you [Em] ever have a different name [N] before that? No, I was born with this name. [Gb] And then when I was five or six, my parents [N] apologized and said, if you'd like, all of you could change your names back, because I have some brothers and sisters as well. [Abm] So I chose the name Calvin. But we never got around to going to the courts to change it, [Ab] so I was stuck with this for a while. And you're happy with it now? Yeah, I suppose I am. [Eb] Last year you released a record [Gb] called Michigan. By [Db] using your home state as a guide, you were telling stories about family, about taking [Ab] care of your loved ones, [Bm] choices you make in life, [F] things like that. What [Ab] kind of a background do you have, what kind of a family do you come [Eb] from? I come from a pretty large family, because I [B] have two brothers and three sisters. [Eb] And [E] we were all kind of born and raised in Detroit, Michigan, and then we moved up north into the country. And so we had a really [B] big family, and there were a lot of animals and pets, and a [Eb] lot of cousins and aunts and grandparents always coming over. [Bb] So it was a very [Fm] kind of [Ab] noisy household. A lot of laughing and a lot of [E] arguing. When you have so many siblings, you spend a lot of time just making fun of each other. But I started playing the oboe in [B] middle school, and my mother encouraged me to play the oboe, and then from there the piano, and then after that the guitar. And I've [E] just always been given the freedom, I think, to do that, and to do what I love. I was never pushed in any direction, which I think is a credit to my [N] parents. Your main focus is on music right [Eb] now, but you [N] write as well? You do different things? Yeah, I did some writing. Years ago I went to a master's program for writers in New York City, and that's what I studied in my undergraduate work. [E] And it's something that I'm continuing to do, but feeling sort of less [Em] and less successful at it, because it's a very difficult form, and I'm [E] writing fiction, short stories. And I think it's something I will always be doing, and it's something that I might have more time to do in the future, maybe in five or ten years. But do those skills that you learned while you were studying still help you when you're writing your songs now? [F] Yes, I think so. I think [E] so. I [F] took a lot of workshops, and my [E] songs, I think, are very much invested in narrative. And I try to be mindful of the sounds of the words, the music of the words, and that's something you learn in fiction writing, and also in developing characters, which is hard to do in a song, but it's something I'm definitely conscious of. When you released the other record, the Michigan record, you had the [D] intention to write a record for each of the [E] 50 states, or at least [N] that's what we heard. Now, of course, there's another record, Seven Swans. Is this project still a possibility, or was it just a way of attracting attention? Probably the latter. I think I was just using hyperbole to get attention. But the more that I was made accountable to this statement, [Ab] and kind of these remarks, the more I was taking it seriously myself, and I started to do some investment [Ebm] in the idea. And I've been reading a lot more about American history, [C] and the formulation of boundaries in the states, and [E] trying to get a sense of what it means to be an American. And it's a very confusing thing, especially now, to have a real strong sense of identity as an American. And so it's actually inspired me to think more about this project, and so right now I am working on some [Dbm] songs for Illinois. [Ab] What was your intention with Seven Swans, the record you released this year? My [Fm] intentions Or [N] what did you want to express with this record? I [Ab] guess I was interested in quieter songs, and songs that were more personal, and that were [Em] invested in [F] themes that [E] were about family and love, and [Gb] about church and God, and about relationships between these things, and about the earth, [B] and a little bit of mythologies in there, I think, as well. And I had been reading a [E] lot of literature that was somewhat invested in religious themes, like Flannery O'Connor, [B] some William Blake, some of the other English romantics, [Gb] and Thomas Merton. So these people were and William Faulkner [F] as well. These people were kind of influencing the way I was thinking about [Eb] character and songwriting. [Abm] So those are kind of like the general themes, I think, that I was coming from. But when I look at it, the [E] record as a whole, I'm still kind of confused about what does it mean, and what is it saying. [Db] It's funny, though, you say you wanted to make [D] a more personal record, but then you worked with [B] Daniel Smith on the record. [C] Involving another person can be quite [Ab] hard, I can imagine, or maybe it [Abm] can also help. Yeah, it [Gb] was difficult at first. This is the first record that I didn't record myself. And he sort of handpicked the songs. He had heard me [Db] singing some of these things live. And he [E] said, why don't you record these? Why don't you put