The journey has somehow landed her gaining ascendance in the country’s music scene, most surprisingly within ‘indie’ circles. This chapter began with working with musician Jesse Shepard on The Devil Has My Double. “I guess it’s probably been about four years now, maybe a bit longer,” Jane explains.
“I was singing jazz in the clubs with pianists and that kind of thing, and occasionally my own little cabaret shows. Jesse must have heard me on the radio and thought of this great idea, I think due to my background, where I’d come from, and hearing me sing around town. So he contacted me and by that stage he’s written enough songs for the first album.
“I must admit,” she smiles, “when I first heard the material I wasn’t quite sure of what it was about, and how I was going to slot into what was this very indie sound. But as I worked on it, I was able to start creating this persona for myself and the music, and connecting with it. Now here we are, four years later.
“Now of course we collaborate, I’ve started writing. It’s all really evolved,” Jane states. With more of a focus on collaboration, the confluence of the two musicians has almost reached the point of symbiosis rather than the artist-muse dynamic.
The tracks which comprise Tears Again are thematically and stylishly indistinguishable – despite songs which Jane has composed being bought into the fold. “I’ve been very influenced by Jesse,” Jane laughs. “I mean it’s funny, isn’t it? The thing is, when Jesse writes he has this amazing, cynical, ironic turn of phrase. He has a way of writing lyrics which I think is just fantastic, because it’s often not about what he’s actually saying – these great metaphors.
“When I write, I just write it as it is. I mean, the use of a nursery rhyme in Nursery Rhyme is just about the loss of innocence. I think it’s definitely dark and gothic, which I think is a bit Jesse as well. It slotted in really nicely.”
With track titles such as Men Who Lie and I Want A Lot Of Boys To Cry At My Funeral, it’s clear that the staunch melodrama which punctuated Jane’s acting career, particularly in soapies such as Neighbours, carries over into her musical pursuits. “The thing about me is that I think there are a lot of hats I can wear: I can do jazz, I can do torch, now I also kind of like to do a little bit of funk. I also love that whole Grace Jones thing.
“Originally when we conceived the album we were going more in that direction, but the whole melodrama aspect came on more when we bought on Paul Grabowsky, who added the lushness of strings and horns. All the arrangements were completely Paul’s contribution, so when we added that element it all sort of shifted my performance and where I was going,” she reveals. “But I think it could have gone a number of ways and still been quite successful.”
With Grace Jones still wowing them all on the international circuit, most recently on her welcome return to Australian shores earlier this year, it makes it all the more clear that while we are quite adept at championing our marauding, shirtless male rockers, there is purported resistance to embracing a strong, sexy female figure. Whether purposefully or inadvertently, it’s a preconception which Jane is doing a tremendous job of challenging. “Someone of my age doing what I’m doing, – it’s not really a common occurrence on the Australian music scene,” Jane argues. “People often don’t quite know what to make of me, I suspect.
“We performed at Sugar Mountain Festival on Saturday, and I looked out at the upstairs theatre, which was almost filled to capacity with 18-25 year-olds,” she laughs. “I was thinking, ‘Woah, this could be tragic,’ with their very short attention spans,” Jane quips wryly.
“The great thing was everyone stayed, which was incredible. I don’t know if they loved it, but they all stayed. I’m not expecting that age group to embrace what I’m doing. But I’m not quite sure what my market is,” she ponders. “But you can’t let that stop you from doing what you do, and I think what I do is actually quite unique.
“Some people love it and think it’s great, but there are also others who aren’t so sure,” Jane says on her divisive quality. “There’s been some very interesting responses on Noise And Mess… no Mess And Noise,” she laughs heartily. The online magazine’s glowing review of Tears Againgenerated much debate on the site’s notorious messageboard, a matter which Jane takes in her stride. “It never upsets me, I just laugh. I think it’s great that they’re even bothering to respond.”
