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August9,20132:43pm

LeonardCohenandSharonRobinson:a
specialrelationship
ByPhilippeSands

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EversinceCohenhiredRobinsonasabackingsinger34yearsago,
theirworkhasbeenentwined.PhilippeSandstalkstoherabout
collaboration,inspirationandhowthesongwritinghappens
OnawarmeveninginParis,15,000peopleare
packedintotheBercyconcerthallforthe
openingnightofLeonardCohenslatesttour.
Theband,thesongs,themoodandexultation
arewildlyfamiliar.Lateintotheshow,Cohen
introducesthemostspecialmemberofhis
band,toarapturousreception.

JillianEdelstein

Heslowlyspeakstheopeningwordsofapoem
songhewrotethreedecadesago,inspiredbya
poembyConstantineCavafy,publishedin1911,
thatrecordsMarkAntonyslastnightonearth.
Donotsaythemomentwasimagined,Cohen
saysbothofthatancienteveningandofthis
Parisiannightdrinkitin,exquisitemusic.
Heremoveshishat,extendsahand,bows
gently.SharonRobinson,AlexandraLeaving.

SharonRobinsonandLeonardCohen

Itisamomentofhomage,oneIvewitnessedon
severaloccasionssinceCohenresumedtouringin2008.MyweaknessforCohendatesback
muchfurther,nearly40years,sincemymotherintroducedSongsofLoveandHateintothe
householdofafailingmarriage.Hesbeenaconstantcompanioneversince,althoughIonly
sawafirstliveperformancefiveyearsago,atManchestersOperaHouse.
Afewweekslater,IsatwithafriendwhodflowninfromNew
Delhiinthefrontrowatthe02Arenaaconcertweagreedwasthebestwedever
attended.ItwasntjustCohen:themusicians,thevocalists,theensemblewerecentraltothe
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intimacyofescape,andnopassionhasburntmoreenduringlythanthatsparkedbySharon
Robinsoninthecourseofthatevening.
NowinParisshestepsforward,elegant,calm,intense,striking.Thefaceisfamiliar,sculpted
andstrong.Themelodyopens,violin,bass,keyboards,thenavoice,deepandcalm,sharing
wordsofimminentloss.Suddenlythenighthasgrowncolder,thegodoflovepreparingto
departShesingsinasinglespotlightCohenhoverscloseby,headbowed.
Longprepared
ThecollaborationbetweenCohenandRobinsonbegan
35yearsago,whenCohenwaslookingforabacking
singerontheFieldCommanderCohentourin1979.
Robinson,thenperformingasasingeranddancerwith
AnnMargretsshowinLasVegas,wasseekingalifeas
asongwriter,buthappytoaudition.Shelikedsomeof
Cohenssongs,butknewlittleoftheman.The
connectionwasinstant.IknewimmediatelyIwould
getthegig,shetellsmeoverlunchinthePlacedes
Vosges.Rightawaytherewasaconnection,asortof
mutualunderstanding.
ShejoinedCohensbandasaclassicallytrainedpianist
(havingstudiedattheCaliforniaInstituteoftheArts)
GregGoldandSharonRobinson
withaseriousinterestinR&Bandsoul,thelikesof
Robinson,left,inVegasdayswithAnnMargrets
SamCookeandOtisRedding.Helikesbringingthat
troupe
flavourintosomeofhismusic,shesayswithalaugh.
Butwhyhechoseherisamatterforspeculation:Iwishhewassittinghere,Iwouldloveto
hearwhathewouldsay!(Irresistiblebeauty,irresistiblegift,Cohentellsme.)Shealready
hadastrongpresenceonstage,acertainamountofconfidence,assheputsit.Inperson
sheistheoppositeofselfpromoting,asgeneroustoothersassheisreticentaboutherself.
The1979Europeantourwasagreatsuccess,andalivealbum(FieldCommanderCohen,
recordedattheHammersmithOdeonandtheBrightonDomeandreleasedin2001)hasthe
twoinduet(WhyDontYouTry).Thefollowingyeartheycowroteafirstsongheoffered
thelyricsandshesuppliedthemelody.Itjusthappened,shesaidlater,likefallingoffa
ladder.
ThencameEverybodyKnows,whichearnedheraco
writingcreditonthealbumImYourMan,releasedin
1988.Ihavealyric,Cohenhadtoldher,andthey
wereoff,onanewandmoresoulfuldirectionfor
Cohen(Ifyouwantalover,Illdoanythingyouaskme
toaretheopeninglinesofthealbumstitletrack).
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BythenRobinsonhadwonaGrammyasacontributor
tothesoundtrackofBeverlyHillsCop,wherehersong
NewAttitudewassungbyPattiLaBelle.Thatwork
alsointroducedhertoGregGold,whobecameher
husbandandoccasionalmanager,asheproducedthe
videoforthesong.TheyliveinLosAngelesandhavea
son,Michael,whois25andplayskeyboardandsings
withPoolside,anindiebandoutofLA.
Exquisitemusic