these on tape? And he offered his services. So it was a very casual project. I would go and visit his family on the weekends. And we'd record these songs in his house. And for the longest time, I just thought, these will never be released. And they felt like these were kind of relational songs between Daniel and myself, and his family and myself. And they stayed within those boundaries for a long time. And then when they were finally released, I felt like my privacy had been invaded all of a sudden. And these were things that I wouldn't necessarily have released to the public. But it's kind of exciting, because it's something you have no control over. And I think there's a [Eb] quality to the songs, and the sound of the songs and the recordings, and the rooms that they're recorded in that's captured there, that's pretty unusual [Gb] and isn't something I would have done on my own. Tonight you're [E] performing solo, I think. Yes, I am. Is that your choice, or is that [Ab] a financial choice, maybe, [E] coming to Europe? Yeah, it might be a matter of [Gb] economics. I think it's smart [E] when you first come over and do some shows, to do it alone and to see how it goes. I also think it's good in terms of your performance. And it takes an incredible amount of courage and takes a lot of patience, I think, to be performing alone. And I think it's good for me to do that, because I've been working with a band a lot in my live show, and I think depending on them a little too much. So it's really hard to play alone, but I think it's also a lot of fun, because [Ebm] it's a lot more intimate, it's more [E] personal. Thank you very much for taking some time out [N] to come and play for us and talk to us. Good luck tonight [Db] and on the rest of the tour. And hopefully we'll see you back with the band, because we would be interested [F] to see that as well. Thank you.
Thank you.
The name Jan is very common here in Belgium, in Holland, Germany, [E] but Soufiane isn't.
Does it have any Germanic roots?
I don't think so.
I think [Eb] it's actually a Persian name.
And Soufiane, it's Arabic, and it means comes with a sword.
Comes with a sword.
Right.
Does it fit you well?
I'm not sure.
I don't know [Em] if that means that I come to upset things or I [Eb] come with violence or maybe I just come well prepared.
[Abm] How did your parents find this name?
It's not really [E] common in the U.S.,. but it is sort of common in the Middle East. It's a Muslim name. And at the time, my parents, they [Eb] were very experimental in the 70s. They [Gb] were part of this group called Subud, which was kind of an enlightenment spiritual group. And the [Eb] guru of the group named Babak, he named everybody. And he was Indonesian, he was Muslim, so a lot of the names that he used were kind of Middle Eastern names. [C] Did you [Em] ever have a different name [N] before that? No, I was born with this name. [Gb] And then when I was five or six, my parents [N] apologized and said, if you'd like, all of you could change your names back, because I have some brothers and sisters as well. [Abm] So I chose the name Calvin. But we never got around to going to the courts to change it, [Ab] so I was stuck with this for a while. And you're happy with it now? Yeah, I suppose I am. [Eb] Last year you released a record [Gb] called Michigan. By [Db] using your home state as a guide, you were telling stories about family, about taking [Ab] care of your loved ones, [Bm] choices you make in life, [F] things like that. What [Ab] kind of a background do you have, what kind of a family do you come [Eb] from? I come from a pretty large family, because I [B] have two brothers and three sisters. [Eb] And [E] we were all kind of born and raised in Detroit, Michigan, and then we moved up north into the country. And so we had a really [B] big family, and there were a lot of animals and pets, and a [Eb] lot of cousins and aunts and grandparents always coming over. [Bb] So it was a very [Fm] kind of [Ab] noisy household. A lot of laughing and a lot of [E] arguing. When you have so many siblings, you spend a lot of time just making fun of each other. But I started playing the oboe in [B] middle school, and my mother encouraged me to play the oboe, and then from there the piano, and then after that the guitar. And I've [E] just always been given the freedom, I think, to do that, and to do what I love. I was never pushed in any direction, which I think is a credit to my [N] parents. Your main focus is on music right [Eb] now, but you [N] write as well? You do different things? Yeah, I did some writing. Years ago I went to a master's program for writers in New York City, and that's what I studied in my undergraduate work. [E] And it's something that I'm continuing to do, but feeling sort of less [Em] and less successful at it, because it's a very difficult form, and I'm [E] writing fiction, short stories. And I think it's something I will always be doing, and it's something that I might have more time to do in the future, maybe in five or ten years. But do those skills that you learned while you were studying still help you when you're writing your songs now? [F] Yes, I think so. I think [E] so. I [F] took a