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Martha Wainwright on family, music and new show with brother Rufus

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It could be the royal family of folk-pop, artsy-confessional music.

The Wainwright musical dynasty began with their troubled father, folk singer-songwriter and actor Loudon Wainwright III and their mother, the late Canadian folksinger Kate McGarrigle.

In this generation it has flowered into cult stardom both with gay singer and opera composer Rufus Wainwright and his younger singer-songwriter sister Martha, who are together in concert this Saturday Aug. 7 at The Music Center at Strathmore in Bethesda.

Of the Wainwright clan, the Guardian newspaper of London recently observed that, “Loudon, Kate, Martha and Rufus are the bards of kith and kin, the troubadours of the consanguine,” a fancy way of saying they write about family and use song to communicate with the ones they love — or in Martha’s case at least feel greatly troubled about, as in her notorious song that she admits was written to her father: the quite literally titled “Bloody Mother Fucking Asshole.”

But she has also sung a duet, in his 1995 album “Grown Man,” with her father Loudon. Titled “Father/Daughter Dialogue,” in it she lays bare in song her deeply felt family grievance as she sings to him, “Dearest Daddy with your songs/ Do you hope to right your wrongs?/ You can’t undo what’s been done/ To all your daughters and your son.”

In an exclusive interview with the Blade, as she was driving to Boston with her aunt Teddy to her concert appearance there Tuesday night with Rufus, Martha said that some of her songs in the Strathmore concert on Saturday will be from her first songs that were “more about my family,” as in her 2005 self-titled debut album “Martha Wainwright.”

But in addition to “some old hits from my first album,” her set will also include a mix of her more recent songs, such as those from her second album, “I Know You’re Married But I’ve Got Feelings Too,” which are less about her family, she says, and “more so about others.” She was married in 2007 to her producer Brad Albetta.

“I have the tendency to write about people I know and love,” she admits, “and family is in that group still.”

Rufus, meanwhile, is also a troubadour of troubled family life. His troubles include the pain of their parents’ divorce when he was three and also his mother’s recent death from cancer, as well as his own personal odyssey coming out as gay while a teenager. In 1999, he told Rolling Stone that his father recognized his same-sex attraction early and has also admitted that his “mother and father could not even handle me being gay,” and it was basically off limits for discussion.

At 14, Rufus was sexually assaulted in London’s Hyde Park after picking up a man in a bar. In an interview years later, he described the event that left him fearing that he would become HIV-positive after the brutal rape in which the assailant also tried to strangle him to death.

“I thought it was going to be a romantic walk in the park, but he raped me,” and he says he survived through quick wits only by pretending to be an epileptic and faking a seizure.

He says he remained celibate for seven years after the rape but then turned promiscuous. Later, in the early 2000s, he became addicted to crystal meth and even temporarily lost his vision. The addiction reached a crescendo in 2002 during a week he has described as “the most surreal of my life,” including time spent partying with President George W. Bush’s daughter Barbara and a “debauched” evening with singer Marianne Faithfull. He has said he experienced recurring hallucinations of his father throughout.

From hitting bottom then, Rufus has said he decided he would either go into rehab or instead go to live with his father because “I knew I needed an asshole to yell at me, and I felt he fit the bill.” These and other tales of trial and tribulation are recounted in Kirk Lake’s 2009 unofficial biography, “There Will Be Rainbows: A Biography of Rufus Wainwright and the Story of Loudon Wainwright and Kate McGarrigle.”

Born in 1973, his parents divorced in 1976 and Rufus lived with his mother Kate in Montreal, Canada for most of his precocious youth. He began playing piano at age six and at 13 started touring with “The McGarrigle Sisters” — Kate and her sister Anna. At age 14, he performed his song “I’m a Runnin'” in a film. He then attended high school at the Millbrook School in New York, which would later inspire his song “Millbrook.”

After briefly studying piano at universities in Montreal, he began to perform at weekly shows at Cafe Sarajevo there and soon was on the Montreal club circuit and cutting demo tapes. He showed such talent and so impressed his father that he sent the tapes to legendary songwriter and producer Van Dyke Parks, who passed them on to DreamWorks, the record label co-owned by David Geffen, which signed Rufus and released his first studio album, the eponymous “Rufus Wainwright” in 1998.

The singer had moved to New York City in 1996 but relocated later that year to Los Angeles where he spent most of two years in the studio working on that first album in sessions costing a reported $700,000. Rolling Stone called it one of the best albums of 1998 and named Rufus “Best New Artist” of the year. He was also nominated for four awards by the Gay and Lesbian American Music Awards and again won for “Best New Artist,” as well winning the GLAAD Media Award for outstanding music album. Commercial success for the album was, however, limited.

Rufus toured with Sean Lennon, son of John Lennon and Yoko Ono, in 1998 and began his own first headline tour later that year. He lived in New York City’s shabby but chic Chelsea Hotel for six months during which he wrote most of his second album “Poses,” which was also released to critical acclaim, winning another GLAAD Media Award, but again finding limited sales. From 2001 to 2004, he toured with Tori Amos and Sting, meanwhile releasing more albums and in 2005 a DVD titled “All I Want,” featuring a biographical documentary and music videos, and that same year he contributed a solo song to Burt Bacharach’s “At This Time.”

