My conversation with Faegheh Atashin begins with her asking why, after half a century of influence, I care to tell her story. Her humility takes me by surprise. As Googoosh, Atashin, whose surname roughly translates to “with fire,” still indisputably wears the crown as Iran’s most iconic entertainer—an even more impressive feat once you understand the extent of her “firsts.”

Learning the rules of showmanship at a young age, Googoosh would go on to break a number of them. She was the first woman to star as a protagonist in an Iranian film, 1972’s Bita. She was also the first woman in Iran to incorporate modern dance movements into her performances, which often featured her clad in Western-style ensembles and a trendsetting mod bob haircut. As Iran’s most cutting-edge diva, her range allowed her to balance heart-wrenching ballads with upbeat numbers incorporating contemporary pop, funk, and psychedelia. At its height in the 1970s, Googoosh’s career was marked by successful multilingual releases and memorable performances alongside the likes of Ray Charles and Tina Turner.

On the brink of international superstardom, Googoosh was suddenly hidden from the public eye. As the 1979 Iranian Revolution ushered in radical change, Googoosh initially fled the country, quickly realizing she could not be away from home. Returning three months later, she lived in silence—first, in prison, then, on house arrest. She was unable to perform, as a woman singer, under the regime’s policies for close to half of her career. “For 21 years, I didn’t know anything about my listeners,” she said.

But Googoosh’s light did not dim. Against all odds, her following continued to grow and spread through the Iranian diaspora and beyond, one bootlegged tape at a time. In 2000, she made her comeback at the age of 50 with a North American tour and a new album called Zoroaster, which reflected on her country’s struggles. The tour’s kickoff in Toronto that summer boasted a crowd estimated at 12,000 to 15,000 people, and her music continued to outsell that of any Iranian artist all year long. In the years since, she has been sampled by Kanye West, shared by Beyoncé and Jay-Z, and recognized internationally for using her music to highlight taboo subjects like Iran’s LGBT persecution.

Having given little press since her comeback, the 68-year-old is ready to step back into the limelight. She’s currently working on a book about her life as well as new music, already teasing her next project with sophisticated diva fare like “Ajab Jaei.” In the wake of Iran’s inclusion on Trump’s travel ban of seven Muslim countries early last year, Googoosh’s return to America was briefly threatened, but now she continues to attract massive crowds stateside. And while she doesn’t view herself as a political figure, her recent performances set against footage spanning the Revolution to Iran’s anti-mandatory hijab movement are nothing short of powerful.

Ahead of her next big performance, headlining the Hollywood Bowl on May 12, I spoke with Googoosh by phone. Her manager, Shahram Norz, provided translation assistance at various points.

Pitchfork: You’ve been out on the road since February. How has your tour been so far?

Faegheh Atashin: This tour is happening with my songwriter and lyricist [Hassan Shamaizadeh], who’s revered and famous as well. I have so many—too many—hits with Shamaizadeh. But this was the first time I ever got to perform with him on stage, and people loved this combination. My first concert was in Toronto, and when Shamaizadeh started singing with me, I was so surprised. I couldn’t believe how much people applauded, especially younger people.