lot of workshops, and my [E] songs, I think, are very much invested in narrative. And I try to be mindful of the sounds of the words, the music of the words, and that's something you learn in fiction writing, and also in developing characters, which is hard to do in a song, but it's something I'm definitely conscious of. When you released the other record, the Michigan record, you had the [D] intention to write a record for each of the [E] 50 states, or at least [N] that's what we heard. Now, of course, there's another record, Seven Swans. Is this project still a possibility, or was it just a way of attracting attention? Probably the latter. I think I was just using hyperbole to get attention. But the more that I was made accountable to this statement, [Ab] and kind of these remarks, the more I was taking it seriously myself, and I started to do some investment [Ebm] in the idea. And I've been reading a lot more about American history, [C] and the formulation of boundaries in the states, and [E] trying to get a sense of what it means to be an American. And it's a very confusing thing, especially now, to have a real strong sense of identity as an American. And so it's actually inspired me to think more about this project, and so right now I am working on some [Dbm] songs for Illinois. [Ab] What was your intention with Seven Swans, the record you released this year? My [Fm] intentions Or [N] what did you want to express with this record? I [Ab] guess I was interested in quieter songs, and songs that were more personal, and that were [Em] invested in [F] themes that [E] were about family and love, and [Gb] about church and God, and about relationships between these things, and about the earth, [B] and a little bit of mythologies in there, I think, as well. And I had been reading a [E] lot of literature that was somewhat invested in religious themes, like Flannery O'Connor, [B] some William Blake, some of the other English romantics, [Gb] and Thomas Merton. So these people were and William Faulkner [F] as well. These people were kind of influencing the way I was thinking about [Eb] character and songwriting. [Abm] So those are kind of like the general themes, I think, that I was coming from. But when I look at it, the [E] record as a whole, I'm still kind of confused about what does it mean, and what is it saying. [Db] It's funny, though, you say you wanted to make [D] a more personal record, but then you worked with [B] Daniel Smith on the record. [C] Involving another person can be quite [Ab] hard, I can imagine, or maybe it [Abm] can also help. Yeah, it [Gb] was difficult at first. This is the first record that I didn't record myself. And he sort of handpicked the songs. He had heard me [Db] singing some of these things live. And he [E] said, why don't you record these? Why don't you put these on tape? And he offered his services. So it was a very casual project. I would go and visit his family on the weekends. And we'd record these songs in his house. And for the longest time, I just thought, these will never be released. And they felt like these were kind of relational songs between Daniel and myself, and his family and myself. And they stayed within those boundaries for a long time. And then when they were finally released, I felt like my privacy had been invaded all of a sudden. And these were things that I wouldn't necessarily have released to the public. But it's kind of exciting, because it's something you have no control over. And I think there's a [Eb] quality to the songs, and the sound of the songs and the recordings, and the rooms that they're recorded in that's captured there, that's pretty unusual [Gb] and isn't something I would have done on my own. Tonight you're [E] performing solo, I think. Yes, I am. Is that your choice, or is that [Ab] a financial choice, maybe, [E] coming to Europe? Yeah, it might be a matter of [Gb] economics. I think it's smart [E] when you first come over and do some shows, to do it alone and to see how it goes. I also think it's good in terms of your performance. And it takes an incredible amount of courage and takes a lot of patience, I think, to be performing alone. And I think it's good for me to do that, because I've been working with a band a lot in my live show, and I think depending on them a little too much. So it's really hard to play alone, but I think it's also a lot of fun, because [Ebm] it's a lot more intimate, it's more [E] personal. Thank you very much for taking some time out [N] to come and play for us and talk to us. Good luck tonight [Db] and on the rest of the tour. And hopefully we'll see you back with the band, because we would be interested [F] to see that as well. Thank you.
Key:
E
Eb
Ab
Gb
F
E
Eb
Ab
Soufiane Stevens, welcome to Belgium.
Thank you.
The name Jan is very common here in Belgium, in Holland, Germany, [E] but Soufiane isn't.
Does it have any Germanic roots?
I don't think so.
I think [Eb] it's actually a Persian name.
And Soufiane, it's Arabic, and it means comes with a sword.
Comes with a sword.
Right.
Does it fit you well?
I'm not sure.
I don't know [Em] if that means that I come to upset things or I [Eb] come with violence or maybe I just come well prepared.