In 2006 in two sold-out concerts at Carnegie Hall in New York City, he performed an entire Judy Garland set of songs based on her album she recorded there in 1961. He later repeated this concert at the Hollywood Bowl, the Paris Olympia, and at London’s Palladium, and live CD and DVD recordings of these concerts — “Rufus Does Judy” — were released in 2007. Also that year, Geffen Records released Wainwright’s fifth studio album, “Release the Stars,” produced by the singer and featuring among others his mother and sister.

His more recent interests have also turned to opera – and his first opera, originally commissioned by the Metropolitan Opera in New York City, “Prima Donna,” the libretto written in French, is about “a day in the life of an opera singer,” anxiously preparing for her comeback, who falls in love with a journalist.

In 2010, he released his sixth studio album, “All Days Are Nights: Songs for Lulu,” mainly featuring his piano and vocals with nine original songs rather than the lush instrumentation and arrangements of his other work. This new CD, for which he is now on tour, includes the closing aria from his debut opera, “Les feux d’artifice t’appellent” (or the games of fancy call to me).

The CD also features three of William Shakespeare’s sonnets set to music, including Sonnet 43 giving the album its title, “All days are night to see till I see thee….”

The “thee” is possibly a reference to his boyfriend and partner of five years, German arts administrator Jorn Weisbrodt, about whom the singer declared in a recent London Telegraph interview that, “I wasn’t a huge gay marriage fan before I met Jorn because I love the whole old-school promiscuous Oscar Wilde freak show of what ‘being gay’ once was. But since meeting Jorn all that has changed.”

Also included in the album is a striking opening track, “Who Are You New York?” with its rolling arpeggios that recount an “obsessive search for an unnamed object of desire,” the haunting obsession of erotic fantasy, a song originally written for a film project, but rejected by its producers to Wainwright’s evident relief. His powerful third track, the song “Martha,” meanwhile, consists of conversational lyrics.

“Martha, it’s your brother calling/ Time to go up north and see mother/Things are harder for her now/ And neither of us is really that much older than each other any more./ Martha, it’s your brother calling/ Have you any chance to see father/Wondering how he’s doing/And there’s not much time/ For us really to be that angry at each other anymore.”

Family. The ties that bind, the ties that can also choke. Family, the seedbed of the Wainwright musical canon. Come hear brother and sister give their musical voices to this pain and this passion.

Rufus Wainwright
w/ Martha Wainwright
Aug. 7, 7:30 p.m.
Music Center at Strathmore
Bethesda, Md.
$46, 202-397-SEAT
ticketmaster.com

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Music & Concerts

Underdog glorious: a personal remembrance of Jill Sobule

Talented singer, songwriter died in house fire on May 1

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Writer Gregg Shapiro with Jill Sobule in 2000. (Photo courtesy Shapiro)

I’ve always prided myself on being the kind of music consumer who purchased music on impulse. When I stumbled across “Things Here Are Different,” Jill Sobule’s 1990 MCA Records debut album on vinyl in a favorite Chicago record store, I bought it without knowing anything about her. This was at a time when we didn’t have our phones in our pockets to search for information about the artist on the internet. The LP stayed in my collection until, as vinyl was falling out of fashion, I replaced it with a CD a few years later.

Early in my career as an entertainment journalist, I received a promo copy of Jill’s eponymous 1995 Atlantic Records album. That year, Atlantic Records was one of the labels at the forefront of signing and heavily promoting queer artists, including Melissa Ferrick and Extra Fancy, and its roster included the self-titled album by Jill. It was a smart move, as the single “I Kissed A Girl” became a hit on radio and its accompanying video (featuring Fabio!) was in heavy rotation on MTV (when they still played videos).

Unfortunately for Jill, she was a victim of record label missteps. When 1997’s wonderful “Happy Town” failed to repeat the success, Atlantic dumped her. That was Atlantic’s loss, because her next album, the superb “Pink Pearl” contained “Heroes” and “Mexican Wrestler,” two of her most beloved songs. Sadly, Beyond Music, the label that released that album ceased to exist after just a few years. To her credit, the savvy Jill had also started independently releasing music (2004’s “The Folk Years”). That was a smart move because her next major-label release, the brilliant “Underdog Victorious” on Artemis Records, met a similar fate when that label folded.

With her 2009 album “California Years,” Jill launched her own indie label, Pinko Records, on which she would release two more outstanding full-length discs, 2014’s “Dottie’s Charms” (on which she collaborated with some of her favorite writers, including David Hadju, Rick Moody, Mary Jo Salter, and Jonathan Lethem), and 2018’s stunning “Nostalgia Kills.” Jill’s cover of the late Warren Zevon’s “Don’t Let Us Get Sick” on “Nostalgia Kills” was particularly poignant as she had toured with him as an opening act.

