![]() On Covers, she pours herself into a couple of famous barfly’s laments. By her own admission, Marshall spent the early to mid-00s “living inside a bottle”. If there’s a recurrent theme to this set of diverse covers, it’s probably drinking. Now, she has a particularly sonorous band too – veterans of her standout 2018 album, Wanderer – making this record the best-played and arguably the classiest of the series. It’s possible Marshall has always multitracked her vocals to feel less alone. These tracks seem very much the aural companions to a life that has rarely been straightforward, even by itinerant musician standards: bouts of ill health, a breakdown. Her sense of space, the way she overdubs and layers her vocals, her predilection for trance-like repetition and the gauzy veils she places between the listener and her band’s instruments, her midlife repositioning as a soul singer of soothing warmth: all attest to Marshall’s ongoing artistic imperatives and technical nous.īut through The Covers Record (2000), Jukebox (2008) and now Covers, there is a sense that, for Marshall, other people’s songs provide not just tunes to tune up to, but sustenance and fellow-feeling.
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