Tony Mantor's : Almost Live..... Nashville - Rufus Wainwright Shares His Musical Path and Family Legacy

Episode Date: June 18, 2025

Rufus Wainwright, acclaimed by The New York Times for his genuine originality, shares updates on his diverse musical projects and reflects on his artistic journey spanning pop, classical, and collaborative work. • Currently promoting "Dream Requiem" featuring narrators including Meryl Streep and Jane Fonda • Preparing his second opera "Hadrian" for Italy's Spoleto Festival in June • Scheduled to perform for King Charles of England • Working on his 11th studio album, planning to begin recording this fall • Reflects on how studio recording has evolved from lavish early days at DreamWorks to today's more focused approach • Credits his mother Kate McGarrigle as "the greatest musician I ever met" and major influence • Discusses his Carnegie Hall performances, including shows with David Bowie and Philip Glass • Notes his audience appreciates his technical vocal abilities and dedication to performance craft • Shares bucket list items including a French-language album and more musical theater work • Recently renewed his passion for visual art, with drawings exhibited at the Royal Drawing Academy • Emphasizes the importance of balancing touring with family life and being present as a father   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

My career in the entertainment industry has enabled me to work with a diverse range of talent. Through my years of experience, I've recognized two essential aspects. Industry professionals, whether famous stars or behind-the-scenes staff, have fascinating stories to tell. Secondly, audiences are eager to listen to these stories, which offer a glimpse into their lives and the evolution of their life stories. This podcast aims to share these narratives. providing information on how they evolved into their chosen career. We will delve into their journey to stardom,

discuss their struggles and successes, and hear from people who help them achieve their goals. Get ready for intriguing behind-the-scenes stories and insights into the fascinating world of entertainment. Hi, I'm Tony Mantor. Welcome to Almost Live Nashville. Joining us today is Rufus Wainwright. Praise by the New York Times for his genuine originality,

Rufus has established himself as one of the great male vocalists and songwriters of his generation. He has collaborated with an array of iconic artists including Elton John, Bert Baccarach, Miley Cyrus, David Byrne, Joni Mitchell, and that's just a few that he's worked with. Celebrated as a contemporary pop singer, Rufus has also made a significant mark in the classical music world. His performances include tributes at the Kennedy Center Honors for Billy Joel and a 90th birthday celebration for Tony Bennett at Radio City Music Hall. We're thrilled to have him here to share updates

on his career and insights into what the future holds. Thanks for joining us today, Rufus. No problem. Well, it's my pleasure to have you here. So if you would, give us a little update on what you're currently up to. Oh, God, a lot happening. Well, I compose this thing called Dream Requiem,

which is a religious death mass, which also contains this wonderful poem by Lord Byron called Darkness within it. It kind of interwoven through it. So it's a mass for a full chorus and orchestra and children's choirs, but it also has a narrator who narrates the poem. And we did it. It premiered in Paris with Meryl Streep as the narrator. And we recorded that and it's available on Warner Classics.

Then we just did it a couple of weeks ago. We did it in L.A. at Disney Hall with, Jane Fonda is the narrator. And now we're going to do it in Amsterdam at the concertabao with my friend Carrice von Houten. And then we're doing it in Emberg with Isabelle Huper as the narrator in August. So I've got that piece going. They're also doing my second opera Hadrian, which I composed. They're doing that in Italy at the Spoletto Festival in June.

So I've got all this classical stuff. And then I'm singing for the king of England in June as well. Oh, nice. And I have little concerts here and there, but more on the popular side of things. I'm really gathering and finishing up a bunch of songs for my next pop record, which I'm really excited about getting into the studio

and starting in the fall. So I'm just getting ready to go underground a little bit. Sure, that sounds great. Now, what number album will this be for you that you're going to record? Well, I think it's the 11th or 12th studio album. I've made a bunch of live records as well, but I think it's my 11th studio album, I think.

That's awesome. So how does it feel starting your 11th album compared to that very first studio album that you recorded? Well, look, I... Interesting question. Definitely going into my first one was... There's no comparison to the excitement, certainly because I was young,

and also I was, you know, DreamWorks at the time was such a massive thing in terms of the music business. No longer is sadly, but when it began, it was huge. So it was really like a kind of old-fashioned Hollywood story of, you know, coming in flying for its class and staying at, you know, hotels and being driven around by limos and stuff. So that was very exciting. Sure.

