Proof that smoking IS cool. (The opinions expressed by this writer are not necessarily the opinions of this writer.)

Last Summer, a short time after the release of her second album I Know You’re Married But I’ve Got Feelings Too, I was rather excited by the opportunity to speak to Martha Wainwright.  For “rather excited” also see “so giddy a bit of wee came out.”

Born into a musical royalty which seemingly has to be mentioned by law in every single article about any member of the Wainwright / McGarrigle clan and rather detracts from their status as individual artists, Martha of the Wainwright ilk released her eponymous debut album in 2005.  Showcasing the extraordinary instrument that is her vocal chords, and an angry melancholic force of her songwriting, it’s a quite staggeringly good first record.

Album opener Far Away oozes with a tragic distant loneliness, whilst Ball & Chain rattles with the barbed scratches of a woman scorned.  Perhaps the album’s most jaw-dropping moment, however, is the open criticism of father Loudon Wainwright III‘s parenting skills in the tellingly-entitled Bloody Mother Fucking Asshole.  This is a particularly surprising and candid piece of songwriting considering the two are still on reasonable terms, and indeed Martha has guested on Loudon’s records since.

Obviously aware of the dangers of a the soul-bearing howl might have upon the image that you’re a menstrual-obsessed harridan, Wainwright whacked her tongue in her cheek for the follow-up album, and met any lunar cycle-centric accusations head on with the graphically humourous first single Bleeding All Over You.

The album title – I Know You’re Married But I’ve Got Feelings Too is also a self-aware jovial nod to the potentially-overbearing subject matter of her songwriting.  This is not to suggest, however, that the whole piece is a footling exercise in thigh-slapping whimsy as the troubled troubadour persona thankfully takes flight to magnificent effect – particularly on the haunting and staggering Tower Song – not to be mistaken with the Leonard Cohen song Tower Of Song which Wainwright has recorded and often plays in her live shows.

Back pain is the main cause of work absenteeism

This week is the perfect time to slap this interview from the archives onto the blog, as Monday saw the release of Wainwright’s new long player Sans Fusils, Ni Soulier, A Paris.  Recorded live in New York in June this year, the album captures highlights of Wainwright’s three nights at the Dixon’s Place Theatre where she performed shows made up entirely of songs by Edith Piaf.  The show was recreated this week with a performance at London’s Barbican Centre, which has received rave reviews and – to fall into the lazy comparison trap which seems to ensnare all music writers – comes three years after brother Rufus Wainwright‘s recreation of Judy Garland‘s 1961 concert at Carnegie Hall.