'TenNewSongs':Robinson
composed,arranged,performedand
producedthemusictoCohenslyrics
forhisfirstalbumafternineyears
silence

Adecadelater,inOctober
2001,whenCohenreleased
BruceBrown
TenNewSongs,hisfirst
RobinsoninTelAvivin1979,ontheField
albumforseveralyears,
CommanderCohentour
Robinsonhadacowriting
creditoneverytrack.Thiswasthealbumthatincluded
AlexandraLeaving.Shealsohadcreditsforproducing,musical
arrangement,programmingandperforming.Herfaceappeared
onthecover,turningherintoarecognisablefigure(asteady
streamofwellwishersstoppedtotalkaswelingeredonthe
PlacedesVosges).

Bythentherelationshipwasdeep.Sharonsanold,oldfriend,
Cohenexplainsonfilm,ourfamiliesareclose,Imthegodfatherofherson.Having
workedonanumberofsongs,includingoneforDianaRoss(Summertimewhich
borrowsitstitlefromtheGershwinjazzstandard),threeorfoursongsbecamethecoreofan
album.Twopeoplewithonemind,Cohensaysoftheircollaboration,abeguiling
compliment.
Thealbumwasacriticalandcommercialsuccess
andopenedupnewaudiences.Reviewssuggested
RobinsonsimpactonmoresoulfulsongslikeIn
MySecretLifeandAlexandraLeaving.One
criticthoughtCohensdarkervocalnowshonewith
apeculiaroptimismandCohenhimselfhas
hintedthatthealbumcoincidedwithachange,the
dissolutionofalifetimesrelentlessdepression.
Robinsonexplainedadesiretowritemelodiesthat
GregGoldandSharonRobinson
amplifiedandclarifiedCohenswords.Shebelieves
CohenandRobinsononthelastdayofproductionfor
theyendedupwithanalbumthatwassimple
TenNewSongs,inherstudioinHollywood
andsoothingtothelistener.Cohenagreed:You
canwashyourdishestoit,youcandoyourcourtingtoit.
Itwasaserene,closeandcreativetime,Sharonsays.TheyshuttledbetweentheirLA
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backyards,workingoutsideofastudio.Thealbumhasthefeeloflisteningtoacoupleof
friendswhoveopenedawindowontheirlives.Robinsonthinkstheintimacyderivesfrom
thelowtechnatureofthecollaboration.
Strangeprocession
IspendmuchofthedaybeforetheParisshowin
Robinsonscompany.Inthelatemorning,wevisit
Shakespeare&Co,thefamousLeftBankbookshop.
SharonsitsinanoldredchairintheSylviaBeach
Library,onthefirstfloor.Shesallinblack,herdeep
blackhairoffsetbylargebrassearrings,strikingly
beautiful,softspoken,calm,alwaysgracious.Thereis
ahintofvulnerability,too,whichisunexpectedgiven
thestagepresencethatIandothershavebeenstruck
by.Shehasabigsmileandawarmface.Itsadelight
tospendtimewithher.Asweexplorethelyricsof
AlexandraLeaving,Iaskwhethershemightsingthe
song.Righthere,inthebookshop?Yes.
SuddenlythenighthasgrowncolderAssheworks
JillianEdelstein
eachwordintheflowofthelyric,herfaceintensifies.
Theactofsingingisdeeplyphysical,thehandsclench,rise,implore.Themelodyandwords
takehertoanotherplace,andevenwithoutabandthedistinctivevoiceliftsthelyricsand
transformsthespace.Inquiringfacessoonappearattheentrancetotheroom.
Downstairs,intheshopspoetrycorner,IcomeacrossacopyofCPCavafysCollected
Poems,translatedbyDanielMendelsohn,whosecommentaryonTheGodAbandons
AntonyexplainsthatthetitleistakenfromPlutarchsLifeofAntony.Thepoemdescribes
thelastnightonearthofMarkAntony,Cleopatraslover,ashistroopsdeserthim.As
Mendelsohnnotes,AllAlexandriaknewthatAntonyscausewastotallylost.Subsequently
defeated,andbelievingCleopatratobedead,Antonytakeshisownlife.Plutarchsaccount
emphasisestheimportanceoftheactofhearing,avehicleforapprehendingthetrue
significanceofwhatistakingplace.ItoffersaglimpseofthenightinAlexandria,quietand
dejected,inanticipationofacomingtumult.Suddenlytherewasheardthecombined
soundsofallsortsofinstruments,asignthattheGodswereabandoningAntony.
NoneofthisisnewtoRobinson,whoknowstheoriginsofthesong.FromPlutarch,through
CavafyandontoCohen,atimelessstrandhasbeenwoven.
Formlesslyentwined
RobinsonexplainsthemechanicsofcollaboratingwithCohen,howapoembecomesasong.
Theresapattern.Igotohishouse,wesitinthekitchenandchat,andhavesomethingto
drinkoreat.Foodisimportant.Hermother,Mildred,whorecentlypassedaway,adored
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Cohenandwouldoftenbakehimalargefruitcake.Iwasreluctanttoburdenhimwith
threepoundsofirresistibledessert,shetellsme,buthelovedthem.Soshedid.
WorkbeginswithaverseortwothatCohenpresents
herwith,onpaper.Robinsonreadsit,theytalkabout
melodicpossibilities.Rarely,ifever,dotheytalkabout
themeaningofthewords.Webothfeelthatthesong
shouldbeselfexplanatory,Robinsonsays,before
correctingherself.Icantspeakforhimofcourse.
Thisdesirenottocrossaline,torespectCohenasan
artist,isanendearingconstantduringour
conversation.Itfeelsprotective.
Asinglesongcantakeayearormoretoemerge.Ittook
anagetoplumbthedepthsofAlexandraLeaving,
AntonyandCleopatra:CavafyspoemTheGod
andatonepointitseemeditmightbeleftaside.
ForsakesAntonygaveCohenandRobinsonone
oftheirmostpoignantsongs,AlexandraLeaving
Robinsontakesapoemhomeandstudiesit.Itrynot
toaskLeonard,Whatdoesthismean?Whatsthis
about?Wedontreallygothere.Doesshetrytoworkoutmeaningsforhim,orforher?
Probablyboth,andhopefullythosearethesame,orsomewhatthesame.Itsthemultitude
ofmeanings,weagree,thatgivesthesongstheirbroadresonance.
BridgemanArtLibrary

