Red and blue spotlights beaming from the ceiling and cascading down on the wooden stage, set up with drums, a piano, and guitar section, make the perfect ensemble for the fused purple light hues to catch the magic that's happening as singer/songwriter Daley warms up and rehearses with his band for his headlining show at Webster Hall in New York City.

He directs his sound technician, located at the back of the intimate hall, asking him to adjust his mic volume and go over sound pitches, as the UK singer sets the ambiance of the night, hitting the falsettos and various tones on key. As his vocals strike the walls and mirrors of the room, creating an echo, the soul singer continues with vocal runs, and acoustic renditions of Janet Jackson's 'I Get Lonely,' to help prep for the 7pm start time.

But these warm-up exercises are nothing new to Daley, who has been doing this every night in February during his 14-date headline American Tour. Having recently wrapped sold out shows across the country, the singer is putting the final finishing touches on his latest album, and looks to start dropping new music soon. "Album is 90% done, three months maybe. I don't have a title for it yet. It might be a word that keeps popping up that I hear from time to time in my life, but I don't know yet," he explains.

After working with artists such as Marsha and Jessie J, what have they taught you about the music industry?

Working with other artists early on was really insightful because you can see people who are quite a few steps ahead of you and see how they handle situations, how they handle people around them, or how they have to handle responsibilities. It's reassuring to know I'm not the only one who freaks out or obsesses about things. It's always good to see how people handle stuff, and from a creative perspective, how people work. Like Marsha [Ambrosias] is very inspiring musically and the way she writes and the way she builds vocals is really amazing. So things like that. And you get good little gems of advice from people which is good. And I kind of feel like I'm in a place now where I can start giving advice to people, so that's good.

What's one piece of advice given to you that you remember?

When I collaborated with The Gorillaz, which was one of my first things, Damon Al Barn, who is part of The Gorillaz, literally told me, "Don't overthink things and sometimes the first thing that comes out is the right thing, and you don't have to put it aside and find something better. You can, but don't always assume your natural instinct is wrong and that there's something better." And I think that's kinda transferred into other areas of my life. In terms of like, just opinions on things, and how to deal with certain things, I always used to assume a manager or a label would know better than me, or would have a better answer, and a lot of the time it turned out that wasn't true and I should've just gone through my first feeling.

What advice would you give an artist who wants to get into the music industry?

Similar kind of thing, go with your gut feeling and don't automatically assume that someone knows better than you, and just know in your own mind what you want to be and how you want to be portrayed and how you want people to see you and how you want to behave. It takes a while to get that anyway, but no one has a better idea of you than you, so don't wait for someone to tell you that you should be doing something. Have your own motivations and your own goals and try to factor everything else in along the way.

How do you feel when you make music?

Depends really. Sometimes it's a frustrating process. Sometimes it's really easy, cathartic, and sometimes I feel like, Ugh, I've really just expressed what I wanted to express and sometimes I'm like, that song did not say what I wanted it to say. I'm not always satisfied. I have to write a lot of songs maybe one out of ten or twenty is one that I like. I'm really hard on myself. I just know when a song is right and when it's closer to the real sentiment.

How would you describe your sound?

I don't really know anymore. I used to call it future throwback soul, which is kind of what it is. It has this throwback feeling in the sense of its got this R&B feel and it's very focused on vocals and songwriting like an emotion to it. But then the sound I make it sound a little more futuristic and break out of that traditional thing. So there's always a soulful element to it. But now, I kind of like the terms of alternative soul, singer-songwriter vibes.

How do you feel about the term "R&B is dead?"

I just feel like people have been saying that forever and it never died, so is it in just some kind of coma? I first think people just have to have something to say. I mean R&B and soul is at the core of most of the successful artists. Like look at Adele, Sam Smith, Beyoncé, Justin Bieber. I just feel like R&B and soul are the inspiration for those artists in some way. I think people kind of want it to be dead and it's like no, it's just not. Like, it changes. You've got The Weekend, Adele, myself, I would like to think you know people who are continuing make it in different ways. And the people who say it's dead just don't know what they're talking about really.

Your two songs 'Broken' and 'Time Travel' both have a lot of meaning but have two different sounds. How do you change the genres but still stay true to your sound?

For me it's just about writing a song that actually means something, that's really all it is for me. I like to play around with sounds. Those two songs were written at two different times for different purposes. 'Broken' was a single in the UK and I wanted it to have a certain feel. Whereas 'Time Travel' was an album track [Days + Nights] which I loved and it didn't have to be a pop song, it just had to be the right feel. For me, as long as I'm content with what the song means, if it's fulfilled the purpose I wanted it to fulfill, I don't really obsess about what it will sound like.