Tina Arena: ‘At 48 I feel the most free I ever have’

THE always-outspoken homegrown Aussie pop star talks about her career highs and lows with news.com.au.

IN the relatively small Australian music industry, it sometimes seems there are few options left for artists — particularly female artists — once they’re deemed ‘too old’ for commercial radio play.

Covers albums for the Mother’s Day market, RSL tours to sing their old hits, stints on reality shows to keep their profile up — the options are limited for many.

Musical survivor Tina Arena, however, is bucking the trend. With a recent ARIA Hall of Fame award under her belt and a new hit album of original material, Arena’s proving that, at 48, she’s as relevant as ever. We chatted to the always-outspoken singer-songwriter ahead of her special Sydney Gay and Lesbian Mardi Gras performance later this month.

Tina, you’ve enlisted a who’s-who of young female songwriters to help with your latest album Eleven: Kate Miller-Heidke, Hayley Warner, Hailey Aitken. Was that the mission statement for the record?

It’s funny, it just happened naturally. It’s not like we’re a bunch of feminists and we’re all out there burning our bras. We’re not really those types of women, to be honest. It’s an eclectic bunch of women that are very strong, that are very passionate and have a very balanced perspective on stuff. I have really good friendships with them, and I think you can hear it in the music — it’s a beautiful bunch of creatures that have participated in this album.

It’s 2016, but it still seems like so many of the behind the scenes people in pop are men. Does writing with women bring a different creative energy?

Of course you’re able to tap into other things. I’ve never really felt a great sense of competitiveness working with males — love working with men. Always have and always will. But, you know, there is a different sensibility when you’re working with women that you know and that are a beautifully honest.

Tina Arena: 48 and still Strong As Steel.

Let’s talk about your ARIAs Hall of Fame speech. It was a real moment when you were speaking about older women in music (“Ladies over 40 are still in the game. We will decide when it is time for us to stop”). Had you been wanting to speak out on that issue for a while?

Perhaps subconsciously. I was very nervous about that one; it’s like making your speech on your bloody wedding day. It’s like ‘F*ck, here’s a platform, what the f*ck am I gonna say to try to encapsulate 40 years when I’ve only got a few minutes?’ It’s a really difficult exercise to try and condense all the thing you want to say — I guess that’s why the speech went on for 12 minutes. I was so surprised they didn’t put out the sheep’s hook and drag me off stage!

Outwardly, you seem like a success story when it comes to a female artist over 40 still being ‘in the game’. Is it harder than it looks?

It’s not effortless. There are always constraints, but you’ve gotta pick your battles. I just thought, why on earth would I be considering stepping down at 48 when I feel the most free I ever have as a woman and as a performer? Isn’t there lots to gain from someone who has that freedom?’ I’ve lived, and I’ve got something to say and to contribute.

Your outfit on the night certainly got a lot of people talking ...

I’m not going to accept my Hall of Fame award looking like a sack of friggin’ potatoes! I’m going to take that moment, and I did, hopefully with as much grace, dignity and elegance as I can.

The ‘I Need Your Body’ video. Cleavage for DAYS.

Tina, Conrad Sewell and her eye-catching outfit at the ARIAs. Picture: Supplied

And — it must be said — with cleavage that was giving us a real flashback to your 1990 I Need Your Body video.

That’s hilarious! Look, the fact that the cleavage amassed the kind of attention that it did goes to show just where we’re at in the 21st century. I don’t really know whether that’s a good thing or a bad thing. I don’t really care.

Your performance, too — teaming up with Jess Mauboy and The Veronicas, you brought Chains back into the charts after 20 years.

Once ARIA said ‘We want Tina to perform’, I thought to myself, ‘I don’t really want to do this by myself.’ I felt like I didn’t want to be alone. I felt like it was a moment for women, because I was the first woman to win Album of the Year 20 years ago [for Don’t Ask]. It felt fitting to share that performance with the young women of today in the music business. I could’ve filled the stage with young women, but I felt the Veronicas and Jess Mauboy were beautiful, interesting examples: young women with something to say who are of multicultural backgrounds. I just had an overwhelming sense to share the moment.

You’re performing a special concert on Sydney Harbour later this month for the Sydney Gay and Lesbian Mardi Gras. What have you got planned?

This whole tour is about one-night-only evenings; it’s going to be very special. They’re all completely different shows and there’s been a lot of different setlists, so it’s been quite complex.

And I’ve performed at Mardi Gras before — when you’re in Hordern Pavillion it’s a certain energy, but this one will be a bit different because it’s outdoors with probably one of the most beautiful backdrops in the world. So far I’ve done three shows [on this tour] and the new songs are so majestic, they’re just performing themselves.

Info: Tina Arena plays The Harbour, Thursday February 25.