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Janis Ian


Live @ Vicar St. April 24th
Tickets 36.50 Euro


The remarkable Janis Ian, one of the USA’s most enduring and gifted of singer-songwriters, makes a very welcome return to Dublin, supporting her new album ‘Folk Is The New Black’.

Janis’ last tour of Ireland & the UK in 2004 was a complete sell-out, her most successful jaunt since the early 1980s. Janis’ live shows are a tour-de-force, featuring her warm and intimate vocals and tremendously lithe acoustic guitar work, shot through with her unique, sardonic humour, with material taken from all stages of her four decades long career. Indeed, 2006 marks the fortieth anniversary of her first hit single, the timeless classic, ‘Society’s Child’, whose lyrical sentiment is still contemporary, even at this distance.

Janis Ian, for over four decades one of the most articulate, engaging and thought-provoking singer-songwriters to emerge from the USA, has released a brand new album, entitled, with typical humour, ‘Folk Is The New Black’, out now on Cooking Vinyl Records.

‘Folk Is The New Black’ sees this acclaimed songwriter in the same rich vein of creativity that she inhabited on her acclaimed ‘Billie’s Bones’ album of 2004. The album comprises fifteen new tracks, drawing on a impressively palette of styles and musical feel – from the savage humour of ‘My Autobiography’, through to svelte jazz tones on ‘The Crocodile Song’, the funky ‘Standing In The Shadows of Love’ (the first single to be taken from the album), the intimate confessionals of the sotto voce ‘Home Is The Heart’, and ‘Joy’, as well as the wry hootenanny of the title track. The album has a spare quality, with an intimate combo setting featuring Jim Brock (percussion), Viktor Kraus (Bass/second guitars) and Carson Whitsett (organ), with Janis playing and vocalising everything else, recorded ‘live’ in the studio - the perfect setting for one of Janis’ finest collections of songs to date. As ever, Janis turns an astute and acerbic eye on contemporary events – ‘The Great Divide’ has the structure and lyrical sentiment that Woody Guthrie would’ve approved of, but the Ian vocal has a quiet authority and power that belies the gentleness of the delivery, and ‘Jackie Skates’ shows that Ian’s qualities as a story telling lyricist are at a new peak. In fact, the album is littered with great Janis Ian vocal performances, proof positive of her mature talent.

The release of the new album is especially timely, as 2006 marks the fortieth anniversary of the release of Janis’ breakthrough hit, ‘Society’s Child’, originally released on Verve back in 1966, when the world was young. The song was included in Mojo magazine’s ‘Top 100 All-Time Greatest Protest Songs’ recently, and still features in Janis’ live set. UK fans will get to hear ‘Society’s Child’, alongside highlights from ‘Folk Is The New Black’, and her illustrious back catalogue on her forthcoming European tour, in April and May of 2006 – details to be announced soon.

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Who are the great songwriters in America today?

Not the most popular. Not the richest. Simply the greats.

Ask any student of the form, and Janis Ian will be counted among them The writer of Jesse, a song recorded by so many others that few remember Ian wrote it; Stars, possibly the best song ever written about the life of a performer, recorded by artists as diverse as Mel Torme and Cher; and the seminal At Seventeen, a song that brought her five Grammy nominations (the most any solo female artist had ever garnered) in 1975, which is now reaching its third generation of listeners.

Ian is a formidable talent, a force of nature. Ella Fitzgerald called her “The best young singer in America”. Chet Atkins said “Singer? You ought to hear that girl play guitar; she gives me a run for my money!” Reviewers have called her live performances “overwhelming to the spirit and soul”, and “drenched with such passion, the audience feels they’ve been swept up in a hurricane.” Not to mention her short stories, her songs for film and television… and oh, yes. She also runs a foundation, named for her mother, that supplies college scholarships in perpetuity; they’re working on their ninth.

The glowing reviews come as no surprise to Ian’s loyal fan base, who give her website a stunning quarter million hits per year – even though she hasn’t had a top twenty record here in three decades. Nor to the computer community, who adopted her article “The Internet Debacle” as their Bible against the RIAA’s fight to stop downloaded music. Nor her international fan base, who flock to her concerts and allow her to spend ten months every two years doing sold-out tours of Holland, the United Kingdom, Australia, Japan, Germany, and others too numerous to mention – and these are not club tours, these are concert halls. Nor the science fiction community, who embraced her anthology “Stars” with glowing reviews like the one from Publisher’s Weekly that begins “This dazzling, highly original anthology….”

Quite a broad spectrum of interests and communities, for a woman who started her life on a New Jersey chicken farm.

