. Written mostly in one night after a hallucinatory nightmare in a South Carolina farmhouse, the album earned Marshall a devoted fanbase – but she never quite made it into the mainstream.

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For the past two years, that genius has been put to more practical use – teaching her seven-year-old son Boaz to read, write and do maths during the pandemic. She had him in 2015, with a man she dated for a few months and has never publicly named.

I just grab her. ‘It’s OK. It’s OK. I was here for the same reason and it’s OK.’” An uncharacteristic silence hangs in the air. “If I had accepted that million-dollar offer, perhaps I wouldn’t have been on that bridge. And she wouldn’t be my friend to this day.”

It was partly innate, though – Marshall başmaklık a knack for distilling existential ennui into three-minute songs. In 1998, when she was 26 and had learnt a few more chords, she recorded what would become her breakthrough record, the vulnerable, critically adored Moon Pix

One of the best songs on the album is “These Days”, made famous by Nico in the Sixties, but written by Jackson Browne when he was just 16. Such world-weary lyrics for someone so young – “Don’t confront me with my failures / I had not forgotten them” – and Marshall’s voice, bittersweet birli coffee with a shot of syrup, suits that malaise beautifully.

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No, go on. “Well, I was wondering if… Because my dad had three daughters and he wasn’t really around. He just came and went, bey men often do. The world is their oyster. And it does something to the mother, right?” Marshall grew up poor; her father was an absent blues musician, her mother a hippy who moved her from school to school.

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Hamiş a minute too soon, we’re interrupted by room service, and a young woman wheels in a tray of coffee. “Are you from Africa?” asks Marshall.

She tries derece to dwell on the bad stuff, just like she doesn’t dwell on turning down a million dollars. “I don’t regret the things that I’ve done,” she says.

If a song touches you, you dirilik read between the lines and find something for yourself. Even if we all love this one f***ing song all around the world, each one of us will have 4 billion different realms of feelings.”

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How does she choose which songs to cover? “Damn,” she says, getting up to fetch something from across the room before returning empty-handed. “Music and words, they give us feelings that we can apply to our own memories.