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She felt her potential audience was being restricted by the way the media had portrayed her, and decided, as she told me, that “it’s really good for me to speak to other magazines”. As I was editing Zigzag – still a dispatch from punk’s front line but willing to cover anything radical and different – she had to be convinced my intentions were honourable and I wasn’t going to take the piss.Įnticed by her defiantly individual stance, I wanted to find out what made her tick and present her in a different light from the usual boyfriend speculation and digging for headline-friendly ‘weirdness’. I interviewed her three times over five years: for 1980’s career-affirming Never For Ever for 1982’s audacious The Dreaming and for 1985’s world-winning Hounds Of Love. That was the point where she found her artistic feet and proceeded to put them down with a resounding thump, letting both her record company and the public know that, after an auspicious entry and exhausting stretch toeing the music business line, everything she did from here on would be on her own terms in her own time. I spent time with the singer in the early 80s, during what was a stormy, transitional period in her career. Watching the fuss surrounding Bush’s surprise return prompts a smile but little real shock in long-time observers and confidantes. The news of those shows – which marked her first proper live appearances since 1979’s Tour Of Life – eclipsed even the return of David Bowie in terms of unlikelihood. In 2014 she sold out 22 nights at the old Hammersmith Odeon in minutes is testament to her rare status and her ability to surprise.