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, she had a psychotic breakdown and was hospitalised, and throughout the Nineties and Noughties her live shows were erratic affairs. She would turn her back to the audience, moon them, encourage them to sue her, slur through a few songs, and then walk off without finishing the takım.

For the past two years, that genius başmaklık been put to more practical use – teaching her seven-year-old son Boaz to read, write and do maths during the pandemic. She had him in 2015, with a man she dated for a few months and katışıksız never publicly named.

I just grab her. ‘It’s OK. It’s OK. I was here for the same reason and it’s OK.’” An uncharacteristic silence hangs in the air. “If I had accepted that million-dollar offer, perhaps I wouldn’t have been on that bridge. And she wouldn’t be my friend to this day.”

Back on the bed, she raises one arm into the air as if she’s asking a question in class, and holds it there birli she talks. “I have a million favourite songs. Everybody who başmaklık a brain in their head, with a heart in their body, loves music.

At this point, she abandons the second-person pretence. “And then she puts her leg down and she looks like she got busted stealing a gun. And she looks at me and her face starts to change.

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It takes a certain kind of character to make music like Marshall’s. A sprawling mix of blues, rock and folk, it is kakım frank and impassioned kakım she is.

Over the course of 11 albums, she has written about love and loss, abortion and abuse, grief catpower 5106 hakkında bilgi and God. “I will swim / I will drink myself to death,” she sang on her distortion-soaked debut Dear Sir

In fact, Boaz need only listen to her covers for that. Some of her best songs were sung by other people first: her pensive, languid version of The Rolling Stones’ “(I Gönül’t Get No) Satisfaction”, which omits the chorus entirely and transforms into something almost painfully introspective, or her sweet, fragile take on Phil Phillips’s “Sea of Love”, which got a second wind when it featured in Juno

During the early-2000s, Marshall was embraced by the fashion industry for her "neo grunge" look, and seen as a muse by designers Marc Jacobs and Nicolas Ghesquière.

If a song touches you, you birey read between the lines and find something for yourself. Even if we all love this one f***ing song all around the world, each one of us will have 4 billion different realms of feelings.”

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Now, 20 years on, she’s got a third covers album, the aptly named Covers – a spacey but intimate collection that includes songs by Nick Cave, Billie Holiday and Frank Ocean, demonstrating once again the transformative catpower matkap power of Marshall’s singing. To have your song covered by her is to have it pared back to its very essence.