Ani DiFranco Reveals New Attitude on Latest Album

By Broadside Staff Writer Kyle Ridley

When I spoke to folk-rocker Ani DiFranco earlier this year, she revealed that she had been a long time sufferer of the ill-fated “white person disease,” a chronic ailment of always focusing on the dark and dreary.

Finally, after years battling the unfortunate case of melancholy melodies, the self-proclaimed “one-woman army” has found the perfect remedy: motherhood, a happy partnership and New Orleans.

Her new songwriting approach smiles bright on 20th album Red Letter Year, released last month.

On “Present/Infant,” a tranquil ode to her daughter Petah, the Buffalo, N.Y. native takes steps toward a embracing a fresh take on life.

“I’ve got myself a new mantra, it says: don’t forget to have a good time,” DiFranco sings.

The track strongly details her self-analysis in the wake of motherhood. DiFranco shares how she’s made “insecurity into a full-time job” while looking into mirrors and picking herself apart.

“But now here’s this tiny baby and they say she looks just like me... and I would defend to the ends of the earth her perfect right to be,” she sings delicately.

As one of music’s leading lyricists, DiFranco, 38, has often been labeled a political/feminist spokesperson with biting lyrics at the forefront. But on her new disc, several standout moments lie in simplistic verses and euphoric choruses.

On “Smiling Underneath,” DiFranco lists a string of cons—gums peeling, hair thinning, bill paying—that cannot compete with the pro of being with someone you love.
The jubilance continues on “Way Tight” and “Round a Pole,” peaceful tunes addressing the obstacles of love while welcoming them with open arms.

Red Letter Year is not all happy-go-lucky, so fear not for those craving some infamous DiFranco politics.

“Alla This” is a fierce refusal to allow mainstream media to shape one’s identity. DiFranco’s powerful pipes soar as she rejects prayers to a male god, vows to not rest until women have united, and refuses to support the troops because “every last one of them is being duped.”

“The Atom” quietly glorifies the unit of matter encompassing the universe before a mid-song verse that relates humans to monkeys and ants that arrogantly melt polar ice caps. The lingering track builds to a booming exclamation of “we’ve got ourselves a serious situation down here.”

Red Letter Year’s grand production is a welcomed change from DiFranco’s more recent, stripped-down efforts. Most tracks contain broad instrumentation, including strings, tubular bells and ukuleles.

Final track “Red Letter Year Reprise” is a five-and-a-half minute musical joy-fest featuring the Rebirth Brass Band. The celebratory tune exudes a sense of late night New Orleans bliss. Imagine yourself dancing with friends in the warm, sparkling streets in a parade of carefree grins.

After 20 years, 20 records and a canon stricken with “white person disease,” DiFranco’s elated Red Letter Year is a well deserved shift for the folk troubadour. Its refreshing dose of lighthearted fare encourages a “good for her” sentiment while delighting listeners with high spirited sounds.