Passenger

Busking is the essence of what I do. It's made everything possible.

I've spent the last 10 years constantly touring and haven't had much reason to stick around anywhere. I'm 34 now, and I've got a girlfriend and a house and two cats. I don't want to run away; I like where I'm at.

I think, and I don't know if it's because of 'Searching for Sugar Man,' but South Africans seem to not have to go with what's popular but what they like, and that's refreshing.

I'm lucky in the sense that I can write wherever I am - on the bus, in the hotel room, backstage, sitting at home.

I know Ed Sheeran writes with a bunch of fantastic writers, but for me, it's quite difficult to be that honest with other people.

I think expectations are sometimes dangerous things. I think the only thing you can be sure of is that it won't go to plan. I think that's the only thing that's definite.

I don't think I've ever really fitted into the industry and the scene. I feel like I've always been on the cusp.

What I love is when I play gigs, it's just me and a guitar - very simple, very direct and intimate, and you hear every lyric, and you hear every detail.

Hell Or High Water' was written after the end of a relationship, and I do feel like every Passenger album has the obligatory break-up song.

I love that - you get everything from seven-year-olds to 87-year-olds at Passenger gigs.

I think we're all survivors, to be honest. I mean, some of us more than others - some of us have to survive far more horrendous things than others. It's all relative: whatever your experience is.

If you're a priority artist, then you get an amazing amount of exposure and money thrown. If you are more niche, then it's not necessarily the way forward. If you want Instagram followers and fame, then the major labels are still really great for that.