FERRON’S LYRICS ARE POWERFUL, HER PRESENCE, COMMANDING. Music critics from all across the continent have raved about this Canadian-born singer-songwriter. The New York Times called her “startlingly intimate, honest and inspiring.”
Word about Ferron started to spread across Canada and the United States in the early 1980s. She went through a period of record company politics and introspection, yet continued to produce new material. Ferron’s CD “Phantom Center” marked a pivotal point in her musical career, brought her back to her musical core and she recorded “Driver” and “Still Riot” in the late 1990s. Along the way, she produced the magnificent “Resting With the Question” in 1992 and brought out some of the sweetest, undoctored music she had ever written.
Many other singer-songwriters appreciate Ferron’s work. Greg Brown and Bill Morrissey recorded a bittersweet rendering of her wonderful “Ain’t Life a Brook” on their live album, for example. In an ideal world, this song would be a mainstream hit, but the depth and direction of Ferron’s music are not well-suited for the Top 40.
In her own words: “I sing songs to get my sentences out and my sentences are longer than a lot of people’s who write pop songs. Just trying to put poetry to music, meeting the poetic meter, you just have to work with it, playing guitar, making longer phrases even though you’re finger-picking or whatever. And then you find yourself in this little world. . .” This little world is most definitely worth entering. Please come.
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Ferron writes of love with the relentless introspection of Leonard Cohen, and, as with classic Bob Dylan, her songs’ tough, questioning attitude sometimes gives way to an unexpected sweetness. . . the songs are so full of emotional incidents that you wind up living with them awhile and, eventually, learning them by heart. Rolling Stone
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