You never get away from that thing in your hometown that it has over you. You don't outgrow where you come from.
We built something very special with Gaslight, and we don't want to mess with that sound too much. But I've always wanted to do a record where I can put strings or organs or pianos or whatever on it.
Everyone always says, 'We don't want to be pigeonholed.' But sometimes, your pigeonhole is a great place to be.
I don't like it when people spout about the popular opinion just to make it louder.
You get a realisation at some point in your career that whatever it is you do, you can no longer continue to do it. You just realise you can't put out the same records forever.
I don't want to be a lead player. I don't want to shred and play fast licks. I just want to be the best rhythm section ever.
Going out and trying new stuff on an audience is a scary thing.
The Gaslight Anthem is very streamlined. We don't usually use organs and strings and things like that.
I never got a chance to do Tom Waits or PJ Harvey kind of stuff in the Gaslight Anthem.
Tom Waits is someone who has really struck me, ever since I was a kid. He's really a big deal for me.
It's always Bob Dylan, Bruce Springsteen, and Tom Waits for me - the big three.