I would say, though, that now it's really more about the art and about kind of, you know, my reaching the depths that I've, you know, been attempting to for years, musically. And that's probably makes for a better record. heard. Look, I think there's an economy now that maybe it's not as fun as it used to be and as lavish. But funnily enough, the economy, I think, makes for better music because you're just, you know, you really have to be precise and really, you know, really be exacting in terms of what you want to create. So it's, yeah, it's good. But I'm still excited about it, but excited about it for different reasons. Sure, I get that. Now, when you go in the studio, like when I produce different

people you assemble the players, you get everything ready, they listen to it, then they start putting their little nuances to it and all of a sudden it creates a little bit different way than what you anticipated, but a lot of times it can be very good. Does that happen to you much? Oh yeah, no, I'm look, I'm very open and kind of aware of my surroundings when I make records. I'm always listening for any kind of possible gem that might drop out of anywhere. So whether it's, you know, session players or friends or engineers who come in and say this or that. I'm highly attuned to figuring out looking for that stuff. So, yeah, I mean, I'd look.

The other thing, too, is that, you know, I'd say my first, really my first two producers, John Bryan and Pierre Marchant, those two were so tough to work with and so brutal and so kind of, can I say it, a dictatorial, really, that I, though it was a nightmare at the time, I also learned a lot. I learned how to both stand up for what I believed in and also to be, I don't know, to really fight for what I want to hear. So, I mean, we made great records together, and they're both brilliant musicians,

and I wouldn't change it any other way. But it was very much a baptism by fire, and I learned a lot because it was so arduous. Yeah. So, when you're sitting down and you're listening to music that you've done, you're kind of reflecting, what stands out to you of the different albums that you've done that you think in your mind shines,

even though it might not be the biggest hit record, but it was one of your favorites. Right, right. Yeah, look, I love all my children, equally. Yeah, absolutely. So it's hard for me to pick and choose certain things about certain pieces, but I will say that it's always been important for me to have an album have a sound,

you know, in the sense that each album I've made has a, I wouldn't say so much of concept, but definitely a feel to it. And even though albums, certain albums I made weren't necessarily that successful, I think that when listening to them again, years later, I accomplished what I set out to do, which was to create an atmosphere. And sometimes that atmosphere did not match what was going on in the world, but I did work to create that place.

And that bubble still exists. When I listen to the record, I'm taken right back there. So there's never been an album that I've made where I'm trying to relate to what's happening in the popular world. And that I actually think I dodged a bit of a bullet for it, because God knows there's so many artists who have these records that they made when they're trying to, you know, fit into some box. And it just sounds kind of lame. So I never felt for that trap, which was, I wouldn't have been able to anyways.

I'm too gnarly. That's good. That's good. Now, add to the fact that you've done all these records and you've done all these performances, you've also been in film. How was that different for you going into film than going into the music world, was doing well i mean i haven't really been in film in the sense that i mean i've done a few scenes here and there and i've had songs and movies and i know a lot of actors um and uh if anything i've more dipped my toe in there and definitely realize that you know if i really wanted to do that i'd have

to dedicate a hundred percent of my attention to it and i haven't chosen to do that yet i'm not saying i won't sure there's actually for a man of my age 51 there is this kind of interesting kind of of, I don't know, I think there is a kind of opening that occurs for older men in film. You know, you can play a villain or you can play some sort of, you know, father or some things. It's, you know, it's still a possibility. Yeah, and you have to allow yourself to evolve into different things. That way you've tried them and you find out what you like, what you don't like. No, definitely, no, all the time.

Now, you actually got a chance to do a record with your mother, too, didn't you, one time? Well, I mean, I've worked a lot with my mother. we made a Christmas record together when I was quite young Also I after she passed Kate McGaragall she was a great songwriter But after she passed My sister and I did a great record with Joe Boyd Of her songs

With some other artists And yeah no I loved working with my mother My mother to this day is In my opinion the greatest musician I ever met Was my mother It was just And a lot of people would agree with me in terms of how she was

because she was pretty brilliant. Yeah, yeah, absolutely. I mean, that's part of your influence and how you develop and what's around you. I mean, that's a good tribute right there. Yes, no, totally, totally. Now, you said you've got a record you're going to be doing this fall.