2006 sees the release of Ian’s twentieth major-label album, and to this writer’s mind, her logical follow-up to the critically acclaimed “Between the Lines”. Titled “Folk Is the New Black”, the album takes no prisoners; from the wry self-deprecating humor of its title song (“Folk is the new black/cheaper than crack/and you don’t have to cook”) to the political (“While politicians lie and cheat to get to higher ground/we follow them like sheep, and salute them as we drown”), to what is possibly the best love-‘em-and-leave-‘em song written in decades (“All those promises that you made me from the start/were filled with emptiness from the desert of your heart”), “Folk Is the New Black” is a songwriter’s tour de force. Never mind that it took decades for her to come full circle; Ian is right back where she started, in the bosom of folk music at its best – older, wiser, her talent honed and sharpened until it cuts so fine, we barely feel the blade slicing through us.

This is not an album for the faint of heart, for timid souls who prefer Britney Spears’ auto-tuned vocals to the voice of real experience. Ian and her two sidekicks (Viktor Kraus on upright bass and guitars, Jim Brock on percussion and drums) recorded the fifteen songs in three days, with all vocals done live. As Ian says, “I wanted to make real music. Forget about perfection; folk music isn’t about that. It’s about heart. So we set the room up as though it were the 60’s, three of us facing one another and playing because we love music. I sang everything live, and I surprised myself. I mean, I know I can sing live – I do it 200 nights a year. But to sing live in the studio, while I’m trying to play my own parts, arrange, and be the producer – I was surprised it came off so well. We had the budget to spend more time, but why? We’d already done what we set out to do.”

Ian has had great success as a co-writer, with cuts by Bette Midler, Kathy Mattea, John Mellencamp and a host of others. But “Folk Is the New Black” is the first album since 1981’s “Restless Eyes” that sees Ian writing 100% of everything.

“It was important to me, writing it all by myself. It was a challenge – could I still do it? Would it be as good? Because to my mind, it all comes down to four words – I serve the song. If you don’t start with great songs, you have nothing.”

For the record, Ian was born April 7, 1951, and started playing the piano at two. Far from being a child prodigy on that instrument, she hated scales and studying, and switched to guitar at age ten. (“I figured out that while you couldn’t carry a piano, you could carry a guitar, and that was it.”) Her first song was written at twelve and recorded on her first album for Verve-Folkways in 1965, which also featured her first hit, Society’s Child. The song ignited controversy from coast to coast, resulting in the burning of a radio station, the firing of disc jockeys who played it, and a generation hungering for the truth finally having a female songwriter to stand beside Bob Dylan.

Ian took a break at the age of eighteen, retiring to Philadelphia for three years “to find out if I had it in me to be a good songwriter, or if I should just go to school and become a veterinarian.” She returned with the stunning “Stars” album in 1973, and went on to cover the decade with number one records worldwide. Her follow-up to “Between the Lines”, titled “Aftertones”, was #1 in Japan for an astonishing six months, a record still unbroken by a female artist. “Night Rains”, featuring the Giorgio Moroder collaboration “Fly Too High”, managed to go platinum throughout Europe, Africa, and Australia.

In 1983, after ten unbroken years of making records and touring, Ian took an unprecedented nine year hiatus from the visible music world, studying acting with the legendary Stella Adler and “in general, learning how to be a person”. During that period, she married and divorced, suffered two emergency surgeries, lost all her savings and home to an unscrupulous business manager, and moved to Nashville, TN in 1988 “penniless, in debt, and hungry to write”. She returned to the music business with 1992’s “Breaking Silence”, which immediately garnered her ninth Grammy nomination.

2006 marks many milestones for Ian: it is the 40th anniversary of the release of Society’s Child. It is the 42nd anniversary of her first New York show (at The Village Gate, in 1964, at the age of 13). It is the 43rd anniversary of the publication of her first song, as well as the 43rd anniversary of her career as a songwriter (her first song, Hair of Spun Gold, published in Broadside Magazine in 1963, when Ian was twelve years old.) The 38th anniversary of her first Grammy nomination. Hard to believe she started so young; hard to believe she’s still going strong.

“It was good to start young,” says Ian. “It was good to learn, early on, that what matters is the music. I got most of my big mistakes over with before I was twenty-one. When people say ‘Didn’t you miss having a teenage life?’ I just say ‘I only know the life I lived. I was a teenager, working. A hundred years ago, no one would have thought anything of it. At least I got to do something I loved! I could have been working in a factory, or a day job where every day is the same thing, day in and day out. Instead, I got to deal with everything from doing coke with Jimi Hendrix to death threats. I lived an entire life in my teen years, and I don’t regret a second of it.”

Despite being a recording artist and performer for four decades, Ian shows no signs of slowing down. Her 2006 tour will take her through the United States, Canada, and all over Europe and Japan, with plans to go back to Singapore and Australia at some point. “We’ve got to pack it in, because I’m taking all of 2007 off at home to write my autobiography.” And after that? Ian laughs. “I’m scheduled right up to the brim through spring of 2008 right now; after that is anyone’s guess!”

Janis Ian’s new album, “Folk Is The New Black” is released in Ireland on 17th February 2006

  Janis Ian : Career Highlights
Awards, Honors, Film, TV, Video

“Only a handful of the great American troubadours is still creating vital music. Some of the others are dead, some are in creative eclipse, some are forgotten, and better, some are rich and retired. But Janis Ian endures.” – Robert K. Oerman

1966 - Leonard Bernstein’s Inside Pop – The Rock Revolution CBS TV special,
showcases Janis and radio reverses its position on ‘Society’s Child’. The song goes to no. 1.

