She might describe herself as a Little Folksinger, yet Ani DiFranco is one of the most prolific and engaging singer-songwriters of her generation. She’s also one of the most well-respected, as she’s managed to build a strong, international fan base without compromising either her integrity or her vision. A self-taught guitarist with her own signature style, she began writing songs in her teens and pressing her own cassettes to sell after shows. Encouraged by the response, she started her own label, Righteous Babe, in 1990 and now employs 15 members of staff. Her latest album, Canon, is a double-CD retrospective that includes tracks from early albums like Not A Pretty Girl, Dilate and 2006’s Reprieve.

What makes DiFranco a force to be reckoned with is the fact that she combines her fierce independence and DIY ethos with a distinctive voice and poignant lyrics. Some of her songs explore social and political issues from a personal perspective while others examine love, lust and relationships with unguarded honesty and humour. Openly bisexual, DiFranco has campaigned vigourously for gay and lesbian equality. In 2006, she was the first musician to be honoured with a Woman of Courage Award by the National Organisation of Women. Modestly, she forgets to mention this to DIVA, preferring to talk about music, motherhood and what it feels like to be a muse.

You and your manager have just opened a new performance space in Buffalo. What can you tell us about it?
It’s called Babeville and its a gorgeous, 18th-century sandstone cathedral. There’s a large hall with grand, stained-glass windows; that’s where I played the opening nights and where most of the gigs will be. There’s also a basement that we’re turning into a lounge, with a smaller stage for more intimate shows. The whole project has been a real labour of love.
When we first bought the building we thought we’d just need to refurbish and put in some new electrics. Little did we know it would take seven years and millions of dollars to get up and running.

When you first started your career, you said you considered yourself a live performer first and foremost. Is that still the case?
Absolutely. I can’t play as many shows as I used to because of my tendonitis, but I still love performing and communicating directly with my audience. I also think I’m much better at performing than making records. Listening to my old records is quite traumatic because I just hear all the things I wish I’d done differently. The fact I’m finally starting to understand how to document and edit my songs is quite liberating and exciting for me.

Do you still get a lot of gay and bi women at your live shows?
Yeah, I do. At the beginning of my career a large percentage of my audience was gay and bisexual, but as the years have passed the audience has changed and expanded to include folks of all backgrounds, ages and sexual orientations. It really depends where I’m playing and how far my music has travelled. I know when I play certain cities that there’ll probably be a heavy dyke contingent.

Have you ever felt pressurised by being considered a role model by some gay and bisexual women?
No – not because the pressure isn’t there, but because I refuse to feel weighed down by it. It’s such a rare experience for people in a marginalised community to feel themselves affirmed that understandably they grab onto any positive role models they can find. I respect and appreciate that, but it’s hard for me to fulfil that role when I’m constantly developing as a person. I still consider myself a feminist and I still have a lot of love and respect for other women, but I know my getting married a few years ago probably disappointed some people.



Was putting together Canon a difficult experience for you?
Uh huh. It was only because I’m so happy that I was able to even attempt putting this record together. If I’d tried to do it five or ten years ago, it would have sent me into a spiral of self-doubt. There was so many songs to choose from it was really daunting trying to work out which I should include.

Were there any particular songs you had to include because they capture a certain period in time?
I knew I had to include songs like 32 Flavours, Dilate, and Untouchable Face. Not because I like them more than the others, but because I’ve become aware they’re considered ‘Ani classics’. I also asked my friends and colleagues for their input and tried to include songs that I know are dear to people.

What was it like listening to your early albums?
Petrifying. Imagine finding the journals you wrote when you were 18 or 19! That’s what it felt like going back and listening to my early albums. Of course I’m proud I made them, but I don’t always recognise or relate to my younger self. The girls who made those albums don’t even exist any more - they’ve been replaced with other girls.

You were included in CMJ’s list of 25 most influential artists a few years ago. Can you hear your influence on new songwriters?
People tell me about artists that cite me as an influence or sound like me but I’m not really aware of it. I tend to live in my own little world with my songs and my friends and family.

Which contemporary songwriters do you most admire?
The young songwriters I find most inspiring these days are Regina Spektor and Joanna Newsom. I don’t know if they’ve made it over to your neck of the woods, but I played both their first records to death. They have a freshness that turns me on.

Would you encourage new artists and songwriters to set up their own labels and release their own records?
Oh boy, I definitely would. The music industry is more consolidated than it was when I was starting out. Unless you’re one of the Top Ten artists on a major label, you just don’t exist. Luckily, there are a lot of tools to help people these days, from ProTools to MySpace and YouTube.

You’ve just published your first book of poetry and lyrics – Verses.
I’m a little nervous what people make of it, but whether its well received or not, I’m really pleased I’ve done it. Like Canon, its a retrospective of work I’ve created over the last 15 years plus some new poems that have never seen the light of day before. There are definite themes, but the work is so personal to me its hard to comment.

Earlier this year you gave birth to your first daughter, Petah Lucia. Do you think motherhood will influence your songwriting?
It’s too early to say but it’s certainly made me reflect on things. If I’ve been guilty of anything as a songwriter, its staying inside my own head too much. Having my daughter has forced me to shut up and stop thinking about myself so much. D

The double CD, Canon (Righteous Babe), £19.99, and Ani’s poetry book, Verses, £11.99, are both out now, available on www.divadirect.co.uk and www.libertas.co.uk.
For UK tour dates in 2008, check www.righteousbabe.com