#catherine marks

Award-winning producer Catherine Marks sits down with Headliner to reflect on a whirlwind start to 2024, the magic that went into boygenius’s the record, and how her enduring relationship with Manchester Orchestra has taught her the importance of unlocking true “emotional freedom”in the studio…

“It’s been a crazy start to the year,” Catherine Marks exhales as she joins us via Zoom from her London home on a bright, early-Spring morning in late March. “I keep thinking it’s September or something.” In reality, it’s a month to the day until the 2024 MPG Awards ceremony, which will see Marks fighting on three fronts for a trio of highly coveted gongs. This year she’s up for Producer of the Year (an award she won in 2018) and Mix Engineer of the Year, while the record by indie rock ‘supergroup’ boygenuis, produced by Marks, is shortlisted for Album of the Year. Taking place on April 25th at The Troxy in London, the night will provide the Australian-born, London-based producer a rare moment to reflect on what has been one of the busiest and most fruitful spells of her career so far.

In the first quarter of 2024, she’s been hopping between continents to work across a number of new records, while also squeezing in a visit to the Grammys and the Resonator Awards, where her work on the widely lauded the record was deservedly recognised. At the Grammys, boygenius won Best Alternative Music Album, as well as Best Rock Performance and Best Rock Song for Not Strong Enough, while the band themselves presented Marks with the Powerhouse Award at The Resonator Awards in recognition of her work on the album. “I definitely felt like I was invited to the cool kids’ party by accident,” she laughs.

As those who have spent time with Marks will attest, she is excellent company. In conversation she is entertaining, thoughtful, and insightful, not to mention generous with her time, as evidenced by her almost apologetic disclaimer at the start of our conversation that she is battling through illness to talk to us. Still, she’s happy to speak at length about the year she’s had and what’s been keeping her busy in the first quarter of 2024.

“I started an album at the end of December with a band called Divorce and the day after we finished, I flew to LA, and the Resonator Awards were the day after that,” she says. “It was this intense period, and I don’t feel like I’ve really taken stock of that week in LA and meeting all those amazing people. And having already done a full album, it’s crazy! “It’s been a real whirlwind.”

The recognition Marks has received not just in the US but around the world for her work with boygenius certainly appears to have shifted the dial on her career. She was already a highly sought after, multi-award-winning producer and engineer, having cut her teeth with studio icons Flood and Alan Moulder and cultivating a client list that includes, to name a few, the likes of Foals, Alanis Morissette, Wolf Alice, Frank Turner, The Big Moon, and Manchester Orchestra, with whom she has become a regular collaborator.

We were both holding back tears… it was one of those magic moments.

However, when three of indie rock’s most celebrated songwriters, Phoebe Bridgers, Julien Baker, and Lucy Dacus decided to join forced under the boygenius moniker, few could have predicted the extent of acclaim and success their debut album the record would achieve. Their self-titled 2018 EP was met with critical acclaim, but offered little indication that their first full-length release five years later would go on to top multiple charts, scoop a raft of awards, and make the upper reaches of countless 2023 album of the year lists.

The iconography of the trio also elevated the record beyond the realm of the side project. From the album artwork, through to their already legendary take on Nirvana’s 1994 Rolling Stone magazine cover, which saw the band kitted out in pin-striped business suits, everything about the project felt synonymous with a bona fide band, rather than something that existed on the periphery of each member’s full-time solo career.

“They wanted me to mix their first EP, but the timings didn’t work out, as I was working with Manchester Orchestra,” Marks explains, recalling the origins of her relationship with the group. “And they reached out to me because of my work with Manchester Orchestra. There was a lot of mutual love and respect for those guys. But I had a meeting with them via Zoom and that was the first time we’d seen each other’s faces, and that was when we spoke about making an album together.”

While the ‘supergroup’ concept that shrouds the boygenius project is something that Bridgers, Baker, and Dacus were acutely aware of, Marks says that there was no discussion of the matter in the studio. As she puts it, the sessions were very much akin to recording a band, as opposed to three solo artists coming together.

“I don’t think that the ‘supergroup’ aspect was ever a real consideration, as they are all just really great friends and love each other very much,” Marks affirms. “As far as songwriting is concerned, they had written individually but had also gone away to work on them together before we started making the album. They treated it very much like a band where three people were bringing songs in, and they were critiquing each other’s music and lyrics. There was a lot of collaboration.”

Despite the collaborative spirit that fuelled the sessions, the task of weaving a cohesive whole from three distinct creative voices was one that hung heavily on Marks’s shoulders.