Are you going to be doing any touring at all, any performances much this summer, or you're just going to kind of go into the cave and start working towards this fall? Well, no, I mean, I have, I always have to do certain shows here and there just to, you know, pay the mortgage. So, or mortgages, I should say.

Yeah. But, you know, I'm really aiming to go into the studio and do that. There are other things happening. I mean, next year and the year after, it's also the 20th anniversary of my Judy Garland shows that I did many a long time ago. And so I'm going to be doing some shows around that. I also, I've done an album that is going to be released of Kurt Vile songs. Okay. Big Kurt Vile fan.

Yeah. I did that with the Pacific Jazz Orchestra. And then also I wrote this musical called Opening Night, which I'm not on the album, but that's a cast recording, so I'll be promoting that a bit. So yeah, there's never a dull moment. If anything, I crave for a little dullness.

Yeah, I get that. Now, you've played Carnegie Hall in a lot of really great places. Yes. So how do that feel when you walk into Carnegie Hall? Yeah, I mean, look, I've done different things at Carnegie Hall over the years. I know the first performance I did was for a Tibet House show. And that was amazing. That was with David Bowie and Philip Glass and all these people many, many years ago.

So that was a nice way to start. And then we did family shows that we did family Christmas shows there for four years, which was incredible with, you know, Lou Reed and Simi Lopper and everybody. And then I did the Judy shows there. And then I also did, I think, the concert that was most intense and most satisfied. for me is I did this show there called All Days or Nights, Songs for Lulu. That was an album of me just at the piano after my mother died, and it's very somber album, and it's just me and the piano singing, and I did that at Carnegie Hall.

And that was intense to just be alone on stage playing the piano in that particular space. Absolutely. Now, you've been doing this for a while now, so when you go on stage and you look out at the audience, What does it look like now? Do you find yourself having a wide variety of ages because of the body of work that you've done over the years? Yeah, I mean, I have, look, I am now benefiting from longevity in the sense that, you know, I think a lot of my audience is actually getting younger.

Okay. Finally, there's a lot of the little kids who were brought up out of my music are now, you know, buying tickets. Yeah. And there's even some smaller kids because, you know, the grandchildren are starting to appear because I also had, you know, fans,

some of my parents' fans. Now some of their grandkids are coming to my shows. And because they would, I guess, presumably listen to my records at home. Right. And also, you know, my version of Hallelujah was a big version for kids. Right.

Because it was on the soundtrack. So those kids are now, you know, in their 20s, and they're coming to see my show. So, yeah, it's evolving, which is nice. There was a park, there was a section, a few years ago where it seemed like it was just getting older and older and more decrepit and so forth, but now there seems to be a rejuvenation, which is nice. Yeah.

Not that I don't mind old people, because, I mean, I'm an older person myself. Sure, sure. There's nothing wrong with that at all. So the average fan that has followed you, they hear all the different music that you've done and everything, what can they expect? What do you think they see when they sit down and you go on stage and you start performing? What's their viewpoint, do you think? Well, I think a lot of people come to me

because they also want to hear someone who really knows how to sing. Okay, yeah. In the sense that I think maybe this also has to do with my love of opera is that I've always focused heavily on the technical ability of my voice. I mean, I admire so many singers, like people like Cat Power or Beth Orton or someone like, know, people who can, like, sort of create these characters with their voice. Nick Cave, you know, people like that.

And it's fascinating and very, very, I'm very impressed by it. For me, it's more been about, you know, what's the highest note I can hit and for how long. And I've really worked hard to train my voice into kind of, so it has a sort of athletic quality. So I think people like to hear that. And I've tried to do a bit of the same thing with my piano playing here and there. Right. To make it pretty challenging. So, yeah, I guess the audience comes knowing that I, they will see something

that I practiced a lot to do and that I'm not just sort of tossing it off. And so, and that's, you know, I just wanted to be worth their the practice mission, you know? Absolutely. I mean, you know, for the longest time, pop singers, they've taken the hit that they're out there for the flash,

whereas people like yourself, jazz singers, all that have taken that they have a more intellectual sound to it. Right. You find yourself getting that type of crowd to where they're really zoned in and listening to what you're doing more intensely than they would like at a pop concert.

