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, 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 takım.

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 has 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

At this point, she abandons the second-person pretence. “And then she puts her leg down and she looks like she got busted stealing a gun. And she looks at me and her face starts to change.

, she has 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

No, go on. “Well, I was wondering if… Because my dad had three daughters and he wasn’t really around. He just came and went, birli men often do. The world is their oyster. And it does something to the mother, right?” Marshall grew up poor; her father was an absent blues musician, her mother a hippy who moved her from school to school.

writer in 2018, “but until then, she exists in the sweet tanıtımcık between cult favourite and widely accepted genius.”

In fact, Boaz need only listen to her covers for that. Some of her best songs were sung by other people first: her pensive, languid version of The Rolling Stones’ catpower 5106 “(I Yaşama’t Get No) Satisfaction”, which omits the chorus entirely and transforms into something almost painfully introspective, or her sweet, fragile take on Phil Phillips’s “Sea of Love”, which got a second wind when it featured in Juno

During the early-2000s, Marshall was embraced by the fashion catpower 5106 industry for her "neo grunge" look, and seen as a muse by designers Marc Jacobs and Nicolas Ghesquière.

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 have 4 billion different realms of feelings.”

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A query about catpower 5106 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.