With the premature birth of her son, Arcangelo, in 2009 and the death of her mother – the celebrated Canadian folk singer, Kate McGarrigle – from cancer just two months later, Wainwright’s recent years have been crowded with personal obligation. Channeling these experiences into Come Home To Mama, there is no doubt this collection exposes feelings that cut deep. But, in their tremulous, spirited delivery and their layered structures – at once sparse and intricate – they also inspire a sense of hope for the future and ultimately serve as a hard-hitting reminder of the strength of the human spirit.
Did the change in your personal life have much of an effect during the writing process for Come Home To Mama?
Oh absolutely. I always write, for the most part, in a pretty autobiographical way and working on this new record was no different. It’s just my style of writing and I’ll stick with it until it bites me in the ass. I mean, it’s kinda nipping me in the ass at the moment but it’s not full-on biting me yet.
You’ve never felt reluctant to put all your own emotions and personal flaws out there on display for the general public to devour?
Well, I think if I read my own press I’d be embarrassed (laughs). Generally speaking, I like to write subversive lyrics rather than being wishy-washy about a subject. In a way, I almost think it shows my own lack of creativity – if I were more creative I’d be able to make up things to sing about rather than just writing another song about myself and my emotions.
So Come To Mama is obviously a very personal record for you, but was the writing process very different for this record given the changes in your personal life?
My role in life, as a person, has changed since I made the last record. As such, the subject matter is different – it’s about loss, the difficulties of keeping a marriage together, and of wanting to be a good mother. It’s angry in a way that’s very similar to my first album [2005’s Martha Wainwright].
Sonically would you say people can expect something similar to your first album?
The tone and the singing style are more similar in format and style to the way I perform live, actually. With this record I really tried to emulate the energy of one of my live shows. I’ve found that hard to capture on record [in the past].
There’s also more keyboard and bass on this record. I really wanted to steer away from any kind of Americana sound. I really wanted it to be a little weirder and more esoteric. Though that really was [producer] Yuka Honda’s doing – she added a lot into where it went musically.
So where does the title Come Home To Mama come into play?
It comes from a line in Proserpina, which is the most important song on the record. It was the last song [Wainwright’s mother] Kate ever wrote and in that way I see it as her gift to the world and also her last gift to me. She’s singing ‘come home to mama’ as she nears the end of her life. It was something she handed to me, this wonderful gem of a song. Actually she gave it to both Rufus and I – we both own the song.
You’ve said in interviews before that you often feel you’ve lived your life “in Rufus’ shadow”…
Always – in the sense that I am always watching Rufus. He’s my mentor in many ways. I denied it for a long time, but I realise it now. I watch him, I follow him, I imitate him, I try to work as he does. I think he’s really paved the way for the way I perform.
Do you have any concrete ideas about what you’d like to achieve with Come To Mama?
I trust and I believe in the power of poetry and the importance of following your own heart. I believe in the power of feeling closer to other human beings by talking about those universal things everyone can identify with. Then again, maybe I’m just attention seeking.
When can we expect to hear your new songs in a live setting?
At the moment there are plans to be there in your [autumn]. I’m really hoping to be able to make it down there around March.
BY JENNIFER PETERSON-WARD
