Ironically, it was on the road where Olsen felt reinvigorated, thanks to the camaraderie of fellow musicians on the festival circuit, such as St. Vincent, Courtney Barnett, and Mac DeMarco. “You think all these bands are getting together and getting shit-faced and there’s probably drama, and there is,” she says, “but behind the scenes and on the sidelines, there’s also a lot of community that’s being built. It was really refreshing to talk to people—even in a drunken way—about our careers, and to know that I wasn’t totally isolated in the experience. Hearing that other people were bummed, and making fun of ourselves, like, ‘I’m so famous, my life is so hard,’ really saved my career. I was like, ‘I’m not going to quit. I’m going to keep doing this.’ And after that I wrote a bunch of material.” Thus, My Woman was born.
The world was introduced to the new music via the morbidly beautiful lead single “Intern,” the video for which was directed by Olsen herself and filmed with a micro-crew of friends in Asheville, North Carolina, where the singer has resided for three years. The visuals for “Intern” and its commanding follow-up, “Shut Up Kiss Me,” star a silver-tinsel-wig-adorned Olsen, invoking comparisons to “Life on Mars?”-era David Bowie. “I wanted to create my own character and be more in control of the image I project through my own music,” she explains.
Olsen’s also determined to expose the hypocritical manner in which men and women in the industry are received by critics. Although male rock stars can howl misogynistic lyrics without being quizzed on feminism, when a female artist writes her own music and names an album something even moderately gutsy, she’ll likely be interrogated about it. With that in mind, the singer is already swatting away the line of stereotypical questioning that the title of her record will inevitably conjure up. “The album is called My Woman, and people are like, ‘Are you afraid that your male fans might be turned off by this title?’ I can’t wait for the questions like, ‘So, as a feminist, your album is a feminism album?’” says Olsen with a scoff. “I can’t deny that I’m a feminist. I don’t like that it’s hip right now, because I don’t want it to be a trend. Just because it’s being talked about doesn’t mean that people are getting the picture.”
She finishes her lemonade—a fitting drink for a discussion about the limitations put on artists who happen to be women (see Beyoncé’s latest album). In spite of it all—the cages of fame, the insistence of critics on typecasting her, the archaic categorization of female artists by their gender, and her occasional bout of exhaustion—Olsen has no plans to slow down. “I did name my album My Woman, so it’s very easy for people to think all these things,” she says. “It is a really bold move, but that’s what you gotta do. I’m going to be audacious enough to say that I’m important.”
Coat by Kenzo. Hair: Peter Matteliano at Kate Ryan Inc. using Oribe. Makeup: Lindsey Williams at Kate Ryan Inc. using Dior Addict. Manicurist: Angel Williams at Opus Beauty using Dior Vernis.