Linda Thompson, renowned for her poignant interpretations alongside ex-husband Richard Thompson in the ’70s and ’80s, faces a new musical chapter shaped by resilience and reinvention. After a solo album post-separation, she confronted spasmodic dysphonia, hindering her singing until Botox treatments revived her voice in the early 2000s. Since then, she’s not only reclaimed her vocal prowess but also emerged as a compelling songwriter.
Thompson’s latest work, “Proxy Music,” challenges conventional roles by crafting songs for others to perform, a departure from her role as interpreter. Collaborating extensively with her son Teddy Thompson, her compositions retain the timeless acoustic charm of her classic albums, focusing on themes of heartbreak and reflection, reminiscent of her earlier collaborations with Richard.
In a playful twist, Thompson injects humor and introspection into her lyrics, exploring themes of authorship and the nuanced perspectives within songs. Tracks like “Or Nothing at All,” performed by Martha Wainwright, blend tender melodies with wry observations, while “Shores of America,” sung by Dori Freeman, offers sharp commentary through its pioneer-era narrative.
Despite experimental forays into contemporary sounds, such as in “Three Shaky Ships,” where reverb-heavy production slightly overshadows its intent, Thompson’s mastery shines through in poignant moments like “Those Damn Roches,” a familial homage featuring grandson Zak Hobbs and Richard Thompson himself.
“Proxy Music” not only underscores Thompson’s enduring influence but also celebrates her journey from interpreter to composer, proving her artistic evolution is as profound as it is enduring.
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