“We all knew it had to be a cohesive album,” she states. “That was something that was on my mind, but I don’t think it was ever articulated. Somehow the aesthetic of the album feels really consistent, yet each of their individual identities still shines through. It weighed heavily on my mind, but through the power of magic it turned out to be a cohesive record [laughs]. A lot of the other collaborators and musicians that worked on the album also helped to create this consistent sonic thread that runs all the way through it.

“We spent the first three- or four-days doing pre-production and working out how wanted everything to feel, so we were collectively conscious of making sure there was a flow to the album,” she continues, describing how they set the tone for the sessions. “We had a ‘wall of dreams’ that we would throw ideas at and we would write down particular influences and then see if there were other songs that fitted that aesthetic. There were relationships and interconnections between each song. That’s something I do on other records too. But they were so militant I don’t think they would have let anything veer off track.”

They were the toughest customers I’d worked with. I underestimated the challenge.

When reflecting on the most memorable moments shared between herself and the band (“there are too many to mention”), Marks is reminded of an especially poignant moment shared with Dacus when working on one of the album’s many highlights, We’re In Love.

“Lucy and I arrived the night before everyone else to start work on the album, and she played me this song,” says Marks. “There wasn’t really a structure to it, but there was this stunning, gorgeous melody that I was so moved by. Throughout the course of the time we were at the studio she carried on working at it. I had been saying I think it absolutely needs to be on the album, but it doesn’t feel finished yet. So, she worked really hard at it and performed it for me, and I thought it was beautiful.

“Anyway, on the day that we ended up recording it, it was still light outside and it was just her and I in the studio, and she played it just on the acoustic guitar in the control room. I had a couple of mics set up, and there was this beautiful light streaming in, and you can sort of hear at the end she chokes up, as I did. We were both holding back tears… it was just one of those magic moments. It was all about the performance, not recording the guitar and then adding the vocals over the top. She just put everything into this performance, and it was magical. That’s a really strong memory. But there were so many of those moments.”

As to whether or not the sessions offered any indication as to the rapturous response the record would be met with upon release, Marks takes a moment to consider her answer.

“I mean [pauses] it’s been next level,” she says. “I knew it would be significant. There are moments when you think back and get butterflies, like, I’m really a part of something special here. So, there is a kind of instinctive but intangible knowledge that you’re working on something special. And they are incredible characters. They are three of the best songwriters that exist today, so something had to go right!”

In looking back at the process of making the record and the spotlight it has drawn towards Marks and her oeuvre, our conversation gravitates toward some of the other records that have moved the needle on her career.

“Every record feels like that,” she states. “One of the most significant moments was engineering the Foals record (Holy Fire, 2013) with Flood and Alan Moulder. I was known within the industry from assisting in studios, but the success of that record put me on a lot of people’s radars. It was the next step from engineering into production on a commercial level.

“And there have been moments like working on Wolf Alice’s first EP (Moaning Lisa Smile, 2014), The Big Moon’s first record (Love In The 4th Dimension, 2017). And all the work I’ve done with Manchester Orchestra. I love working with them, and it seems like every band I work with LOVES Manchester Orchestra. My relationship and work with them has allowed me to learn so much and has enabled me to work with so many other artists.”

Marks’s work with Manchester Orchestra has undoubtedly been one of the defining features of her career. After producing the US rock outfit’s fifth album A Black Mile To The Surface (2017), she has become a regular and much loved collaborator, yet the harmonious relationship that has flourished between band and producer since was initially born from more tempestuous circumstances.

“On the first record we made together we were really at loggerheads,” she reveals. “They were the toughest customers I’d ever worked with. I underestimated how much of a challenge it would be. It was their fifth record, and I thought they’ll be very well versed in the process of making album, and it’ll just be really enjoyable and different to a lot of the first album projects I’d been working on. But I was really wrong, because they were putting so much pressure on themselves to make it the best album, they’d ever made, otherwise they were going to stop what they were doing. I didn’t anticipate that. Also, they are really polite, so it took about two weeks to get to the bottom of what needed to be done, and that really opened the floodgates.

“The way we communicate is so much freer now, which means it’s more about the creativity and the collaboration rather than the psychology. There are no minds games or personality challenges, we just accept each other for who we are and want to make amazing music.”

As we bid our farewells and allow Marks to return to nursing herself back to health before another imminent trip to LA to produce the new Rise Against album in April and another Manchester Orchestra record starting in May, she is keen to point out that those early moments of friction can not only yield positive results but can be essential in unlocking a project’s potential.

“I actually encourage that kind of discourse in the studio,” she signs off. “I want people to feel free to be however they want to be in order to express themselves. There should be chemistry and conversation. And those little tussles you have can reaffirm what you believe in. Obviously, I wouldn’t encourage aggression, but frustration and anger can be a part of that, and there is something exciting about that level of emotional freedom.”