Sabrina Carpenter does a SURPRISE Q&A | Meet your Maestro | BBC Maestro

She's really just the most beautiful person on the inside. I'm saying that because on the outside, she's gorgeous. Her talent knows no bounds. Miss Sabrina Carpenter. Hi. Thanks for having me. Hey guys. How's it going? This is so cute. We're doing good. I just am so happy to see you. I'm so happy to see you. This is like my, this is my safe place. I feel very, very happy when Eric is around. We met when you were really, really young. 12 years old. Can you believe that? One of the most inspirational parts of you is, I mean, you obviously were born huge talent, beautiful, a lot of charisma, but you never took advantage of all that. You worked really hard. Like you had a really great work ethic. I think it's in my nature. Obviously, I'm very lucky. I have, you know, an incredible team of people around me that deal with how I think involved I am in every little corner of the things that I make. You know, when I go to Coachella, when I go to these festivals, like the thing I want is for an artist to like give me everything they have and a little taste of all of it. And I wasn't headlining. So I was like, if I ever want a headline, I got to like make this very memorable and just do as much as I can with the space that I have at the time that I have. It was at sunset. So that sun was hitting me. And I was like, I thought I was going to throw up like half a set. But this is also, again, you learn so much. And part of it is also like having that smile on your face when you feel like you're, you feel terrible and you feel like you want to pass out. And I think you've taught me a lot in the sense of just like remaining composed, finding like little techniques on how to like recenter and keep yourself super present in those moments where it feels very easy to like get lost over here, bring yourself back to like, wow, this is something I've always wanted to do. I'm playing a show, this is fun. And even if it's not for playing a show, even if you're performing in front of a big crowd, a little crowd, I personally get very scared in front of small crowds. This is very intimidating to me. Big crowd, no, no, no, it's okay. It's not your fault. No, but I think it's, everyone's different. And some people like thrive with a lot of people and some people thrive with an intimate crowd. So I'm learning as I go, but I just, you know, your knowledge has guided me through everything my whole life, so. Wow, well, thanks. All right, we're opening up the questions to Sabrina. Anyone have a question? Oh, Jules. Where was your favorite place or country that you got to perform? Australia. And this is why she does so well. She knows she can read a room. Listen, I will say though, that Sydney is like, was one of the most magical cities to ever perform in. And I just got to do that recently on the Airstrow, which was very insane. And that crowd was just like one of one, so special. I would say besides that, I got to perform at Hyde Park with Blackpink like a little over a year ago. And that was one of the biggest crowds I've ever seen in my life. I think it was like 80,000 people. And it just felt like a sea. I also love London and playing there was very, very special. That's awesome. Yeah. Anybody else? Anna. I was mentally prepared and then I wasn't prepared. I have so many questions, but this one, you have like such a big range of the type of songs that you sing, including like the vocal register of it, like thumbs versus hearing you sing Hopelessly Devoted to You. I heard that and I was like, soul is levitating. Thank you. But like, how do you kind of like switch, even though I haven't heard you go from like thumbs to literally like a song? Yeah, I don't sing thumbs anymore. You know, but yeah. Yeah, we're not going from like Espresso to a song like Hopelessly Devoted to You. Like how do you navigate switching between those vocals with it? Well, I guess what's interesting is people, people would hear a song like Hopelessly Devoted and think like that's a harder song, which for me, it depends. Like when I'm trying to dance and sing, which your girl is still figuring it out, Espresso is actually a much harder song because there's not a lot of room for breath. And so even though the melody seemed relatively easy and kind of in the same register, that song for me is so much harder to sing than the cover of Hopelessly Devoted to You that I did, where I was sitting still and I was able to belt. And I've also, you know this, but ever since I was young, I've always had this vibrato that I can't get rid of. And I've gotten better at learning to control it, but I realized it's kind of what makes my voice my voice. And I really love it on a song like that where I can kind of sing these more elongated notes and my vibrato gets to feel like myself. Espresso is a little harder for me, again, because of the short breath control and just how precise some of the notes are. And when I'm in the studio, I was like, this is fun. Like, love this song. And then once I got on stage, I was like, this is kind of hard. Like, why did I write this song? But again, I'm always up for a challenge. I'm definitely still learning. And that's the easiest answer for that, is like, I get really excited to be able to showcase my range in a show. So that's why I include a song like Hopelessly Devoted. And that's also why I'm able to sing a song like Espresso. And yeah, I don't know. It's a good question though, because I really do think a lot of it is, you sort of just figure it out in the moment. Your songs are so personal. I mean, you really take personal, right? Things out of your life. Too personal. No, but which I just love, love all along, going back, even like Sumi, which was so brilliant. Do you have any tips or like songwriting, little things that have helped you along the way that maybe someone has imparted to you? I think I've really learned that there is no how-to, there is no manual, except your own instincts are your best friend. And I know it sounds like an easy sort of, I guess, piece of advice, but I've sort of really started to realize that in the last few years of trusting my gut, trusting my instincts. I just feel so great when I've accomplished like being able to put a experience or a feeling into words, because for most of our life, we're sort of dealing and battling with these emotions and feelings that we don't understand. So when I'm able to sort of sit down and think about something and think about the things that make it wrong, think about the things that make it right, I try not to write from a perspective of like, I'm right about everything. I try to write it from a perspective of like, I might be stupid and I might be making the worst decision of my life, but I just have to accept that. And then other songs, you can point a finger and that's okay, but it's just important to remain true to your own voice. I think, especially now, I don't know how you feel about this, but I feel like it's really easy right now to sort of like look at everyone else and what everyone else is doing. And I sort of grew up with this mentality being sort of put into my head by different record executives when I was younger of like, if this is what's working for other people, then you need to do that. And I don't think that's true. I think that you should do whatever feels the most authentic to you. And if that means getting online and getting in front of a camera and making videos and promoting your work, then that's one thing. And if not, then you don't have to do that. And there's other ways to find ways to be creative and to also share your work without it kind of, I think, making you feel like you're being something that you're not. So that's something I'm still learning right now even, but I'm very fortunate to have been doing this for a while before social media kind of got to the point that it's at now. It can be like a blessing, it can be a curse. But I think with songwriting, I write everything down and that's something that I will always do for the rest of my life, whether that's in a notebook, whether that's voice memos and in super inconvenient places, I'm just constantly documenting even thoughts that feel unnecessary or thoughts that feel not useful because they always guide me to the place that that gives me the idea that I would have never had if I didn't just write down this other stupid little thought. So yeah, I would say that. But it makes sense because it's you. It is really an extension of who you really are as a person. You're not trying to become somebody else. Which then starts raising some eyebrows because people are like, so you're just like super horny or like, what's your brand? No, it's not that, it's not that. But it's an extension, like my sense of humor is a part of everything I do. And I think that started to trickle down. I hate trickle down. I hate when people say trickle down. But yeah, that is what I'm trying to say. It's a part of it, yeah. And it leads you to the thing that you really do wanna say or need to know. I've also experienced so many times writing other better songs in the midst of writing one song. Of like, I'm writing something and I go, oh, I really love this line and I really wanna put it in this song but it doesn't really fit this song. But maybe that's a whole other song. And then I end up writing that whole other song and that was the song that spoke so much more truer to my actual emotions than the one I was writing. But I do try to finish songs regardless of if I think they're good or not. Just even to have a thing to look back on and kind of a reference point. But that's such an interesting point that you bring up. Like every thought, there's no unnecessary thoughts. They're all useful. Yeah, and it can lead you to the really important ones.