Yeah, yeah, no, I mean, you can hear the drop of a pen at my shows. I mean, they're there to listen to the music and to immerse themselves and what I'm trying to do, both artistically and technically on stage. But I also grew up in that tradition. I mean, both my parents were

part of the folk rock tradition where it was about how well you could play your instrument and how agile you were with your singing and so forth and how you could interpret a song in a really impressive way. When you have an audience that is that in tune with what you're doing, that must have a nice little feel to it within your comfort zone of what you're doing. Yeah, I know. It feels great. I mean, I can't complain. But it's also, I mean, I'm, I wasn't that I've gotten used to it necessarily

because it still, I am amazed at how happy I feel after I, you know, get that kind of attention. But I also have come to expect it because, as I said, I work. very hard. I practice a lot. So if I go and they're not paying attention, it's like I'll just get up and leave because it's just not worth the trouble. Unless they're bringing me a lot of money. Yeah, yeah, I get it.

So with everything that you've done, what's on the bucket list? What do you want to do that you might not done yet? Well, I mean, I'd like to make a French record. You know, I grew up in Quebec, and I speak French, and I love to sing in French. So I'd love to make a French record has been on my bucket list for many, many years.

years. My mother and aunt made some fantastic French records, so I'd like to continue that tradition. I'd also love to take a few more shots at the musical theater world. My first musical opening night, though the songs are great, and we are releasing the cast recording. It wasn't a big hit, shall I say, in the west end of London, but that's the way it usually goes. So I'd like to take another crack at that with another piece. I'd also like to continue working with my family. I love to make a record with my sister Martha Wainwright, because she's pretty amazing. And yeah, so stuff like that, those are pretty good things. When you're just sitting around, taking a break, listen to different things, what makes you happy? I mean, what makes you sit back and either you're reflecting on different things,

and you can just look and say, you know, with everything that I've done, things aren't bad at all? Well, look, I have a wonderful family, first of all. I mean, I have a great husband. We've been together for, you know, 19 years. I have a beautiful daughter. She's 14 and she's in good health and really cheerful. We live in a nice house in California where it's usually sunny. I mean, there's darker forces, obviously, but I have a lot to be thankful for. I am someone who is able to stop and kind of smell the roses occasionally in terms of my blessings, whether I can actually enjoy the roses and look at the roses and hang out. Yeah.

Be with the roses. That's another question, but I know how to appreciate it. Yeah, you kind of have to take that break every now and then because when you're young, you're out there, you know, hustling, bustling, trying to get that next big show, trying to get that big record. Then you finally get to a point where everything seems to be going smooth, everything's going good. What gets to the point now where you've done so many things,

but you still can reflect back on the fact that you're still hungry for stuff, but you really want to go at it, but you go out in a different direction. How do you approach that? Well, I mean, you basically, for me, it has to be totally instinctual. And I have no, I mean, yes, there are certain philosophies or, you know, ideas that I might want to, you know, ponder and toy with. But in the end of the day, it's what my heart is telling me to do. And I mean, I've had so many experiences where I'll go into the studio and I'll be like,

oh, I need to write a pop song. I need to create something that's going to be popular and that's going to make me a lot of money. And then I do the song and it's this operatic aria that is completely never going to be played on the radio. So I think after a while I just sort of surrendered to where my heart was taking me. So yeah, I think it's just an instinctual, animalistic urge that artistic. basically you just have to follow. Do you feel, I know I've talked with different people and I've been around people, you know,

pretty much my whole life here in Nashville, that have reached accolades and everything. Is there any time that you feel like you can look back and look at all your accomplishments, but yet you still feel like you've got more that you can do? Yes. I mean, I, well, not to be, you know, I'm not going to say bitchy,

but sort of a little bit, you know, resentful, is that, I mean, there are times when I feel like financially I could have gotten more money, you know, paid more for what I did, and so forth, because it is, I think that's only because, you know, there are people I know in the industry, friends of mine who have been so successful that it's just mind-boggling. And I do get a little bit jealous of that sometimes and a little bit, you know, grass is greener on the other side. True, but it's not always as good as what people think it is. I really step back and I stop and I think like do you really want to be burdened

