Sara Bareilles

My hope is, as a songwriter, I can work to articulate things that maybe you wouldn't quite know how to say or other people feel like, oh, I'm the only person who feels this. And then, like, wait, she must feel it too because it's right there in the song.

Set me free me be I don't want to fall another moment into your gravity here I am and I stand so tall I'm just the way I'm supposed to be but you're onto me and over me you loved me cause I'm fragile and I thought that I was strong you touched me for a little while and all my fragile strength is gone sad

Set me free me be I don't want to fall another moment into your gravity here I am and I stand so tall I'm just the way I'm supposed to be but you're onto me and over me you loved me cause I'm fragile and I thought that I was strong you touched me for a little while and all my fragile strength is gone sad

Set me free me be I don't want to fall another moment into your gravity here I am and I stand so tall I'm just the way I'm supposed to be but you're onto me and over me you loved me cause I'm fragile and I thought that I was strong you touched me for a little while and all my fragile strength is gone sad

I don't want to fall another moment into your gravity Here I am and I stand so tall Just the way I'm supposed to be But you're onto me I live here on my knees as I try to make you see that you're everything I think I need. Here on the ground, that you're neither friend nor foe, though I can't seem to let you go. The one thing that I still know is that you're keeping me down.

I don't want to fall another moment into your gravity Here I am and I stand so tall Just the way I'm supposed to be But you're onto me I live here on my knees as I try to make you see that you're everything I think I need. Here on the ground, that you're neither friend nor foe, though I can't seem to let you go. The one thing that I still know is that you're keeping me down.

I don't want to fall another moment into your gravity Here I am and I stand so tall Just the way I'm supposed to be But you're onto me I live here on my knees as I try to make you see that you're everything I think I need. Here on the ground, that you're neither friend nor foe, though I can't seem to let you go. The one thing that I still know is that you're keeping me down.

Sarah Bareilles speaking with staff writer Rachel Syme. More in a moment.

Sarah Bareilles speaking with staff writer Rachel Syme. More in a moment.

Sarah Bareilles speaking with staff writer Rachel Syme. More in a moment.

And wound up killing 20, 30,000 people or so before it was over with.

And wound up killing 20, 30,000 people or so before it was over with.

And wound up killing 20, 30,000 people or so before it was over with.

I don't think art itself is vulnerable. I think artists are vulnerable. I watch a lot of young artists get... popular really quickly because of the way the mechanism functions at this point. There used to be more time. The idea that it was a slow burn, and there is something valuable about it being a slow burn. And I watch a lot of these young artists... freak out, cancel big shows.

I don't think art itself is vulnerable. I think artists are vulnerable. I watch a lot of young artists get... popular really quickly because of the way the mechanism functions at this point. There used to be more time. The idea that it was a slow burn, and there is something valuable about it being a slow burn. And I watch a lot of these young artists... freak out, cancel big shows.

I don't think art itself is vulnerable. I think artists are vulnerable. I watch a lot of young artists get... popular really quickly because of the way the mechanism functions at this point. There used to be more time. The idea that it was a slow burn, and there is something valuable about it being a slow burn. And I watch a lot of these young artists... freak out, cancel big shows.

And I don't fault them for this. I feel like the exponential growth is more than could possibly be metabolized by an artist at that. You're playing 100 people one day and then two months later you're playing to like 50,000 people. It's not normal. I think you have to be really clear on why are you making what you're making.

And I don't fault them for this. I feel like the exponential growth is more than could possibly be metabolized by an artist at that. You're playing 100 people one day and then two months later you're playing to like 50,000 people. It's not normal. I think you have to be really clear on why are you making what you're making.

And I don't fault them for this. I feel like the exponential growth is more than could possibly be metabolized by an artist at that. You're playing 100 people one day and then two months later you're playing to like 50,000 people. It's not normal. I think you have to be really clear on why are you making what you're making.

If it's to get magazine covers or if it's to get rich, I would really encourage you to do something else because art doesn't have time for that. Because I think creation is a holy act. I think it's sacred work. And I think it's like ministry to take care of the world with making art.