"Its like Im a Cro-Magnon human being, you know, just learning to stand up," Wainwright jokes about the adjustment to a guitar-based set.
"Its just not feasible to take a piano everywhere I go on tour, but its been really instructive for me, playing the guitar all the time Im shaking my ass a little more, coming out of my cocoon onstage."
Similar pragmatism led Wainwright the son of folk heroes Kate McGarrigle and Loudon Wainwright III to forego training in classical music in favor of his current career.
"Well, theres the whole issue of, you know, making a living," Wainwright replies when asked why an admitted opera-obsessive would turn to writing catchy-as-hell cabaret-pop numbers such as "April Fools" and "Beauty Mark" two of his albums standout tracks.
"As much as I love classical music," he continues, "I always kind of wished I wasnt so drawn to it it gets kind of lonely hanging out in that section of the record store, if you know what I mean. But the main thing," Wainwright concludes, "you have to admit that all the cute boys are doing rock n roll."
Wainwright has not disowned his obsessions completely, however. He notes that his focus on melody comes out of many years listening to and composing classical music. But the marked theatricality of many tracks on Rufus Wainwright owes something both to operas distended vision of reality and to Wainwrights very first love, musicals he recalls wanting to play Annie as a child, and later hoping for a crack in Dorothys ruby slippers. Operas influence on his songwriting is more than just suggested on songs such as "Damned Ladies." In its verses, he pleads with some of operas greatest tragic heroines not to let their fates unwind as penned: "Desdemona do not go to sleep/ Brown-eyed Tosca dont believe the creep..."
So, pragmatic impulses toward pop musics accessibility aside, never say that Wainwright isnt a confirmed romantic, either.
"The songs usually start with some guys smile," admits Wainwright with typical jocundity, "which then goes to my eyes, and then I have no choice but to write a song about him "
"Foolish Love," the first track on Rufus Wainwright, is just such a paean to the impossibly perfect object of Wainwrights unrequited affections. However, he usually checks the fancies of his wayward heart with wonderfully wry, offhand lines. "Foolish Heart," for example, begins all a-quiver: "I dont want to hold you and feel so helpless/I dont want to smell you and lose my senses," but quickly shifts into a jauntier mode, wherein Wainwright declares that hell "take (his) coffee black, never snack/Hang with the wolves who are sheepish ... All for the sake/Of a foolish love."
Wainwrights lyrical romanticism is matched by lush, beautifully orchestrated compositions and expressive tenor vocals. Although all the songs on the album were "compositionally complete" when Wainwright went into the studio, he and producer Jim Brion spent two years honing them to the standard Wainwrights mother had coached him to expect of himself throughout his precocious, intensely musical childhood.
"Even when I was young, she was critical of what I wrote," he recalls. "But thank God for that, because it was very loving criticism, and it totally disciplined me as a songwriter."
Unlike other progeny of 60s folk stars (Jakob Dylan, Adam Cohen), Wainwright openly embraces the influence of his family. "Beauty Mark" is dedicated to his mother, and Wainwrights sister, Martha, sings backup on several tracks.
"I love working with my family! I kid sometimes that I only let Martha sing on the album because Mom would kill me otherwise, but actually it was great. Were going to be a dynasty," he declares. "Just you wait!"
Never, ever say that Rufus Wainwright isnt looking at the big picture. Maya Singer writes about music for the Metro Times. Send comments to email@example.com