with that type of fame and that type of kind of I don't know just the craziness of that and not have you know a lot of those people don't have their own lives anymore and they become industries in and of themselves there's a real burden to that so so I think what I actually stop and think about it I'm like oh no it's fine just where you are

but I do have moments of jealousy where I was making more money and I was more famous and yeah I think we all have that but if you roll back the clock to like When Elvis was alive, he couldn't go to a movie theater without having to buy out the whole theater. Yeah, yeah, yeah. Now you fast forward to 2025. Yeah.

Now it's even worse for some of these bigger stars because you've got all the social media out there. Yes. Has that affected you, the social media? Yeah, I mean, I'm affected by it. Look, you have to play the game. Yeah. You know, it's annoying. By no means, does it dictate my career, but it has become a factor.

And it is, I don't know, it's just here to stay. So at this point, you just have to accept it and work with it however you can. And look, I've made friends over social media. I've sold more tickets and so forth with the help of social media. So it's been helpful. But if I was to ever, you know, really succumb to that whole, to that fast lane of, you know, just totally dedicating your stuff. stuff to that world. I do think it's soulless. I do think it's evil and I don't want to go anywhere.

If I had my choice, I wouldn't go anywhere near it. But that's not a possibility anymore, sadly. Yeah, it's unfortunately, it's our life. We have to put things out there. Yeah. The more people see it, the more opportunity you have of doing other things. Yeah. Yeah. So what would you like people to know about you and what you're doing that they might not know to give them some insight, so they'll check you out and follow you to see what you're doing in the future. Well, one of the reasons I'm going to sing for the king is that I'm doing the songs, the King of England, King Charles, is that he has this thing called the Royal Drawing Academy. So it's an art exhibit, and I actually have two drawings there that are being exhibited.

And ever since COVID, I've really started up my drawing again. Nice. And I actually went to art school many, many years ago in Montreal. Okay. So that's sort of an aspect of my life, which has become quite important. Sure. So yeah, visual arts. And I think, you know, just being, I don't know, I mean, I, you know, I just, I think being a decent dad is really important.

It is. Or it's something that I've worked very hard to do. And that isn't so easy when you're touring musicians. Absolutely. So there's that. And, yeah, we'd have to sort of save the planet as well. Yeah, that's true. That's true.

I mean, I can definitely appreciate what you just said because when I was a recording, singing, songwriter, and I was on tour, I was working with Gary Paxton, which was the lead singer of the Argyles. Right. And then Bob Millsap, they offered me the opportunity to come here in Nashville

and get into doing what they were doing, which was production development. So one thing they said, well, you know, you can get off the road. You don't have to kill yourself. The one thing that made me do that, Gary watched in the studio one time, and we were doing a cell.

session and one of the session players came up to him and said, man, I saw your son yesterday. This was before cell phones and all that. And he goes, oh, I didn't realize he was in town. I'll have to give him a call. Gary was so busy touring, he didn't get a chance to see his son grow up. Yeah, yeah, no, it's pretty bad. And that made the decision for me because I had two sons at the time. And I'm going, you know, I'm going to be able to go to their soccer games, their baseball games. So I moved here, so I didn't have to be on the road all the time. So I can appreciate what you just said. Yeah, not very much. very much. You know, you can be on the road, you can do everything you're doing, but when it comes

right down to the brass tacks of it all, family is it. Yeah, no, totally, totally, totally. Luckily for me, I'm fortunate because a lot of what they perform music, so I can also do shows with them and stuff, so we can kind of do a little bit of both, but, but, yes, but being a dad, it requires you to be at home. Yeah, yeah, the beauty of it now, I get to see my kids and my grandkids now playing soccer and softball and all that, and it's just, You can't beat it. You can't beat it now. Yeah.

Well, you know, this has been great. I really appreciate you taking the time to come on. Oh, no, no problem. This is great. Thanks for having me. Oh, it's been my pleasure. Wonderful. Well, thank you so much.

Thanks again. Thanks for joining us today. We hope you enjoyed the show. This has been a Tony Mantor production. For more information, contact media at plateaumusic.com.