Jill was a road warrior, constantly on tour, and her live shows were something to behold. My first interview with Jill took place at the Double Door in Chicago in early August of 1995, when she was the opening act for legendary punk band X. She had thrown her back out the previous day and was diagnosed with a herniated disc. To be comfortable, she was lying down on a fabulous-‘50s sofa. “I feel like I’m at my shrink’s,” she said to me, “Do you want me to talk about my mother?”

That sense of humor, which permeated and enriched her music, was one of many reasons to love Jill. I was privileged to interview her for seven of her albums. Everything you would want to know about her was right there in her honest lyrics, in which she balanced her distinctive brand of humor with serious subject matter. Drawing on her life experiences in songs such as “Bitter,” “Underachiever,” “One of These Days,” “Freshman,” “Jetpack,” “Nothing To Prove,” “Forbidden Thoughts of Youth,” “Island of Lost Things,” “Where Do I Begin,” “Almost Great,” and “Big Shoes,” made her songs as personal as they were universal, elicited genuine affection and concern from her devoted fans.

While she was a consummate songwriter, Jill also felt equally comfortable covering songs made famous by others, including “Just A Little Lovin’” (on the 2000 Dusty Springfield tribute album “Forever Dusty”) and “Stoned Soul Picnic” (from the 1997 Laura Nyro tribute album “Time and Love”). Jill also didn’t shy away from political subject matter in her music with “Resistance Song,” “Soldiers of Christ,” “Attic,” “Heroes,” “Under the Disco Ball,” and the incredible “America Back” as prime examples.

Here’s something else worth mentioning about Jill. She was known for collaboration skills. As a songwriter, she maintained a multi-year creative partnership with Robin Eaton (“I Kissed A Girl” and many others), as well as Richard Barone, the gay frontman of the renowned band The Bongos. Jill’s history with Barone includes performing together at a queer Octoberfest event in Chicago in 1996. Writer and comedian Julie Sweeney, of “SNL” and “Work in Progress” fame was another Chicago collaborator with Sobule (Sweeney lives in a Chicago suburb), where they frequently performed their delightful “The Jill and Julia Show.” John Doe, of the aforementioned band X, also collaborated with Jill in the studio (“Tomorrow Is Breaking” from “Nostalgia Kills”), as well as in live performances.

On a very personal note, in 2019, when I was in the process of arranging a reading at the fabulous NYC gay bookstore Bureau of General Services – Queer Division, I reached out to Jill and asked her if she would like to be on the bill with me. We alternated performing; I would read a couple of poems, and Jill would sing a couple of songs. She even set one of my poems to music, on the spot.

Jill had an abundance of talent, and when she turned her attention to musical theater, it paid off in a big way. Her stage musical “F*ck 7th Grade,” a theatrical piece that seemed like the next logical step in her career, had its premiere at Pittsburgh’s City Theatre in the fall of 2020, during the height of the pandemic. The unique staging (an outdoor drive-in stage at which audience members watched from their cars) was truly inspired. “F*ck 7th Grade” went on to become a New York Times Critic’s pick, as well as earning a Drama Desk nomination.

In honor of the 30th anniversary of Jill’s eponymous 1995 album, reissue label Rhino Records is re-releasing it on red vinyl. Jill and I had been emailing each other to arrange a time for an interview. We even had a date on the books for the third week of May.

When she died in a house fire in Minnesota on May 1 at age 66, Jill received mentions on network and cable news shows. She was showered with attention from major news outlets, including obits in the New York Times and Rolling Stone (but not Pitchfork, who couldn’t be bothered to review her music when she was alive). Is it wrong to think that if she’d gotten this much attention when she was alive she could have been as big as Taylor Swift? I don’t think so.

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Music & Concerts

Tom Goss returns with ‘Bear Friends Furever Tour’

Out singer/songwriter to perform at Red Bear Brewing Co.

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Singer Tom Goss is back. (Photo by Dusti Cunningham)

Singer Tom Goss will bring his “Bear Friends Furever Tour” to D.C. on Sunday, June 8 at 8 p.m. at Red Bear Brewing Co. 

Among the songs he will perform will be “Bear Soup,” the fourth installment in his beloved bear song anthology series. Following fan favorites like “Bears,” “Round in All the Right Places,” and “Nerdy Bear,” this high-energy, bass-thumping banger celebrates body positivity, joyful indulgence, and the vibrant spirit of the bear subculture.

For more details, visit Tom Goss’s website.

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Music & Concerts

Kylie brings ‘Tension’ tour to D.C.

Performance on Tuesday at Capital One Arena

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Kylie Minogue visits D.C. on Tuesday.

Aussie pop icon Kylie Minogue brings her acclaimed “Tension” world tour to D.C. next Tuesday at 7:30 p.m. at the Capital One Arena. Tickets are still available at Ticketmaster.

The show features songs spanning her long career, from 1987 debut single, “The Loco-Motion,” to “Padam, Padam” from her album, “Tension.”

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