So this album is actually the first time I’ve really turned around and just focused on that genre, where most of the time I’m running away from it a bit. But as a gay man growing up in the ’70s and ’80s, it was tricky with the folk world, which is incredibly heterosexual. I think if I had been a lesbian, it would’ve been a lot easier, because there’s a real tradition of lesbians in folk music. But I never felt particularly comfortable in that world, mainly because of my sexuality. I’ve always had folk music as a baseline, because it’s what I was brought up with. I see my albums in a lot of ways as a departure from folk. But of course, when you step back and look at the pattern, it does make sense symbolically, for sure.ĭo you see a clear line between that record and this one? I had no sense that either it would be the 25th anniversary of my first album or my 50th birthday, which is coming up in July, that this folk album would emerge. “Folkocracy” arrives within weeks of the 25 th anniversary of your debut album. Ahead of his June 2 performance at Walt Disney Hall in Los Angeles, Wainwright spoke to Variety to discuss the serendipity of “Folkocracy” arriving within just weeks of the May 19 anniversary of “Rufus Wainwright.” In addition to detailing his careerlong (until now) aversion to folk music and the multifaceted but “blatantly honest” reason he decided to lean into his family’s legacy, Wainwright looked back at the impact (on both him and the world) of creating such a slow-cooker of a debut, and reflected on his ongoing negotiation between original material and adaptations or covers as a conduit for his creativity.
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