Explore Quotes on Song

Sometimes, you sit down to write a song, you don't realize what it's going to mean to somebody other than yourself.

When I go into a room to write, it's like I'm not trying to say, 'I need to write a song that sounds like Eric Church or Jason Aldean.' I just try to get the best song that's in the room that day. Whatever style or sound that may be, I'm not afraid to attack it at that angle.

I didn't know how to play guitar until I was 21, but from the moment I was good enough on guitar to even put one song together, I kind of billed myself as an artist.

I do gravitate towards the sad songs because I find them to be more of a challenge for me from a writing perspective. There are things about those songs that do touch people in a way that a fun song can't.

When I picked up guitar, it wasn't like, 'OK, I'm going to be Kenny Chesney.' It was like, 'I want to play a chord,' and then it was like, 'I want to play another one, then play a song, then sing while playing the song.'

I guess the point of that song 'Troublemaker, Doppelganger' is trying to navigate the worth of beauty and if it's hurtful or helpful to value beauty. If it's a curse or a blessing. Is that something really negative and morbid, like the hearse, or is it the limousine - a glamorous symbol of enjoying life?

'Night Shift' is the only breakup song I've ever written.

I made my first complete song when I was 9.

Sometimes I might borrow something from a song I started a long time ago and see if I can grab something.

'Pop' is not a bad word. What's more interesting than changing the chemistry in a room in three minutes with a song?

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.

The first time I wrote a song, I couldn't really believe - 'Can you just do that? You're just allowed?' I never thought about songs on the radio and who wrote them.

I don't think a good singer or a great singer is either of those things without a great song.

You could have written the biggest hit song, and all eyes are looking to you to write another one. It's not a thankless job; it's just an endless job.

I feel like emotional content is the most important of any song, for any artist.

I only want to write a song with the people who want to write a song with me.

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.

Pop is like a puzzle: to write a perfect pop song, you never know, and there's so much that can happen in a second with a song.

No matter what, if you write a song that's great that everyone expects to be a hit, then everyone's going to be expecting another one from you. If you write a song that no one notices, you're going to want to write one that someone will.

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 sing what I want to sing and, if in the middle of the show I feel like doing a Frank Sinatra song, I will, but for the most part my show is a country show.