[Abm] How did your parents find this name?
It's not really [E] common in the U.S.,. but it is sort of common in the Middle East. It's a Muslim name. And at the time, my parents, they [Eb] were very _ experimental in the 70s. They [Gb] were part of this group called Subud, which was kind of an enlightenment spiritual group. And the [Eb] guru of the group named Babak, he named everybody. And he was Indonesian, he was Muslim, so a lot of the names that he used were kind of Middle Eastern names. [C] Did you [Em] ever have a different name [N] before that? No, I was born with this name. [Gb] And then when I was five or six, my parents [N] apologized and said, if you'd like, all of you could change your names back, because I have some brothers and sisters as well. [Abm] So I chose the name Calvin. _ _ But we never got around to going to the courts to change it, [Ab] so I was stuck with this for a while. And you're happy with it now? Yeah, I suppose I am. [Eb] Last year you released a record [Gb] called Michigan. _ By [Db] using your home state as a guide, you were telling stories about family, about taking [Ab] care of your loved ones, _ [Bm] choices you make in life, [F] things like that. What [Ab] kind of a background do you have, what kind of a family do you come [Eb] from? I come from a pretty large family, because I [B] have two brothers and three sisters. [Eb] And [E] we were all kind of born and raised in Detroit, Michigan, and then we moved up north into the country. _ And so we had a really [B] big family, and there were a lot of animals and pets, and a [Eb] lot of cousins and aunts and grandparents always coming over. [Bb] So it was a very [Fm] kind of [Ab] noisy household. A lot of laughing and a lot of [E] arguing. When you have so many siblings, you spend a lot of time just making fun of each other. But I started playing the oboe in [B] middle school, and my mother encouraged me to play the oboe, and then from there the piano, and then after that the guitar. And I've [E] just always been given the freedom, I think, to do that, and to do what I love. I was never pushed in any direction, which I think is a credit to my [N] parents. Your main focus is on music right [Eb] now, but you [N] write as well? You do different things? Yeah, I did some writing. Years ago I went to a master's program for writers in New York City, and that's what I studied in my undergraduate work. [E] And it's something that I'm continuing to do, but feeling sort of less [Em] and less successful at it, because it's a very difficult form, and I'm [E] writing fiction, short stories. And I think it's something I will always be doing, and it's something that I might have more time to do in the future, maybe in five or ten years. But do those skills that you learned while you were studying still help you when you're writing your songs now? [F] Yes, I think so. I think [E] so. I [F] took a lot of workshops, and my [E] songs, I think, are very much invested in narrative. And I try to be mindful of the sounds of the words, the music of the words, and that's something you learn in fiction writing, and also in developing characters, which is hard to do in a song, but it's something I'm definitely conscious of. When you released the other record, the Michigan record, _ you had the [D] intention to write a record for each of the [E] 50 states, or at least [N] that's what we heard. Now, of course, there's another record, Seven Swans. Is this project still a possibility, or was it just a way of attracting attention? Probably the latter. I think I was just using hyperbole to get attention. But the more that I was made accountable to this statement, [Ab] and kind of these remarks, the more I was taking it seriously myself, and I started to do some investment [Ebm] in the idea. And I've been reading a lot more about American history, [C] and the formulation of boundaries in the states, and [E] trying to get a sense of what it means to be an American. And it's a very confusing thing, especially now, to have a real strong sense of identity as an American. And so it's actually inspired me to think more about this project, and so right now I am working on some [Dbm] songs for Illinois. [Ab] What was your intention with Seven Swans, the record you released this year? My [Fm] intentions_ Or [N] what did you want to express with this record? I [Ab] guess I was interested in quieter songs, and songs that were more personal, and that were [Em] invested in [F] themes that [E] were about family and love, and [Gb] about church and God, and about relationships between these things, and about the earth, [B] and a little bit of mythologies in there, I think, as well. And I had been reading a [E] lot of literature that was somewhat invested in religious themes, like Flannery O'Connor, [B] some William Blake, some of the other English romantics, [Gb] and Thomas Merton. So these people were_ and William Faulkner [F] as well. These people were kind of influencing the way I was thinking about [Eb] character and songwriting. [Abm] So those are kind of like the general themes, I think, that I was coming from. But when I look at it, the [E] record as a whole, I'm still kind of confused about what does it mean, and