To begin with: Andy Ferro’s Dad. The man remembers the the first time Elvis Presley’s “Heartbreak Hotel” aired on Australian radio. But more importantly, he crammed his son’s young ears with as much jazz and blues as they could contain. Meanwhile, Ferro spent his childhood ping-ponging back and forth between the the UK and Nashville, where he’s planted his flag since the tender age of 10.
Today, Ferro’s hometown is teeming with artists drawing from the communal psych-folk pot, but Ferro’s austere creations err on the side of minimalism, which is why his forthcoming LP Muirhead might be the exact sort of winningly raggle taggle rarity your ears have been craving.
Inspired by White Fence’s Tim Presley and drawing insight from the likes of The Kinks, Capain Beefheart, Bob Dylan and 70’s Krautrock darlings Can, Ferro also cites his friend group, lady, and mentors as a primary source of artistic stimulation. These auspices can be warmly felt throughout his new lo-fi solo project, much like his off-kilter upbringing.
Crowning Ferro as AudioFemme’s February Artist of the Month, Joanie Wolkoff of Wolkoff, formerly of Her Habits, and Artist of the Month herself, Wolkoff shared a conversation with Ferro over his music, growing up, and what’s shaking these days in Ferro’s neck of the woods.
Joanie Wolkoff: How’s life in Nashville?
Andy Ferro: It’s growing really quickly now. There are a lot of good opportunities, but we’re dealing with traffic, which is a new thing. It’s an inspiring place to be, with lots of people doing great stuff. I don’t know what it’d be like to make music in a place where I wasn’t connected to my community. There’s a lot of… not competition, but I’d say that the bar is set high. It definitely makes you try harder. And I prefer the smaller hang; the typical Saturday night is about finding somebody’s house to have dinner at.
No all-night ragers or underground raves?
Oh, they happen. I’m just not there when they do.
What would you say is happening instrumentally on Muirhead?
It’s a medium that could certainly account for your minimalism here.
Yeah, I just worked until I felt I’d done my part and then I took it to Mitch who put it on a computer and did a few things here and there; what he added brought a lot to the album