1967 - ‘Society’s Child’ hits no. 1 and is nominated for Grammy ‘Best Folk Album’

1969 - Scores film ‘Four Rode Out’ starring Leslie Nielson, Pernell Roberts and Sue Lyons.

1974 - Roberta Flack hits the top 10 with ‘Jesse’. Years later Puff Daddy samples it on Pain.

1975 - First musical guest on NBC’s premiere broadcast of Saturday Night Live.

1975 - ‘Between The Lines’ receives 5 Grammy nods, winning best Pop Female Performance and Best Engineering.

1976 -‘Love Is Blind’ hits no. 1 in Japan for 6 months.

1977 - Sings and writes theme for movie ‘Betrayal’ / no. 1 on the charts in Japan and Europe. ‘Will You Dance’ no. 1 in Japan for 3 months.

1978 - Grammy nomination for Best Jazz Duet on ‘Silly Habits’ with Mel Torme.

1979 - Sings ‘Fly Too High’ on soundtrack of Jodie Foster movie ‘Foxes’. ‘Fly Too High’ is no. 1 in 7 countries, top 20 in the US.

1980 - Composes theme for the Chuck Connors/Glenn Ford film ‘Virus’.

1982 - Wins Grammy for Children’s record ‘In Harmony II’.

1987 - Writes songs for ‘Murder She Wrote’ episode featuring Charlie Daniels.

1992 - After 10 year hiatus, emerges with Grammy nominated Best
Contemporary Folk Album ‘Breaking Silcene’. Contributes ‘Days Like These’ to the soundtrack of John Mellencamp’s movie ‘Falling From Grace’.

1994 - Mellencamp makes video and single of Ian’s ‘All Roads To The River’.

1995 - Sings AIDS anthem ‘When Angels Cry’ on General Hospital and donates song royalties to The Elton John Aids Foundation.

1997 - Signs 7 album deal with BMG / Windham Hill.

1998 - Raises $73,000 in online auction of her personal memorabilia to fun the Pearl Foundation Scholarship Fund in memory of her mother.

1999 - Headlines with Jewel, Paula Cole and Phoebe Snow at Zero Population Growth Benefit Concert in Madison Square Garden.

2000 - Signed deal with Hawk Publishing for re-issue of her poetry book ‘Who Really Cares’, originally published in 1967 by Dial Press. Reissues included a new forward as well as poems not included in the original version. Extensive touring in the US, UK, Ireland, Scotland and Holland.

2001 - First short story published on, entitled ‘Waterskiing Down The Styx’, co-written with Mike Resnick. Toured Australia to great acclaim. Performed over 110 love performances, a career record for one year. Signed deal for science fiction anthology with Daw books, to be released 2003.

2002 - Inducted into the Grammy Hall of Fame for ‘Society’s Child’.

2002 - ‘Days Like These’ licensed for use in HBO’s original series ‘Oz’.


1966 - Janis Ian ‘Society’s Child (Baby I’ve Been Thinking)’ / ‘Hair of Spun Gold’

1967 - For All The Seasons Of Your Mind

1968 - The Secret Life of J. Eddy Fink

1969 - Who Really Cares

1970 - Present Company

1973 - Stars ‘Jesse’ / ‘Stars’

1975 - Between The Lines ‘At Seventeen’ / ‘When The Party’s Over’ / ‘Watercolors’

1976 - Aftertones ‘Love Is Blind’ ( a no. 1 hit in Japan) / ‘Boy I Really Tied One On’ / ‘I
Would Like To Dance’

1977 - Miracle Row ‘I Want To Make You Love Me’

1977 - Betrayal Soundtrack ‘Betrayal’

1978 - Janis Ian ‘That Grand Illusion’

1979 - Night Rains ‘Fly Too High’ / ‘Here Comes The Night’ (theme from ‘The Bell Jar’) /
‘The Other Side of The Sun’ (UK hit)

1980 - Foxes soundtrack ‘Fly Too High’

1981 - Restless Eyes ‘Under The Covers’

Mel Torme & Friends – Mel Torme
‘Silly Habits’ (with Mel Torme)

1982 - In Harmony 2 (Children’s album) ‘Ginny The Flying Girl’

1984 - Uncle Wonderful

1992 - Falling From Grace soundtrack ‘Days Like These’

1993 - Breaking Silence ‘All Roads To The River’ / ‘Watercolors’ / Some People’s Lives

1995 - Revenge ‘Take Me Walking In The Rain’ / ‘When Angles Cry’

1996 - Ring Them Bells – Joan Baez ‘Jesse’ (with Joan Baez)

1997 - Hunger

The Carols of Christmas
‘Emmanuel’ (with Deana Carter & Kathy Mattea)

1999 - God And The FBI

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