Natalie Imbruglia on 'Torn', Joni Mitchell comparisons, and why she'd never have sex to her own music

Singer Natalie Imbruglia has offered a candid glimpse into her personal relationship with music, recounting significant early listening experiences and her unique perspective on her own chart-topping career. Her earliest musical memory dates back to her fifth birthday when her father gifted her the vinyl record of "California Dreamin'" by The Mamas & the Papas. While she outwardly accepted the present, Imbruglia admits she didn't initially grasp the appeal of the folk-rock group, recognizing it as a gift more suited to her father's tastes. This early exposure, however, planted seeds for her future immersion in the music world.

The first single Imbruglia actively sought out and purchased was Michael Jackson's iconic 1982 hit, "Beat It." She vividly recalls the experience of persistently asking her mother to buy the record from a suburban Sydney shop, underscoring the immense global phenomenon that Michael Jackson represented at the time. This purchase signifies a pivotal moment in her developing personal musical identity and her engagement with the burgeoning pop music landscape of the 1980s.

In a surprisingly frank admission, Imbruglia revealed that she has never listened to her own music, including her most famous song, "Torn," during intimate moments. When asked if she'd ever had sex to her own music, she emphatically replied, "God, no!" This statement highlights a distinct separation between her professional output and her private life, suggesting a desire to keep those spheres compartmentalized. Despite this personal distance from her biggest hit, she indicated a surprising openness to performing "Torn" at karaoke, demonstrating a pragmatic and perhaps even humorous acceptance of its enduring legacy.

Imbruglia also addressed the fan feedback she receives, singling out comments that question her artistic authenticity or draw direct comparisons to other artists as particularly irksome. She specifically mentioned fan remarks suggesting she "knocked off" the style of folk icon Joni Mitchell, a criticism she finds deeply frustrating. This reveals her sensitivity to how her work is perceived and her desire for her own artistic identity to be acknowledged independently of comparisons to established artists. Her reflections provide a personal insight into the life of a musician navigating fame, public perception, and the enduring impact of her own work.