Theconnectionsbetweenthesongandtheoriginal
poemareclose.Abelovedcity(Alexandria,inEgypt)
becomesabelovedwoman(Alexandra),offeringwhat
Cohenhasdescribedasacertaintakeonloss.Words
movefromCavafyspoemtoCohenssong,andthey
arecentraltothemelodyRobinsonconstructs,looking
forwhatshecallstheflowofthelyric.Sheseeksa
chorus/versestructureinthewords,sittingather
piano,imaginingthelyricsmood.Asongmightbe
contemplative,ormoreaggressive,dependingonits
emotionalcore.Thefirstfewversestellthestoryofa
kindofprocession,theleavingofAlexandraonthe
shouldersofthegodoflove.Theprocessionalmarch
becomesatheme,presentandthengone.Animage
forms,likeapicturewithmusicafloatinthe
background.
Ihavemanyquestions,butshefirmlyresistsover
intellectualisation.Toomuchofthatandyoulosethe
connectiontoemotionandsoulfulness.Whenyou
startwithapoem,youhavetofigureouthowtoturnitintoasong.Sometimesitsthere,
sometimesithastobereworked.Ifshecantfinditonherown,shellcallCohenandask
CPCavafy:ThegreatGreekpoetoftheearly20th
centuryspentalifetimeinobscurity,quietly
celebratinghisbelovedcityofAlexandria

