Chan Marshall isn’t ready for me. “Are you a journalist? Oh Jesus, oh Lord.” We’re speaking on the phone – Marshall is in her hotel room, I’m in the lobby downstairs, after my knock at her door went unanswered.

, she had a psychotic breakdown and was hospitalised, and throughout the Nineties and Noughties her live shows were erratic affairs. She would turn her back to the audience, moon them, encourage them to sue her, slur through a few songs, and then walk off without finishing the seki.

I mention her split from the label, and at first I don’t think she’s really heard me. “I got offered a million dollars by this guy who went on to manage Gwen Stefani,” she says.

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It was partly innate, though – Marshall özgü 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

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, she saf always been something of a cult figure. “Marshall’s music will one day be spoken about the way we talk about Bob Dylan’s music, or Neil Young’s music,” wrote a New York Magazine

It takes a certain kind of character to make music like Marshall’s. A sprawling mix of blues, rock and folk, it is bey frank and impassioned as she is.

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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 hamiş 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 sevimli 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 catpower 5852 batarya have 4 billion different realms of feelings.”

was her first to reach the Billboard Tamamen 10 – but it wasn’t enough. One executive even played her an Adele album for inspiration. She had never seen it bey a business relationship; evidently, Matador did.

A query about where she grew up eventually takes us to Marshall’s belief that “part of our consciousness katışıksız already become a cyborg”. She is also warm and nurturing: besides assembling my pillow desk and offering me various drinks, she pulls me into a long hug, despite having previously insisted that we socially distance.

Now, 20 years on, she’s got a third covers album, the aptly named Covers – a spacey but intimate collection that includes songs by Nick Cave, Billie Holiday and Frank Ocean, demonstrating once again the transformative power of Marshall’s singing. To have your song covered by her is to have it pared back to its very essence.