With a Brit Award tucked under her arm and a No1 debut album, 2012 has been Emeli Sande’s year. As she headlines Lounge on the Farm, the 24-year-old Scot talks about supporting Coldplay, having a “cool relationship” with Alicia Keys and writing songs for Alesha Dixon, Cheryl Cole and Tinie Tempah.

To say it’s been quite a year for you is an understatement. Is there one favourite moment that sticks out?

There are so many. Opening for Coldplay in Glasgow in front of 16,000 people was incredible – it was basically a homecoming for me, but I was coming back as a pop star. That was genuinely weird. And sitting at a piano with Alicia Keys, writing for her. That was a proper, “woah, is this really happening?” moment.

Alicia Keys has sold more than 30 million albums. Isn’t it nerve-racking to work with someone like that?

Well, not any more, because we’ve now done so much writing together. But definitely, when I first met her it was very daunting. She’s really chilled out and we have a pretty cool relationship. But I still have to remind myself that the 14- year-old me would never have believed this could have happened.

Has playing with Coldplay on their UK and US tourshelped you work out what kind of live show you want to put on?

What is really amazing is that they make it seem like they’re playing just for you, even though it’s actually a massive arena. It was a big learning curve because I was probably most worried about how I make some of my more intimate songs work for that many people. Watching Coldplay – even the way they warm up before – makes you realise there are so many little things you need to think about if you want to get your live show right. I learnt so much from them.

What’s the biggest difference between writing songs for other people and writing them for yourself?

That’s a hard one. If I’m in the room with them, you have to bring their feelings and emotions at that moment to the forefront of your mind, and help channel that. Whereas when I’m writing for me, it’s just what I’m going through.

Was there a moment where you said, I don’t have to write for other people, I could do this myself?

I can see how it might seem that way, but, it was much more gradual than that. I guess when I wrote [2011 single] Heaven I really did realise this could be a really good introduction to me as a recording artist. But you do just have to get out there and do it, get chucked on stage and see if you sink or swim.

The album, Our Version of Events, isn’t just 12 versions of Heaven though is it? What did you want to try and achieve with a debut album of your own?

I just wanted to try and take it back to how I wrote songs in the beginning. I had quite a classical training as a songwriter; I play piano, so it was important to make sure I got that across. More than that, I wanted people to see every side of me as an artist, so it was important to have songs where there could be a real connection with the lyric, rather than there just be throwaway pop. That was the main thing for me.

What’s the key to writing good songs?

Simplicity. When I think back to stuff I was writing when I was 17, it was too complicated, there were too many words and parts. The key to a classic song is keeping the melody simple and the lyric effective. It’s much, much easier said than done. But if you can get that right, then, well, you’re there.

It must have felt amazing to win the Critics’ Choice award at the Brits.

I was so excited. It meant so much in terms of my confidence because my album wasn’t out yet, and no matter how happy you are with a new record, there will always be doubts lurking somewhere. I’d spent so long behind the scenes writing for other people and featuring on other people’s records so it just felt so good to get the acknowledgement for me as an artist in my own right.

Emeli Sande headlines the opening day of Lounge on the Farm at Merton Farm, near Canterbury. The festival runs from Friday, July 6, to Sunday, July 8. Weekend tickets £115. More details atwww.loungeonthefarm.co.uk