What did you get out of working with Jack that you haven’t with others?

It’s kind of like a romance in a way, where things work out best when you really are not looking for it. I was at a party and I met him and I didn’t even really want to go down to the studio, because it was winter and I was chilling. But then we wrote a song in about 40 minutes — “Love Song” — and I was like, “You are so good, would you mind recording me live, to no track, singing this song that I’ve journaled called ‘Hope Is a Dangerous Thing’?” And I really liked how he captured my voice without instruments. I thought, [expletive] it, let’s make an album.

Do you have a theory as to why so many female artists are drawn to working with him?

I think it’s his musicianship. I know a lot of producers who can’t play. He plays the sitar on one of the last things we did! I feel like what I can do in terms of grabbing a melody out of the air, he can do with a very minor chord progression and just like, mmm, magical.

Is there anything intimidating about putting out a Jack-produced album at the same time as Taylor Swift?

Oooh. Well, it certainly makes me think more about what the [expletive] I’m doing with my life. [Laughs]

In what way?

I’m mostly at the beach! So, yeah, I was like, I better leave the house and go do something. I mean [long pause, followed by a sigh]. My plan is having no plan, pretty much all the time, which actually works out very well for me. But I do have to sometimes snap out of it and be like, oh, music changes, culture changes. Sometimes people want more from you than what you are giving, so let me step up to the plate a little bit and show up for my songs. I wasn’t really thinking about the Taylor album and then it came out and then I was like, “Oh wow.” I didn’t really realize these were a week apart.