Tony Mantor's : Almost Live..... Nashville
Tony Mantor talks with entertainment industry people in the U.S. and internationally that have made a mark for themselves.
Conversations with those behind the scenes people that help them achieve their success along with up and coming entertainers as well.
Stories that give a deeper understanding on what it takes to achieve success in the entertainment industry.
Whether listening for entertainment or for tips on how others faced their challenges this has something for everyone.
Tony Mantor's : Almost Live..... Nashville
Rufus Wainwright Shares His Musical Path and Family Legacy
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
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 helped them achieve their goals. Get ready for intriguing behind-the-scenes stories and insights into the fascinating world of entertainment. World of entertainment. Hi, I'm Tony Mantoro. Welcome to Almost Live Nashville.
Speaker 1:Joining us today is Rufus Wainwright. Praised 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, burt Bacharach, 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.
Speaker 2: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 has interwoven through it. So it's a mass for a full chorus, an orchestra and children's choirs, so two 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. And then we just did it a couple of weeks ago. We did it in LA at Disney Hall with Jane Fonda as the narrator, and now we're going to do it in Amsterdam at the Concertgebouw with my friend Carice van Houten, and then we're doing it in Hamburg with Isabelle Huppert as the narrator in August.
Speaker 2: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 Spoleto 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.
Speaker 1:Sure, that sounds great. Now, what number album will this be for you that you're going to record?
Speaker 2: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.
Speaker 1:That's awesome. So how does it feel starting your 11th album compared to that very first studio album that you recorded?
Speaker 2:Well, look, I have an interesting question, look, 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 first class and staying at you know hotels and being driven around by limos and stuff. So that was very exciting.
Speaker 2: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 for years musically, and that's probably makes for a better record. 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 really have to be precise and really be exacting in terms of what you want to create. So, yeah, it's good, and I'm still excited about it, but excited about it for different reasons.
Speaker 1: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.
Speaker 2: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, when I make records, I'm always listening for any kind of possible gem that might drop out of anywhere. So 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.
Speaker 2:So, yeah, I mean, look, the other thing too is that, you know, I'd say my first, really my first two producers, john Bryan and Pierre Marchand those two were so tough to work with and so brutal and so kind of can I say it dictatorial really, that I though it was a nightmare at the time I also learned a lot, you know. 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.
Speaker 1: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.
Speaker 2: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, in the sense that each album I've made has a I wouldn't say so much a concept, but definitely a feel to it. And even though you know 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.
Speaker 2:And sometimes that atmosphere did not match you know what was going on in the world, but I did work to create that place. 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, 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 fell for that trap, which was I wouldn't have been able to anyways, I'm too gnarly.
Speaker 1: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 that he was doing?
Speaker 2:Well, I mean, I haven't really been in film in the sense that I've done a few scenes here and there and I've had songs in movies and I know a lot of actors and, if anything, I've more dipped my toe in there and definitely realized that if I really wanted to do that I'd have to dedicate 100% of my attention to it. And I haven't chosen to do that. Yet I'm not saying I won't, sure, because actually for a man of my age 51, there is this kind of interesting kind of I don't know. I think there is a kind of opening that occurs for older men in film. You can play a villain, or you can play some sort of father or something. It's still a possibility.
Speaker 1: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 not all the time. Now you actually got a chance to do a record with your mother too, didn't you one time?
Speaker 2:Well, I mean, I've worked. I worked a lot with my mother. Um, we made, you know, a christmas record together when I was quite young, uh-huh. Um, also I after she passed. Or, kate mcgarigal she was a great songwriter, but after she passed, my sister and I did a great record with joe boyd of her songs, um, 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. She was just and a lot of people would agree with me in terms of how she was, because she was pretty brilliant.
Speaker 1: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.
Speaker 2:Yes, no, totally, totally.
Speaker 1: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 are you just going to kind of go into the cave and start working towards this fall?
Speaker 2:Well, no, I mean I always have to do certain shows here and there just to pay the mortgage, or I always have to do certain shows here and there just to pay the mortgage, or mortgages, I should say.
Speaker 1:Yeah.
Speaker 2:But 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 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, you know, I'm not on the album, but that's a cast recording. So that's, I'll be promoting that a bit. So so, yeah, there's never, there's never a dull moment. If anything, I crave for a little dullness.