what is it saying. [Db] It's funny, though, you say you wanted to make [D] a more personal record, but then you worked with [B] Daniel Smith on the record. [C] Involving another person can be quite [Ab] hard, I can imagine, or maybe it [Abm] can also help. Yeah, it [Gb] was difficult at first. This is the first record that I didn't record myself. And he sort of handpicked the songs. He had heard me [Db] singing some of these things live. And he [E] said, why don't you record these? Why don't you put these on tape? And he offered his services. So it was a very casual project. I would go and visit his family on the weekends. And we'd record these songs in his house. And for the longest time, I just thought, these will never be released. And they felt like these were kind of relational songs between Daniel and myself, and his family and myself. And they stayed within those boundaries for a long time. And then when they were finally released, I felt like my privacy had been invaded all of a sudden. And these were things that I wouldn't necessarily have released to the public. But it's kind of exciting, because it's something you have no control over. And I think there's a [Eb] quality to the songs, and the sound of the songs and the recordings, and the rooms that they're recorded in that's captured there, that's pretty unusual [Gb] and isn't something I would have done on my own. _ Tonight you're [E] performing solo, I think. Yes, I am. Is that your choice, or is that [Ab] a financial choice, maybe, [E] coming to Europe? Yeah, it might be a matter of [Gb] economics. I think it's smart [E] when you first come over and do some shows, to do it alone and to see how it goes. I also think it's good in terms of your performance. And it takes an incredible amount of courage and takes a lot of patience, I think, to be performing alone. And I think it's good for me to do that, because I've been working with a band a lot in my live show, and I think depending on them a little too much. So it's really hard to play alone, but I think it's also a lot of fun, because [Ebm] it's a lot more intimate, it's more [E] personal. Thank you very much for taking some time out [N] to come and play for us and talk to us. Good luck tonight [Db] and on the rest of the tour. And hopefully we'll see you back with the band, because we would be interested [F] to see that as well. Thank you. _ _ _ _
Thank you.
The name Jan is very common here in Belgium, in Holland, Germany, [E] but Soufiane isn't.
Does it have any Germanic roots?
I don't think so.
I think [Eb] it's actually a Persian name.
And Soufiane, it's Arabic, and it means comes with a sword.
Comes with a sword.
Right.
Does it fit you well?
I'm not sure.
I don't know [Em] if that means that I come to upset things or I [Eb] come with violence or maybe I just come well prepared.
[Abm] How did your parents find this name?
It's not really [E] common in the U.S.,. but it is sort of common in the Middle East. It's a Muslim name. And at the time, my parents, they [Eb] were very _ experimental in the 70s. They [Gb] were part of this group called Subud, which was kind of an enlightenment spiritual group. And the [Eb] guru of the group named Babak, he named everybody. And he was Indonesian, he was Muslim, so a lot of the names that he used were kind of Middle Eastern names. [C] Did you [Em] ever have a different name [N] before that? No, I was born with this name. [Gb] And then when I was five or six, my parents [N] apologized and said, if you'd like, all of you could change your names back, because I have some brothers and sisters as well. [Abm] So I chose the name Calvin. _ _ But we never got around to going to the courts to change it, [Ab] so I was stuck with this for a while. And you're happy with it now? Yeah, I suppose I am. [Eb] Last year you released a record [Gb] called Michigan. _ By [Db] using your home state as a guide, you were telling stories about family, about taking [Ab] care of your loved ones, _ [Bm] choices you make in life, [F] things like that. What [Ab] kind of a background do you have, what kind of a family do you come [Eb] from? I come from a pretty large family, because I [B] have two brothers and three sisters. [Eb] And [E] we were all kind of born and raised in Detroit, Michigan, and then we moved up north into the country. _ And so we had a really [B] big family, and there were a lot of animals and pets, and a [Eb] lot of cousins and aunts and grandparents always coming over. [Bb] So it was a very [Fm] kind of [Ab] noisy household. A lot of laughing and a lot of [E] arguing. When you have so many siblings, you spend a lot of time just making fun of each other. But I started playing the oboe in [B] middle school, and my mother encouraged me to play the oboe, and then from there the piano, and then after that the guitar. And I've [E] just always been given the freedom, I think, to do that, and to do what I love. I was never pushed in any direction, which I think is a credit to my [N] parents. Your main focus is on music right [Eb] now, but you [N] write as well? You do different things? Yeah, I did some writing. Years ago I went to a master's program for writers in New York City, and that's what I studied in my