I used to go to a lot of Pam Hogg shows. The thing about London Fashion Week is that, generally, we're on tour and traveling around, so it's very rare that I actually catch it. I like to go to Burberry because I know a few girls who work there. I kind of follow friends.
Every day, it's a different country, different time zone. If you asked me where home was, I've never felt like I've had that. My idea of comfort is to leave a place. Two weeks is sort of my max.
Everybody wants you to do this thing that you've always been doing forever. That's what they want: they want Martin Scorsese to make the same film two hundred times rather than trying to be something different.
I can't talk on the radio at all. When the red light comes on, my hands go up in the air: I think they're trying to get to my face, to shut me up. I don't talk on stage for the same reason.
I do always want to be creating something; I can't help it. I don't know why that is, but I'm certainly not gonna knock it now, at the age of 36. It seems to be working.
I get along great with my family. My parents are really proud of me and my brother, who's a chef here in New York. I don't see my parents often, but they're very supportive, especially as I get older.
I had a bunch of paintings around at my house, and someone said to me, 'Why don't you just put them on Instagram? Why don't you show people these?' And I didn't want to - it was just something else I would have to do. But eventually, I was like, 'What's the harm?' And the response was so insane!
I love being on stage more than anything, and I think that's what comes across. I think the most honest representation of any music is to play it right there in front of people. It's a moment - it's all one of a kind, every little part of it. There's no repeat.
I love touring. I can't wait. Everything is just normal when you're finally on tour. I think, for me, it's my happiest thing; I love moving around, and I have friends and family all over the place. It's kind of my time. It's almost like home. It's when I get to see everybody.
I think we choose gear by the way that it looks. We choose lots of things by the way that it looks. I don't like bands that look like roadies. I don't like when I can't tell who's the guitar tech and who's the guitar player.
Being on the road, I think, is the most organised part of my life. You know where you have to be every day; you know what your job is every day. I crave that tiny bit of stability, which anyone else would think is the most unstable way of living, ever.
I'm inspired by being in a different town every day - all the people I meet, all the things I see. There's no way of compartmentalizing everything in my head; whatever I'm taking in is coming out in some way. I think I love painting so much because, for me, it's so fast. There's not too much thought in these paintings.
I'm not saying I'll never go solo - never is a long time - but I've always been onstage with someone else. That way, you're in it together, and you can feel, together, when the songs are right.
If I'm at a party, and there are lots of people running around, you'll most likely find me on the floor, painting... I want to be at the party, but I want to do something. I'm just not very idle at all.
In the studio, you can always stop, rewind and do it again, but on stage, you can never do that - it's a different energy. It separates good bands from bad bands, being able to play, perform and really capture an audience. I think that's the hardest part.
Lollapalooza, that was one of my worst shows. We just played at, like, 3 in the afternoon; it was like the hottest, most miserable thing. My shoes were melting. I just thought I was going to die. It was the most horrible experience. I lasted, what, four songs? In front of quite a lot of people. That was one of my least favorites.
Painting is almost like a sport. It's like this action thing. When I do it, I'm really not thinking. The paintings are like a diary that I might not want to read again.
People can be quite cynical. 'The Kills are too cool.' There's been an on-and-off relationship with the music press that loves us and then hates us then loves us again. I don't think any kind of press is reliable.
When you're recording in the midst of touring, you get a different sense about you. Things are more rocking, darker, heavier and louder. You're thinking about the audience that you're seeing every night.
You have a physical human reaction to something that another human being made. When you remove the human from it, and you chop it up, make it all perfect, you have a different reaction. Something is not there. You can feel it when it's there.