Speaker 1:Yeah, I get that Now. You've played Carnegie Hall in a lot of really great places, yes, so how did that feel when you walk into Carnegie Hall?
Speaker 2:Yeah, I mean, look, I've done different things at Carnegie Hall over the years. 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 years ago uh, so that was a nice way to start. And then we did family shows, that we did family christmas shows there for for years, which was incredible, with, you know, lou reed and simony lopper and everybody, and then, and then I did the judy shows there, and then I also did I think the concert that was most intense and and most satisfying for me is I did this show there called all all days or nights, songs for l. That was an album of me just at the piano after my mother died and it's a very somber album. 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.
Speaker 1: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?
Speaker 2:Yeah, I mean I have. Look, I am now benefiting from longevity in the sense that I think a lot of my audiences actually get younger, okay, Finally, I think a lot of my 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 uh, and there's even some smaller kids, because you know that they're, you know the grandchildren are, are starting to appear, because I also had, you know, fans. I have some of my parents fans. Yeah, now some of their grandkids are coming to my shows 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.
Speaker 1:Right.
Speaker 2: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 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. Not that I don't mind old people, because I'm an old person myself.
Speaker 1: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?
Speaker 2:Well, I think a lot of people come to me because they also want to hear someone who really knows how to sing.
Speaker 2: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, people like Cat Power or Beth Orton or someone like I don't know people who can create these characters with their voice Nick Cave, people like that and it's fascinating and I'm very impressed by it. For me, it's more been about what's the highest note I can hit and for how long, and I've really worked hard to train my voice so it has this 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'm 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 want it to be worth their uh, the price mission you.
Speaker 1: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. 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.
Speaker 2: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 in 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.
Speaker 1: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, have a nice little feel to it within your comfort zone of what you're doing.
Speaker 2:Yeah, I know it feels great. I mean I can't complain, but it's also I mean I'm I won't say that I've gotten used to it necessarily, because it's 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 and I practice a lot, and 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.
Speaker 1:So, with everything that you've done, what's uh, what's on the bucket list? What do you want to do that you might not done yet?
Speaker 2:well, I mean, I, 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. 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 released in the cast recording. It wasn't a big hit, shall we say, in the West End of London, but that's the way it usually goes. 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.
Speaker 1:When you're just sitting around taking a break, listening 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.
Speaker 2:Well, I have a wonderful family, first of all. I mean I have a great husband. We've been together for 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, be with the roses, that's another question, but I know how to appreciate them.
Speaker 1:You kind of have to take that break every now and then, because when you're young you're out there 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 at it in a different direction. How do you approach that?
Speaker 2: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 it'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, artistically, you just have to follow.
Speaker 1: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?
Speaker 2:Yes, 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 bogboggling and I do get a little bit jealous of that sometimes and a little bit, you know, grass is greener on the other side.
Speaker 1:True, but it's not always as good as what people think it is.
Speaker 2: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 I think when 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.
Speaker 1:Yeah, I think we all have that. But. 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. Now it's even worse for some of these bigger stars because you've got all the social media out there.
Speaker 2: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 really succumb to that whole, to that fast lane of just totally dedicating yourself 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. That's not a possibility anymore, sadly.
Speaker 1: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. 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?
Speaker 2:thing for the king is that, uh, I'm doing the songs. Uh, the king of england, king charles, is that, um, 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 covet, I've really started up my drawing again. Nice, um, and I actually went to art school many, many years ago in montreal, okay, so that's, 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 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.
Speaker 1: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 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. It's the 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 walked in the studio one time and we were doing a 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.
Speaker 2:Yeah, yeah, no, it's pretty bad.
Speaker 1: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.
Speaker 1:Yeah, it's not very much so, very much so 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.
Speaker 2:Luckily for me. I'm fortunate because a lot of us 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 yes, being a dad requires you to be at home.
Speaker 1: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.
Speaker 2:Oh, no, no problem, this is great. Thanks for having me.
Speaker 1:Oh, it's been my pleasure.
Speaker 2:Wonderful Well, thank you so much, thanks again.
Speaker 1:Thanks for joining us today. We hope you enjoyed the show. This has been a Tony Mantour production. For more information, contact media at platomusiccom.