undergraduate work. [E] And it's something that I'm continuing to do, but feeling sort of less [Em] and less successful at it, because it's a very difficult form, and I'm [E] writing fiction, short stories. And I think it's something I will always be doing, and it's something that I might have more time to do in the future, maybe in five or ten years. But do those skills that you learned while you were studying still help you when you're writing your songs now? [F] Yes, I think so. I think [E] so. I [F] took a lot of workshops, and my [E] songs, I think, are very much invested in narrative. And I try to be mindful of the sounds of the words, the music of the words, and that's something you learn in fiction writing, and also in developing characters, which is hard to do in a song, but it's something I'm definitely conscious of. When you released the other record, the Michigan record, _ you had the [D] intention to write a record for each of the [E] 50 states, or at least [N] that's what we heard. Now, of course, there's another record, Seven Swans. Is this project still a possibility, or was it just a way of attracting attention? Probably the latter. I think I was just using hyperbole to get attention. But the more that I was made accountable to this statement, [Ab] and kind of these remarks, the more I was taking it seriously myself, and I started to do some investment [Ebm] in the idea. And I've been reading a lot more about American history, [C] and the formulation of boundaries in the states, and [E] trying to get a sense of what it means to be an American. And it's a very confusing thing, especially now, to have a real strong sense of identity as an American. And so it's actually inspired me to think more about this project, and so right now I am working on some [Dbm] songs for Illinois. [Ab] What was your intention with Seven Swans, the record you released this year? My [Fm] intentions_ Or [N] what did you want to express with this record? I [Ab] guess I was interested in quieter songs, and songs that were more personal, and that were [Em] invested in [F] themes that [E] were about family and love, and [Gb] about church and God, and about relationships between these things, and about the earth, [B] and a little bit of mythologies in there, I think, as well. And I had been reading a [E] lot of literature that was somewhat invested in religious themes, like Flannery O'Connor, [B] some William Blake, some of the other English romantics, [Gb] and Thomas Merton. So these people were_ and William Faulkner [F] as well. These people were kind of influencing the way I was thinking about [Eb] character and songwriting. [Abm] So those are kind of like the general themes, I think, that I was coming from. But when I look at it, the [E] record as a whole, I'm still kind of confused about what does it mean, and what is it saying. [Db] It's funny, though, you say you wanted to make [D] a more personal record, but then you worked with [B] Daniel Smith on the record. [C] Involving another person can be quite [Ab] hard, I can imagine, or maybe it [Abm] can also help. Yeah, it [Gb] was difficult at first. This is the first record that I didn't record myself. And he sort of handpicked the songs. He had heard me [Db] singing some of these things live. And he [E] said, why don't you record these? Why don't you put these on tape? And he offered his services. So it was a very casual project. I would go and visit his family on the weekends. And we'd record these songs in his house. And for the longest time, I just thought, these will never be released. And they felt like these were kind of relational songs between Daniel and myself, and his family and myself. And they stayed within those boundaries for a long time. And then when they were finally released, I felt like my privacy had been invaded all of a sudden. And these were things that I wouldn't necessarily have released to the public. But it's kind of exciting, because it's something you have no control over. And I think there's a [Eb] quality to the songs, and the sound of the songs and the recordings, and the rooms that they're recorded in that's captured there, that's pretty unusual [Gb] and isn't something I would have done on my own. _ Tonight you're [E] performing solo, I think. Yes, I am. Is that your choice, or is that [Ab] a financial choice, maybe, [E] coming to Europe? Yeah, it might be a matter of [Gb] economics. I think it's smart [E] when you first come over and do some shows, to do it alone and to see how it goes. I also think it's good in terms of your performance. And it takes an incredible amount of courage and takes a lot of patience, I think, to be performing alone. And I think it's good for me to do that, because I've been working with a band a lot in my live show, and I think depending on them a little too much. So it's really hard to play alone, but I think it's also a lot of fun, because [Ebm] it's a lot more intimate, it's more [E] personal. Thank you very much for taking some time out [N] to come and play for us and talk to us. Good luck tonight [Db] and on the rest of the tour. And hopefully we'll see you back with the band, because we would be interested [F] to see that as well. Thank you. _ _ _ _