Heather Ferguson is a Canadian singer-songwriter. Her latest single ‘Broken Horned Kudu’ is rooted in jazz and shaped by cross-cultural collaboration, the recording brings together Ferguson and leading South African musicians in Cape Town, blending Cape Jazz, world jazz, and contemporary vocal storytelling. Her storytelling is both intimate and expansive, and the musical dialogue with South African artists brings depth, authenticity, and emotional resonance. This is a thoughtful, beautifully crafted recording that connects audiences across borders and traditions.
We caught up with Heather Ferguson abut all things music below.
“Broken Horned Kudu” has a strong metaphorical element. How do you choose the images that anchor your songs?
I start by thinking about a scene – I guess I am very visual with that. And in this case, at Chobe Game Lodge there really was a broken horned older Kudu who liked to live near the Lodge because, they said, he felt safer there. And then on safari, I saw a dead Kudu on the sand. It was the end of the dry season and he just hadn’t made it through, so his body was as yet untouched. So you start thinking and processing – and putting that together with other things you have seen and heard. And when you are writing the song lyrics, those kinds of connections just become more real.
How did your experiences traveling across Africa influence both melody and lyrical content?
I had planned to record some jazz standards just to learn more about Cape Jazz and to understand the influences better. Recording allowed me to work with Capetown musicians and actually participate in the music, and who knows? Maybe we can release something? But when I showed these lyrics to George Werner, he thought we could do something with them and the rest, as they say, is history! So I can truly say that both the travelling and the experience of working with George and everyone in Cape Town had a profound influence.
What were the biggest challenges in collaborating with South African musicians?
I wouldn’t say there were challenges at my end. These were very experienced and passionate musicians, and it was an honour to work with them. Might be better to ask them what challenges they had with this Canadian, who knew so little about the textures and rhythms they were laying down.
How did George Werner’s musical direction shape the arrangement of the song?
George really had the vision for the arrangement. He was respectful that this was my song, and we discussed the direction quite a bit, but I was there to learn more about Cape Jazz and I was happy for him to take this song and run with it. We did some restructuring after I got back to Canada, but always in collaboration with George.
What inspired you to integrate bilingual vocals, and how did that decision affect the narrative?
That was George’s idea. Our sax player, Esihle Valela, is Xhosa and also a singer. I loved it because it brought an African voice into the mix and also, in a song where the lyrics are dark, the Xhosa lyrics “we seek love” “it will be fine” – bring a note of hope and redemption. I felt it balanced the song and made it powerful.
How did you ensure the song remained cohesive during post-production across two continents?
It was fine – WhatsApp and Zoom are great ways to stay in touch. We recorded as much as possible, so we had lots to work with at the back end. All the tracks were immediately sent to Wynn Gogol in Victoria, BC where I live and we worked with them there. The world is an increasingly small place to live and work these days.
In what ways does the song reflect your broader themes of loss, power, and resilience?
I live in the rich world for sure. But even that world, privileged as it is, is not immune to death, to the use and abuse of power, and to the incredible resilience of humanity and I do write about that. Africa showed me a rawer world, where those themes are all around you every day and not sugar coated. But the message of the song is universal.
How do you approach blending acoustic and rhythmic textures in a cross-cultural context?
My first thought is that you have to do what is right for the song. But you also have to know the rules before you can break them, especially in this context. So whatever I do, I try to learn as much as possible and, as in this case, be guided by elders. My only personal rule is this. Question, question, question. Be curious, but also ask why.
What role does improvisation play in your recordings and performances?
Good question. I think I can do more than I currently do. But typically, I will vary and improvise after the first A/B section, once the audience has heard how the song was written and meant to be sung.
How do you decide when a song has reached its final form, especially in complex collaborations?
There are always tweaks. If the next tweak will lead to other tweaks that impinge on the parts you love and feel good about, it’s time to stop. Or if there is no right answer and you can’t decide whether to make the change or not, it’s usually time to stop. Also, a recording is only a snapshot in time. You might re-record the song later and it will be different because your journey to the song is different – that is where you will be then. This is where you are right now. Final thought. Perfection is boring.
How do literature and travel continue to influence your songwriting?
A song is a very specific, but universal feeling or situation or place. The best ones hit you in the gut. Literature and travel, as well as home and family and friends, are about all of those things.
How do you navigate the tension between individual expression and collective ensemble dynamics?
So these are my songs. Although I typically collaborate with others, they go on my albums. So, I make the final decisions about them. However, big BUT here. I work with incredible and experienced musicians. What kind of a schmuck would I be if I didn’t listen to them and take advantage of their ideas and adventures?
What do you hope listeners learn or feel when hearing the cross-cultural elements of this track?
I come from Canada which is one of the most multi-cultural countries in the world. I hear cross-cultural tracks all the time from various artists. I don’t feel that is a big deal. But maybe listeners can feel that being a tourist as I was, doesn’t preclude you from feeling something or observing something that hits you hard. It’s okay to talk about it, so long as you are genuinely respectful and are willing to listen to the elders and other people you will meet in that country and be open to their take on what you have experienced.
How does this single signal your artistic direction for future projects?
I have an EP coming out in the fall – that was recorded in London, in the UK. I will keep working with other musicians in my travels but I also want to travel with my Victoria band in the future. I record my albums with them and they are amazing!
Looking back on the creation of “Broken Horned Kudu,” what moment or detail stands out as most memorable or meaningful?
There are so many. But the one that still stands out is my first meeting with the great South African pianist and producer George Werner – so well known in South Africa – founder of The Little Giants – and such a gentleman. I still remember him saying, “I have some thoughts on your Kudu”.
