"Amy Winehouse – her music’s amazing, and she was amazing. Such a great loss to the British music industry, and to the world, really. She’s so missed ­– what a gift her music was to us. Often I’ll listen to music ‘cause musically it’s something I love, but although she ticks every box for me, I just loved what Amy was saying lyrically and how she found such a free way to be herself through music. She really took that spirit of jazz and brought it forward to now. I love Back To Black, that was a phenomenal album, but her first album, Frank, had such an edge to it, and such a rawness, that I just fell in love with it. ""I remember when I was first coming to London to do showcases – I was about 16 – the people that managed me at that point were like, ‘you need to hear this girl! She’s signed to Polydor, she’s amazing, she sits and plays guitar and she’s got these really cool songs!’ They were just raving about this girl called Amy. It was so cool that we were in this similar world. ""I remember when I went to Polydor to see if they wanted to sign me, they gave me a couple of her CDs for free. I was so excited to be in London in the first place, and then to be at a record label, then to get a free CD! I was completely gassed, and the fact it was Amy Winehouse was so cool. ""Frank is such a beautiful album and it reminds me of that time. It reminds me of a real freedom, and of feeling so inspired by what she was saying and how she was saying. There seemed to be no rules – every track was a different genre. The one thing sustaining it – the backbone of the whole album – was her and her voice and her lyrical style. That, to me, is the definition of a true artist. No matter what you put out, your style and artistry belongs to you and you’re the one that carries it through. ""With this song, 'Take The Box', it’s so visual. I don’t even think there was a video for the song, but I feel like I’ve seen it! I feel I can see the whole scenario playing: breaking up with someone, and speaking about relationships in such an open, honest way. I think that’s so important for women. You want to sugar-coat things, you want a perfect reality, and sometimes that stops people telling the truth and getting out of relationships they shouldn’t be in. Amy always gave this very frank account of what it was. ""I loved the melody and the topline of this song. I’ve really been trying to take a step back and look at the process of songwriting instead of just delving straight into it. When you get that perfect trilogy of the topline melody, the chords your using, and the lyric making sense at the same time… she did that perfectly with this song: “Your neighbours were screaming / I don't have a key for downstairs”. It’s such a memorable melody, I think that’s the first thing that pulled me in."

"Berlin, for me, is one of the most complete albums. It incorporates and encapsulates everything I love about albums and music, which for me is it being like a film that plays out in your mind. There's a sort of cinematic aspect to the whole thing. It's storytelling in its darkest and most beautiful form, it takes you through a relationship from the beginning to the end and you get invested in characters and people that are inhabiting the scenery that Lou Reed's talking about. You feel pain, in the end, when it's: "They're taking her children away / Because they said she was not a good mother". Those lyrics, and "this is the place our children were conceived / Candles lit the room brightly at night" and "this is the place where she cut her wrists / That odd and fateful night". It's just like, fuck me, who actually talks about that stuff any more? Who's brave enough to believe in the album as a whole? Because you take out any of those songs, and they're fantastic songs, but the whole point is it's a novel, and you have to invest in listening to the lyrics and absorbing the atmosphere and going with it the whole way through to really get that fucking hit at the end, where you're just devastated. The full entity, that's the album I wish I'd made. My boyfriend for seven years, when I was 18 to 25, was obsessed with Lou Reed and we saw him loads of times. He probably played it to me quite early on, maybe when I was 19 or 20, but I think I actually got obsessed with it on my own around 23, and just listened to it over and over again. And then luckily, it got brought back live and he toured it with the full children's choir and bloody string section in his band. It was such a treat to see that. In 'The Kids', they put all the samples of the children going "mummy!" and crying and banging on the door. Apparently they actually locked someone's kids in a room and recorded them, sobbing away. [laughs] Absolute bastard, you know, but what have you got to do for the arts? That really struck me at the time, thinking how much I love film and whenever I write music, I see it, in characters and colours and locations and places, and it's like they had, like lots of other people I suppose. There are so many songs by him that I love, but I wouldn't say there are any albums by him that I love the whole way through as much as this one. Obviously there's 'Satellite Of Love' and 'Perfect Day' and 'Walk On The Wild Side', which I think are fantastic pop songs because they've got grit - when I think about great songs that have darkness and grit and integrity, I think of Lou Reed and Kurt Cobain, and those are my two men that I reference. When I was writing 'Laura', I was like "okay, Lou", can I summon the spirit of Lou? Just to be able to talk brutally and honestly about a thing, but within a context of a song that people will remember. It's just in my DNA now, always with me, it's just part of me."