The Sigla Blog

Musicians are generally not shrinking violets, but if you look at Martha Wainwright’s family tree, it’s not hard to understand her reluctance at inching her way into music. Her father Loudain and mother Kate McGarrigle are established names, but it’s her brother Rufus – dubbed “the best songwriter on the planet” by Elton John has that has become a huge star in recent years. With that collective reputation to live up to, it’s not surprising that she took her time. “Music was part of my childhood”, says a smoky-voiced Wainwright down the phone from New York, “but in my early teens I moved away from it, almost in an act of rebellion against my parents, which seems very unoriginal of me! In my twenties, I engaged in a bit of self-sabotage, and that was because I thought I wouldn’t be good enough. Later on, as things happened in life - whether it was love or sadness - I found that music could be an outlet for that, but I definitely tiptoed my way into it.”

If her debut, a folksy affair detailing low self-esteem and heartbreak, was her testing the water, her new album retreads some of this ground, but is definitely more upbeat. Whether it’s her recent marriage to producer Brad Albetta or critical acclaim for her debut, the record sparkles with new found assurance. “When I made the first album, I just wanted to be loved (laughs) so I toured a lot and gained my own audience which gave me a lot of affirmation. I came to this album as an artist who wasn’t trying to shake of this shadow [her family’s success], and it was much freer.” This freeness has translated into a lighter tone and even some humour, although she admits that her previous work helped exorcise some demons. This includes ‘Bloody Mother F**king A**hole’ about her musician father, who she once claimed would rather write a song about his children than rear them.

Her father isn’t mentioned on the new tracks, but she tackles big issues, making them universal by drawing personal comparisons. ‘The George Song’ is about the suicide of a friend and ‘In the Middle of the Night’, which features vocals from her brother Rufus, is about their mother’s brush with cancer. Both siblings have used music as a vehicle for soap-boxing about their family, but Martha steps outside of the personal to examine religion and war. “Records should always try to be vast. I really respond to records that are well realized and a reflection of what you’ve been going through in that time.”

Listening to the tracks, it seems as though her self-doubt is gradually ebbing away. There’s no bigger clue to Wainwright’s confidence than the very striking cover. It’s sensual and daring, but she still looks like she’s in total control. Albums, like books, are frequently judged by their covers, but women come in for even more scrutiny. “I certainly didn’t want to be staring into the camera earnestly, clutching my guitar trying to proclaim ‘I’m a real songwriter’. I wanted to do something theatrical and along with the album title, it’s funny as well as provocative.” The rather fabulous title – I Know You’re Married But I’ve Got Feelings Too – echoes a litany of country songs that unite humour and heartache, but there’s also room for sugary pop (‘You Cheated Me’, which she wrote in 20 minutes) and a German burlesque number, ‘Tower’.

The palpable change in tone is also down to the presence of two other producers along with her husband. Tore Johannson has worked with David Kitt and New Order while Martin Terefe’s past credits include Ron Sexsmith and KT Tunstall. Wainwright doesn’t mince her words about the multiple choice production. “Because it was the second album, I thought ‘let’s spend some more money’, and I felt I wanted to make it a bit more fun or poppy, but I didn’t one man to, ejaculate all over it (laughs)” or take control of my songs”. Central to this process was the choice of contributors, which include The Who’s Pete Townshend and Donald Fagen of Steely Dan (“they’re old friends of the family) as well as Rufus and her mother. “It always comes back to family with me but I’m still trying to make my own way so I underused them. Rufus is someone I always call from the studio when I run out of ideas – he never does. I lean on him as an older brother and a mentor, but then he’s not going to do what I tell him to do, brothers never do.”

Wainwright is often accused of being too honest, too heart-on-sleeve, and yet there’s not doubt that music is cathartic for her. “It’s important to me to make it interesting for the listener. Rather than just telling someone ‘this is terrible and it happened to me’, I like to focus on imagery and language, so that the song stands up by itself. Maybe music is like therapy, maybe it isn’t, but I do know that I’m a much happier, well-adjusted person for being able to do this all the time.”

Martha Wainwright plays Vicar Street on May 26th.

Website: www.marthawainwright.com/