Roisin Murphy

I was surrounded by music in my family, surrounded by people who sang songs - every single person I knew as a child growing up had one, two, three songs they knew from start to finish.

I thought I would be a visual artist when I was growing up, so I'm always up for a bit of experimentation.

There's a great deal of tension between so many kind of distinctive and restrictive female archetypes and images in the world. When you play with the archetypes, you get free.

I became a singer and a songwriter by learning on the spot, so think I always need to be slightly out of my comfort zone when I do something. I've never stopped being experimental because that's how I started.

I really do prioritise humour in people. It's a sign of intelligence. One of the most important things I heard that moulded me was Derek and Clive. That sense of release when I heard them for the first time, crying and laughing, was akin to seeing Sonic Youth for the first time.

My uncle was a photographer for 'The Irish Times.'

Take Her Up to Monto' is a very satirical song. I don't really like people calling it a folk song because it kind of isn't. It's a bit cheeky calling it 'Take Her Up to Monto,' but the whole idea was to be very irreverent.

Ambition can get you freedom.

I've only ever had surprises. My whole career's a surprise!

I'm proud that I've even had a career, but 'proud' isn't the first word I'd use. I feel lucky that I moved to Manchester when I was 12 because I don't think I could have done this in Ireland. And I feel lucky that the government took care of me from the age of 16 to when I signed my first record deal at 19.

Timeless and unclassifiable - that's the goal. My oddness is the pursuit of this above all else.

I'm really into architecture, I'm a member of the Brutalist Appreciation Society; I'm a member of the Postmodern Society. I write letters to save buildings.