Grace Cummings

Hearing Grace Cummings' scorching voice for the first time is like a blinding storm capable of shaking the depths of the soul. On “Storm Queen”, the Australian singer-songwriter harnessed the energy of her powerful vocal performance to set fire to the bare, skeletal arrangements of the songs. Now, for her third album, Grace has finally had the chance to record her songs with a sizeable entourage of musicians, aided by the seasoned Jonathan Wilson as producer. And even if the sonic backdrop this time is elegantly lush, the taut theatricality running through Cummings' songwriting remains intact. Ahead of the release of “Ramona”, I met Grace on Zoom to talk about her splendid new collection.

At the end of the title track of your new album you sing “it's just the time to be Ramona”. What does it mean for you to be Ramona?
Ramona is a name I think I've given to myself, or at least to a part of me that I find hard to confront on a personal level. I think it takes a lot of courage to face everything in life and to simply be and remain yourself.

But why not use another name, a pseudonym instead?
I think sometimes it's easier to be more vulnerable that way. Or at least I found it easier when I started this project; now I always have to be myself when I sing my songs!

Jonathan Wilson produced “Ramona”. What was it like working with him?
Really wonderful! I admire him a lot: he's so talented! Working with him was one of the best things I've done. We get on really well and share a lot of views on music and on the world in general. The whole experience was a bit like hanging out with a friend.

Glad to hear it! But why, after two very raw and visceral albums, did you opt for such rich, orchestral arrangements? The songs are gorgeous, but it's maybe not what your fanbase would have expected after “Storm Queen”.
It's actually something I've always wanted to do. “Storm Queen” was recorded during the pandemic, and I couldn't work and rehearse with anyone else in the same room. I'd never had the chance to do something as big as this before, but, as I said, I've always wanted to be able to do it. I think I prefer things that are very dramatic rather than simple...

Was there an instrument you wanted on this record that you'd never used before?
A string orchestra!

You recorded the songs at Wilson's studio in Topanga Canyon. Did that particular landscape influence “Ramona” in any way?
Yes, I actually wrote the song “Love And The Canyon” right there. It's about never wanting to go home. I really loved the time I spent there and the scenery was breathtaking. It reminded me a lot of Australia, actually, and that was a nice thing, because usually when I'm travelling I miss the Australian landscape. I love London or other big cities, but I don't think I could ever live in one.

There are a few moments on this record where you and the band really let loose. I'm thinking, for instance, of the psychedelic instrumental coda of “I'm Getting Married To The War”. What made you want to experiment in that direction?
I'd made a demo of that song that I wanted to be very theatrical. I remember throwing cymbals and glass down to the floor below and recording it. Obviously, with musicians in the studio we managed to recreate that psychedelic feeling of things falling down much better. It was very cool!

So was it liberating to play with so many people?
Absolutely! I'd never played with so many people before. Every day I'd leave the studio wanting to become a better musician. They were all really skilled people: they inspired me a lot.

So why can't you stand the idea of being an ordinary person, “a common man”? Is the cowboy in the song “Common Man” perhaps a figure similar to the freak in “Storm Queen”?
Yes, definitely. Anyway, I am an ordinary person. I think it's about not wanting to be myself for a moment. The cowboy, for me, is a sort of mythological figure, like a unicorn if you like, embodying this idea of a completely free person, who doesn't need a map to travel or a bed to sleep in.

The first time I heard “Work Today (And Tomorrow)” I thought it could be the perfect opening theme for a James Bond film.
I've been told that before! I wouldn't mind if they wanted to use it…

Maybe there's still room for the next film!
Yes, let's hope so! Fingers crossed…

What's the song actually about?
Initially, when I wrote it, it was a sort of pep talk to myself. A very dramatic pep talk.

What inspired the videos for your new singles? They seem completely different from the ones you've made in the past.
Actually, nothing in particular. I did a lot of things at home for this record. The cover photo, for instance, was taken in my garden. The video for the first single was also filmed at my house. I think I wanted to bring the audience closer to my personal space.

The cover of “Ramona” is also different from your previous records. “Storm Queen”'s was white, while “Refuge Cove”'s was very dark. It seems that now, on your third album, you've found a new life and new colours.
That's actually true!

In June you'll be playing in Italy supporting King Gizzard. What can we expect from one of your shows?
To have fun! My band is coming with me and it'll be much louder than you can imagine.

I listened to your concert on NPR's World Cafe. With the band, even your older songs sounded really powerful. Truly explosive!
Playing with the band is a huge amount of fun for me, and I love making a racket!

(April 7, 2024)

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