In some traditional mythological systems, there are three stages of life for women: maiden, mother, crone. In the year 2019, it’s clear there should probably be another stage between mother and crone, but what to call it?“I think… I would say, I’m in my power,” she says slowly. “I just turned 51 and I’ve never been happier, felt more fulfilled, been more in my self, and liking myself and being happy and content with what I’ve done and where I’m going. There’s a solid comfort in that.
“Mark said ‘okay’, and never told me how to dress, how to behave or what to say,” she recalls three decades later. Even though McLachlan ended her management relationship with Nettwerk in 2011, she still has kind words for the team there. “I have so much respect and care for Mark and Terry for letting me have so much freedom.”]
For the three summers of 1997 and 1999, the all-female festival toured around North America. It brought in millions of dollars in ticket sales and charity donations, and helped change the conversation around women and marketability in music. It also faced criticism for a perceived lack of diversity – both in presenting women in colour and different types of music – and a 2010 revival effort did not sell well.
“It’s a beautiful time to be a woman – the best time ever – because conversations are now happening that weren’t happening before. Systematic abuse of power, villains are being outed. Women can speak out for themselves. Now as humans, we need to have a very complex conversation about how do we be women, how do we be men, and how do we do that together.”
McLachlan marvels daily at the learning she receives from her two daughters, India, 16, and Taja, 12. Their father is ex-husband Ashwin Sood.
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