It’s been 30 years since your first album, Kylie, was released. What do you think of it now?
Five years down the line I probably wanted to run as far from it as possible. But about five years after that, I was having the best time performing “The Loco-Motion” again. When I think of Kylie, I think of a really young girl. Everything was new to me.
How have you changed as an artist since?
It takes to time solidify your industry presence and learn who you are. One quote I love is: “There’s no shortcut to learning your craft.” Now I can call up a singer like Nick Cave, or ask Bono if he’ll sing with me onstage. Now I write and know how to put a show together. I’m 50, not 21. My experiences are reflected in my work.
For your new album, Golden, was it tricky to meld a Nashville sound with the dance pop people expect from you?
Oh, yeah. We definitely looked for that country influence, but we were aware that I’m not a country artist. During recording, we’d say, “Not enough banjo! Put a fiddle in there!” The key thing was, it had to sound like a Kylie record, but with an extra flavor.
What’s it like to be at a point in your career when you can take that risk?
I’ll never make an album that’s a carbon copy of another, and not everyone gets these chances. To try something new 30 years into my career is mind-blowing.
What do you think the young woman who made Kylie would think of Golden?
I think she’d enjoy it and feel empowered by it. And have it in her cassette collection.