Chan Marshall isn’t ready for me. “Are you a journalist? Oh Jesus, oh Lord.” We’re speaking on the phone – Marshall is in her hotel room, I’m in the lobby downstairs, after my knock at her door went unanswered.

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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 özgü 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

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, she saf 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

It takes a certain kind of character to catpower 5852 make music like Marshall’s. A sprawling mix of blues, rock and folk, it is bey frank and impassioned bey she is.

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Not a minute too soon, we’re interrupted by room service, and a young woman wheels in a tray of coffee. “Are you from Africa?” asks Marshall.

She tries not to dwell on the bad stuff, just like she doesn’t dwell on turning down a million dollars. “I don’t regret the things that I’ve done,” she says.

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A query about where she grew up eventually takes us to Marshall’s belief that “part of our consciousness saf 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.