Martha Wainwright revisits her eponymous debut album with Atwood Magazine two decades later, demonstrating that authenticity and vulnerability remain unaffected by the passage of time.
‘Martha Wainwright (20th Anniversary Edition)’ – Martha Wainwright
Born into a renowned family, Martha Wainwright is neither flawless nor camera-ready.
As the daughter of Loudon Wainwright III and Kate McGarrigle, and sister to Rufus Wainwright, her family's notoriety often precedes her. Yet, Martha Wainwright stands apart.
The voice of the now thirty-nine-year-old artist remains as impactful and precise as it was in 2005. Wainwright does not hold back; her mesmerizing voice makes her confessions feel effortless. However, her tone can also be piercing, equally poignant and exact.
Martha Wainwright’s self-titled debut album, first released in April 2005,
exhibits a swing between sheer confidence and profound insecurity. In “Bloody Mother F*ing Asshole,” she defiantly states, “I will not pretend / I will not put on a smile / I will not say I’m all right for you.” In another moment, she reveals her dependency on love, singing, “I can get used to anything as long as it’s shit-stained.” Wainwright embraces boldness with grace. Her refreshing honesty never crosses into self-indulgence. Given the weight of her name, her vulnerability is an act of rebellion, surprising those who think they have her all figured out.
Wainwright’s voice can oscillate between strength and fragility. She shapes her words like clay, adapting them to fit the song's needs. The bonus tracks feel edgier to the touch. The chilling dissonance of "The Maker" closely resembles what follows. Wainwright digs deep with haunting harmonies in “The Dead,” and she belts out over a nearly In Utero-esque bassline in “It’s Over.” Lyrically, she remains as audacious as ever. In “The Sex Song,” she playfully sings, “Maybe someday I’d like to have a baby/ And you’d have to come inside my door/ That’s a metaphor.” She boldly defies traditional femininity, showcasing the chaotic, flawed, complex, courageous, and authentic aspects of herself.
Martha Wainwright’s debut represents as strong an expression of her identity now as it did two decades ago. The 20th Anniversary edition features fourteen new songs, along with a vinyl release and a tour. Wainwright illustrates that originality and vulnerability remain untarnished over time.
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Martha Wainwright © 2025
A CONVERSATION WITH MARTHA WAINWRIGHT
Atwood Magazine: What motivated you to release and tour the anniversary edition?
Martha Wainwright: The first record is what I’m most recognized for. It took five years to create, and it truly represents me as an artist. It set a course for my life in many ways, for better or for worse. Other artists at this stage often do anniversary releases and tours for their most popular records. People have also been asking about vinyl for years, so I seized the opportunity.
And there are fourteen additional tracks!
Wainwright: Leading up to this album, there were many years of experimentation in the studio. Some of the tracks are cringeworthy because I sound so young, but there’s a certain beauty there. “The Sex Song” is somewhat embarrassing. I’d play them for a couple of years, and they’d eventually fade away. Then I thought, “Forget it,” let’s just release them.
It’s nearly impossible to separate sex from being perceived as a woman. What prompted you to not lead with that theme?
Wainwright: I was seeking love. I hadn’t figured out how to leverage my stage presence and opportunities to attract attention. The songs convey a lot of rejection and longing. I learned that some people perceived me more as a sex symbol than I ever understood. Admittedly, it was a small, eccentric segment of the population. (laughs) I felt awful about myself, whether due to my choice in partners, my self-pity, or my parents. For some, my experiences resonated; for others, they didn’t. Over the years, it becomes easier. Confidence builds, and it feels right to embrace that.
Martha Wainwright © 2025
You've certainly had an eventful twenty years, but it seems you've simply lived a life, consistently maintaining your honesty. Would twenty-eight-year-old Martha be surprised by how things turned out?
Wainwright: I would be astonished that it
Martha Wainwright reflects on her self-titled debut album with Atwood Magazine two decades later, demonstrating that authenticity and openness remain unchanged by the passage of time.
