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Ani DiFranco whistling a happy tune these days

WADE TATANGELO

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Ani DiFranco remains the ultimate underground artist. But she has come a long way from the rather one-dimensional counterculture folk-punk of the early 1990s.

The singer-songwriter began her career wielding an acoustic guitar and ample attitude. She performed razor-sharp cuts about rape and abortion and repeatedly drops an F-bomb in the classic kiss-off ''Untouchable Face.''

She took up numerous lefty political causes, opined from on stage and joined protest marches. She identified herself as a bisexual and became both a LGBT icon and college campus heroine -- especially with the women's studies set.

Over time, though, the Buffalo, N.Y., native adopted a more intricate and nuanced style of singing. DiFranco fronted a large, esteemed jazz band for a period and now tours with a small, agile combo capable of following her down many musical paths.

The petite, plucky singer still fights the good (lefty) fight and remains fiercely independent -- she has helmed her own Righteous Babe label since self-releasing her eponymous 1989 debut on it -- but her lyrics have become clearly less caustic. Especially on her latest studio album, the outstanding ''Red Letter Year,'' which dropped last year.

''I'm the happiest, most content person in the world now,'' DiFranco said shortly after answering the phone recently at her home in New Orleans. ''Obama clinches it.''

This weekend, Maine audiences will get three chances to see DiFranco live. On Friday, she will make an in-store appearance at the Bull Moose Music Store in Scarborough before giving a full concert that night at Merrill Auditorium in Portland. On Saturday, she performs at the Skowhegan Opera House,.

DiFranco attributes her relatively newfound sense of contentment to her husband Mike Napolitano and their 2-year-old daughter, Petah Lucia.

Yes, DiFranco is a happily married mom. Even if it's far from what she saw herself becoming 15 years ago.

And the term still makes her sound like she's squirming a bit on the other end of the phone when asked if she's comfortable with it.

''Well, ah, no, even those words seem a little ,'' her voice trailed off. ''I don't see myself as a 'happily married mom.' My partner (Mike) and I, we're just saying it's weird to call you 'husband' or 'wife.' It's older and stodgier than we feel. I still see myself as a mad adventurer.''

DiFranco then unleashed one of her adorable, slightly nervous giggles. Just like the ones that have been elating concertgoers for two decades. It's almost as if after spending so many years relating with ''the other,'' she feels guilty for basking in the glow of domestic bliss.

On record, though, DiFranco's current state of joy manifests itself beautifully.

At the heart of ''Red Letter Year'' are back-to-back tracks marked by measured, undeniable pleasure and positivity. ''Present/Infant'' describes how staring at her gorgeous daughter has helped the singer finally get over self-image issues, insecurities and overall pettiness.

''Smiling Underneath'' finds her delivering the sweetest of love songs; it's a paean to her hubby wonderfully bereft of greeting-card platitudes and clichéd chord progressions. In fact, there's even humor, as she laughs off spilling hot sauce on her shirt.

Of course, writing feel-good songs is much more difficult than penning breakup ballads or topical tunes.

''Protesting, anger, sadness, when you're struggling, you turn to your art,'' DiFranco agreed. ''When you're happy, you're busy being happy.''

In order to compile the excellent, 2007 double-disc career retrospective ''Canon,'' DiFranco had to spend hours listening to her old records. The experience was long, and perhaps a little painful. In the end, she decided to change her tune.

''I thought, 'God forbid, I've been a happy girl in my life and it's not given a lot of air time,' '' DiFranco said with a laugh. ''I figured it's time to write my joy into my music. It's a challenging but rewarding endeavor, to capture those simple joys.''

Wade Tatangelo is a freelance writer and music critic in Tampa Bay, Fla. His work has appeared in the St. Petersburg Times, Maxim, the New York Daily News and other publications. Visit his Web site at:

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