This interview offers a thoughtful window into Heather Ferguson whose work is shaped as much by curiosity and lived experience as by melody and form. Across a range of questions, from the role of storytelling and social reflection, to cross-cultural collaboration, to the influence of literary and musical traditions, the conversation traces how songs begin as imagined scenes and evolve into something far less predictable, and often far more revealing.
At the centre of the discussion is the creation of Broken Horned Kudu, a project that not only explores resilience in new emotional and narrative territory, but also reflects a broader shift in process and perspective. Working internationally, particularly in Cape Town, opened up new rhythmic possibilities, creative relationships, and ways of listening, while also deepening an ongoing engagement with questions of history, identity, and meaning.
What emerges is a portrait of an artist who treats songwriting as both inquiry and encounter: with story, with sound, and with the people who bring music to life across different places and traditions.
How do storytelling and social reflection guide your songwriting process?
Well, storytelling is at the heart of it. We learn by stories. We learn by trying things out – maybe in our head or often by doing. So social reflection needs to be an intrinsic part of the story. When I am writing a song, what situation would help me to learn a life truth. Also, what feel, or groove or melody might fit this scene – that will influence the writing – although all of it is open to change down the road. Once that story scene is in my head then I can explore it, and it often ends quite differently than what I thought at the outset.
In what ways does “Broken Horned Kudu” explore themes of resilience differently than your previous work?
In Something Beautiful -the song is about someone who, having been in a controlling relationship for many years, suddenly realizes that they needed that control – it was the thing “that once gave me ballast” but they don’t need it anymore. It’s a minute of self-actualization when everything is about to change for you. Likewise, the protagonist in Deftly, You Leave is waiting for the love of their life to die. They have known it was coming, it happens, and the bereft lover must contend with being alone. In another song, Awakening, the recently bereaved partner reflects on their many years together – but the song is actually about that moment when they ask – Who am I? Who am I without you? – that is the moment of resilience. Kudu explores resilience in the face of impossible choices – something not explored in these other songs.
How do you approach collaboration with musicians from different cultural and musical backgrounds?
Canada is among the most multicultural countries on earth. This is something I grew up with and love about my country. However, being in Africa and working with South African musicians was slightly different. We did not always (some had relations in Canada) have that same Canadian context from which to draw. So I tried hard to ask questions, to listen and to learn. It was exhilarating and wonderful and I am so grateful to the South African musicians I worked with.
Did working in Cape Town influence the way you approached rhythm and texture in the song?
I went to Cape Town because I wanted to learn more about Cape Jazz and African rhythms so I was looking for different approaches and eager to try new things – though I only scratched the surface. I was so glad to have George Werner to guide me and the musicians I worked with were more than generous. Cape Town Sound was a great organization – so helpful from the get go and so gracious.
How do literary influences shape the narrative structure of your songs?
Broken Horned Kudu is a good case in point. The “Englishness” that I sensed in Africa right off the bat made me do a bit of research on the effects of colonialism in Africa. Colonialism is a big topic of conversation here in Canada, but I believe the African experience is different from ours. So that led me back to the great novel by Chinua Achebe, Things Fall Apart, referenced in the chorus of BHK. I had read it in school, but it was so much better to read as an adult. Now I understand so much better that catastrophe of colonialism – even more than in the Canadian context.
Can you describe a moment during the recording that felt especially transformative or inspiring?
I was in a different country with different people than I normally work with. Yet I was with musicians for whom, like me, it’s all about the music. No egos, just curiosity and inspiration. You don’t always get that, I know, but to feel that what I have in Victoria – and indeed, when I recorded in London too — is part of a universe of people who are as inspired by music and sound as I am.
What considerations do you make when blending traditional jazz elements with contemporary production techniques?
I think about the sound we want and ask what tools will help us get there. My producer in Victoria, Wynn Gogol, thinks about that a lot and we discuss it and try things out. We are working on something now that will have a very different sound – something more like a jazz jam – a little more rough – we are trying to convey a different energy with it.
How do you maintain the emotional intimacy of your vocals in a complex ensemble arrangement?
A song is a package – all the elements must work together to create an intimate communication with the listener. So, for example, we think about what I want the audience to particularly hear – so we may take instruments away at that point – adding them in again at say, the climax of the song. I think a great deal about phrasing and about the feel of the sing. We know what the song is about – but how is the audience hearing it – feeling it. It has to meet our musical and lyrical standard – but at the end of the day – it has to make an emotional connection with the listener.
How has your international collaboration informed your approach to writing and performing future music?
Working with musicians in different parts of the world has given me a lot of confidence – and the opportunity to learn and dig deeper into musical styles. I think the deeper parts of this have not yet revealed themselves – stay tuned!
What’s the most surprising or unexpected thing you learned from the process of creating “Broken Horned Kudu”?
We worked without a chart right to the end. Seriously. Usually, the chart is my baseline – everything springs from that. You have to feel the music in performance because as a vocalist there is no chart in front of you. But to record and structure and revise a song without a chart – although we have one now – that was really different and a very, very cool exercise.
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