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whatheseesasthechorus.
Inthiscase,theanswerwasclearthelastline:SaygoodbyetoAlexandraleaving,thensay
goodbyetoAlexandralost.Thelineisrepeated,attheendofeverythirdverse,sothepoem
wasalreadybeautifullystructuredforamelody.Invitedtoelaborate,shesaysitshardto
explain:therearenumerouswaystoskinacatwhenitcomestowritingasong.Yetthe
structureiscloselyrelatedtothenumberofsyllablesinaline,whichinturndictatestheset
upofthemelody.Inthissense,sheworksbackwards,fromaculminatingideatowardsthe
frontofthesong.
Abitlikeanadvocateincourttryingtopersuadeajudge,Isuggest.Sharonsmiles,
generously.Yes,asasongwritershewantsthesongstobeheardandunderstood,totakethe
listeneronatrip.Isupposeyoucouldcallthatpersuasion.Youwantthemwithyoufrom
thebeginningtotheend.Thatrequiresanemotionalthread,onethatstartswiththewords.
Theprocessinvertstheusualruleformainstreampopmusic,whichistostartwiththe
music.
Wereturntothekitchenscene.Sheoffersideasforthemelody,maybemorethanone.Then
sherecordsone.Atthetime,Leonardhadalittleboomboxinhiskitchen,wedlistentoit
there,onacassette.Ashelistens,shecantellstraightawayhisreaction.Helljustlisten
quietly.Icantellifhelikesit,buttherellbeissues,andchanges.Othertimeshellstart
dancingaround,orsomethinglikethat.Therearearangeofreactions.Intheend,Ijust
wait,for10minutes.
Thecollaborationisbasedonaparticularaffinity,thewordshechoosestodescribeacertain
kindofconnectionbetweentwopeople.Itseemstocomefromnowhere,neitherpartyhas
anythinginvestedinit,butitsveryreal.Shepauses.Noverbalcommitments,butalasting
quality,anintimacythathasasubliminalquality.
Thereis,too,asenseofsharedvulnerabilitythatinfusesthesongs.Youprobablyhavetogo
tothatplacetowritemusictogether,takeoffyourarmour,bewillingtothrowoutanidea
andriskthattheothermightthinkitsidiotic.Themusictheyproduceandsingisexposing
ofintimacyareasonitresonates.Allowingyourselftobevulnerablewithanotherperson
isakindofintimacythatdoesntgoaway.
Firmcommitments
Duringaconversationthatmeandersaround
Paris,thebalanceintheirrelationshipoccasionally
comesintoview.Hestheartist,shesays.Idont
wanttolosesightthatitshisalbumweare
workingon.Shewonttootherownhorn.
Ultimately,Idefertohimoneverything,she
says.Itshisvoicethatwearelookingtogivea
platformto,notmine.
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Corbis

Still,shesays,thereisakindofequality,in
differentareas.SometimesIfeelIhavetobe
assertiveaboutsomethingwithLeonard.Shewill
deferonthelyrics,butbelievesthatshebrings
musicalelementsthatareofequalweightor
importance.Thatsaid,heknowshowtowritea
goodmelody.

Cohen,RobinsonandbandattheMontreuxJazzFestival
in2008

Perhapstherelationshipoffersmoregiveandtake
thansherecognises.Hermelodicofferingsarenot
theendoftheprocess.Thingsgetre
arranged,lyricsgeteditedandchanged,melodylines
areshifted,basedonthewayLeonardfeelsaboutsingingthesong.Whatmattersisthe
overalleffect,andthatturnsontheinterplayofwordsandmusic.Soawordormoremight
getchanged,toaccommodatehermelodicchoice?Yes,sheoffers,arareconcessiontoself
fromanunderstatedcollaborator.
Ifshewontgiveherselfcredit,otherswill.EdSanders,producerofCohenslatestalbumOld
Ideas,mentionsherspecialplaceintheband,beyondthevoiceandthegreatmusical
talent:Leonardreallytreasuresconsistencyacrossacareer.MitchWatkins,onguitar,was
withRobinsonwhentheytouredwithCohenin1979:Shesjustspecial.
JavierMas,theSpanishvirtuoso
guitaristandlaudplayer,joinedthebandmorerecently.
WhenIaskhimaboutSharonsroleheoffersasingleword:Elegancia.Herepeatsit.The
bandrespectsherbecauseofthehumanqualities,theintensediscretion.Sheishumble,
hesays,shespeaksnotsomuch,sowhenshespeakswelisten.
Masfocusesonhervoice,whichcomplementsthepureEnglishtonesoftheWebbsisters,
CharleyandHattie,whojoinedCohensbandfiveyearsago.TheWebbsistershave
beautifulvoices,heagrees.Sharonsvoice?Itislikewine,likeamaturewinethathasaged
inoakformanyyears.
Yetitsnotjustthevoiceheadmires.Hermusicdrawsthelistenerinclose.Sheknowshow
towritethemusicthatmakesLeonardlookbigger.HedescribeshermelodyonA
ThousandKissesDeepasnothingshortofamasterpiece.Itworksbecauseofthechord
changes,theyaremadeverysimple.
Thehonourofanevening
BeforetheconcertinBercyIamofferedarareprivilege,toattendthepreshowsound
check.Almostaloneinthevastauditorium,IgetanotherprivaterenditionofAlexandra
Leaving,thisonewiththefullband,andthesightofCohenwanderingaroundtheset.
Afterwards,Robinsonfindsme,andCohenjoinsus.ImentionthevisittoShakespeare&Co,
andfindingtheCavafyvolume.Thatsagoodbook,hesaysknowingly.Iknowit,Ilikeit.

