He was able to reverse the curse of the flavors of the month to establish himself as a major figure of the pop adult contemporary. Rufus Wainwright is one of those who stand the test of time. His latest album comes out this Friday.
The singers who are experiencing a breakthrough as rapidly as Rufus Wainwright often struggle to fulfil the great hopes that are based in them. At its inception, and in addition, it was the end of a golden age, drives products with high budget, arrangements more grandiose. The future does not look especially pink.
“There has been Napster, the collapse of Universal Music, the download, listening, streaming, all these things, says the artist. The spectrum of a commercial failure, it floated about us, the companies have been hit one after the other. And you know what? I survived all that!”
“”Unfollow” The Rules”, my new album, is a celebration of the spirit of the fighter that I carry with me.”
Rufus Wainwright papillonne between the styles. The year 2020 marks, however, a return to his first love, this pop offbeat and out of the modes of which alone has the secret.
“When I’m in the studio, I find myself in this kind of trance state where I write all these songs with rock musicians and where I feel like I’m going to transform myself in Bruno Mars!”, he says with much self-deprecating humor.
“And then, when the album comes out, I realize that I could not be more far from what the young people listen to in this moment.”
The courage of his convictions
Between “Unfollow” The Rules” and his offering registered in the-sides of Mark Ronson in 2012, Rufus Wainwright has mostly been immersed in the world of opera. He has composed “the Hadrian” for the Canadian Opera Company in Toronto and set to music nine of Shakespeare’s sonnets for the prestigious label in classical Deutsche Grammophon.
“The world is likely to be becoming more operatic in this moment, that it is nature who threatens to rebel against us, or with the political situation… Our world is also a disaster that a Verdi, as violent as a Puccini.”
Permeable to the hatred that consumes their adopted countries – the member states rather estranged from Donald Trump in this instance -, the Montreal-native has a reference to “Hatred”, “Early Morning Sadness” and “Sword of Damocles”. This last song is not on his latest effort; he lugs around on tour for two years.
“I think it’s important to sing that song in the show given what’s happening in the United States,” he said. That said, a lot of people would have booed or stands up to leave the rooms where I played.”
“Once, in Minneapolis, I made this show with an orchestra and trumpeter main party in the middle of the song. It is really unusual to see something like that.”
“You’re not really “big” as long as you’re not popular in North Carolina”, intones-t-he in our free translation on “You Ain’t Big”. But this is not a result of success in the proverbial Bible Belt that an artist must deny his very nature.
Rufus Wainwright, in any case, remains true to himself.