Michael Bublé appears to be the epitome of cool. The successful Canadian crooner, who will perform tonight at the RBC Center, has the looks, pipes and style.

But the suave entertainer admitted he was terrified while making "Call Me Irresponsible," his followup to his mega-platinum breakthrough, 2005's "It's Time."

The candid Bublé, who could play Matt Dillon in a biopic, also details his love of pop classics and Big Band style of music, why his songs stand out today and what inspired his career.

Q: What was it like following up a career-breaking disc?

A: It was very, very scary. I was very nervous. I didn't have a lot of fun making this record.

Q: Why?

A: I had more to lose this time. So I worked so hard. It's difficult since the last album sold 5 million copies and I'm in a business that's faltering, but I'm expected to sell 10 million copies this time. But now I'm just trying to enjoy things since I'm out of the studio and touring.

Q: You've sold a lot of units, but you don't get a lot of airplay ...

A: The reason for that is that I'm a live performer. I think if you want longevity in this business, you have to be a live performer. Look at all the acts that are doing well. The Rolling Stones, The Police, these are acts that play well and draw people to shows. They're great at what they do onstage.

Q: How does a kid growing up in the late '80s develop a fondness for Big Band music?

A: My grandfather played the music for me, and I just fell for it. I'm a sentimental person, and the lyrics are quite sentimental. The melodies are terrific. The songs are just beautiful, and I fell for them and never let them go.

Q: It's one thing to become a fan, but to start a career crooning these classic songs ...

A: I was filling a niche, and even more so, I thought this could get me laid. I thought this was a cool thing. I wasn't following in everyone else's footsteps. I was being irresponsible. I wasn't following the rock band of the week just because everyone else was. I had something that was mine. I fell for timeless music.

Q: Your songs get a little more notice today since they're different from much of what is released. Does that give you an advantage?

A: I think it helps in a way. My single "Everything" went to number one [adult contemporary] and so did "Home" from my last record. Do I think they would have done as well in 1971? I don't think so. There were so many great songs with great melodies out then. Would those songs have gone to No. 1 and taken out an Abba or a Bee Gees song? I don't know.

Q: Why has so much amelodic music been released?

A: I think during the '90s a lot of music became groove-driven and the melody was lost. I'm not saying there isn't room for great groove-driven songs or metal or hip-hop. I'm just saying that there is room for melody. I have 10-year-old kids come up to me, and they love music with melody. Everyone loves melody.

Q: Your material isn't all that's a throwback; so is your album, which wasn't overproduced. You cut tracks live, and warts and all are exposed.

A: That was the way to go. [Producer] David Foster said that it was going to be hard for me to listen to this album because I sang live. He said that I'll be able to hear my breaths. I'll hear the bum notes. He was right. It is hard for me to listen to because it's not slick. But I'll take sounding weird and that emotion you get with it over a slick disc.

Q: Would you ever cross over into rock?

A: No. I just think about how so damn hard it was to get where I am, and there's no way I would do it. I started out as a 16-year-old working nightclubs. I did that for 10 years. I got discovered and worked even harder since then. I was told that I should join a boy band, sing rock or pop. I was told no one would listen to me sing this style of music. I was told Harry Connick Jr. is in position to sing this music and that I'll never succeed. After proving so many people wrong, I would be crazy to pull a 180 and do something else.

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