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Seeingthemtogether,themutualaffectionisplain.Sheisnotablyprotectiveofhim.Hes
happytotalk,ofPlutarchandofRobinson,ofhisdaysasayounglawstudentinMontreal.
Whatalossforthelaw!Isuggest.Helaughswistfully.Ivecollaboratedwithothers,he
saysofRobinson,butnotsocloselyorforsolong.

'EverybodyKnows':Robinsons
debutsoloalbum,releasedin2008,
hasaportraitbyCohenonthecover

Sherecognisesthathercareerhaslargelybeenwrappedaround
his.In2008shereleasedasolodebutalbumEverybody
Knowsandisworkingonanother.Shecanimagineanother
life,lessconnectedtoCohen,butitsnotwhatshewouldchoose.
Heofferedexposuretoadifferentaudience,withthegenerous
introductionthathegives,andshehasntregrettedamoment.
ToCohen,shesfarmorethanabackingsinger.The
collaborationhasprospered,hetellsme,becauseithasoffered
therareprivilegeofadeepfriendshipwithamusician,singer
andcomposerofthehighestrank.

WorkingcloselywithCohenhasalsoallowedherworktobe
takenupbyothers.WelistentoRufusWainwrightsrenditionofEverybodyKnows,which
shesaysshehasnotheard.ThatsRufussversion?sheasks,surprised.Themelodyand
chordchangesarerecognisable,basicallymine,withafewchangeshereandthere.She
likestheinterpretation.Itsdifferent,sure,andsurprising,andthevoiceispureand
natural,withacomfortableflow.Fantastic,shesays.
Whatofthefuture?Shesopentonewideas.SheandCohenhaveneverperformedtogether
withoutaband.Idontreallyknowwhy.MaybethatsinourfutureIwouldlovetodo
somethinglikethat.
Atsomepointshementionsthatonce,duringavoicelesson,herteachertoldherthather
voicewasmadeforopera.TogetherwelistentoBach,ErbarmeDichfromtheStMatthew
Passion,whichintriguesher.Iwouldlovetotakeastabatit,toplayaroundwithit,adding
thatshewouldntpresumetobeableto.Latersheasksagainaboutthepiece,Isendherthe
score,andarecording.ShellgiveitagoaneveningofCohenandBachbeckons
ThreedaysaftertheParisconcert,theyareinLondon.Robinsonreachesthelastlinesof
AlexandraLeaving,Cohenmovescloser,headbowed.Agraciousarmisextended,holding
thehat:Mycollaborator,theincomparableSharonRobinson.
Thehatreturnstoitshome,Cohenmovestothecentreofthestage,thebandstrikesup,he
movestothenextsong.Ifyouwantapartner,takemyhand,heintones,Imyourman.
Hesnotalone.

SharonRobinsonandLeonardCohenperformthismonthandnextinBournemouth,
Brighton,Manchester,Cardiff,Leeds,Birmingham,Dublin,LondonandRotterdam.She
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appearssoloattheCafduNord,SanFrancisco,onOctober17andatHotelCaf,Los
Angeles,onOctober19.
PhilippeSandsisabarristerandteacheslawatUniversityCollegeLondon.
Tocommentonthisarticle,pleaseemailmagazineletters@ft.com

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