Melissa Ferrick

Melissa Ferrick is an inspiration for all female musicians. Her road to success has been a perpetual battle but her perseverance and passion for music have created the talented and versatile artist she is today.

The Massachusetts-native received her big break in 1991 when she got the chance to open up for Morrissey at Boston’s Great Woods Amphitheater after his opening act cancelled. Morrissey was so impressed by Ferrick’s set, he hired her to be the opening act for the remainder of his tour. After the tour, Ferrick accepted a deal with Atlantic Records. While on Atlantic, she released two albums: Massive Blur (1993) and Willing to Wait (1995). Although the albums received excellent reviews, the sales were disappointing and Atlantic dropped her in 1995.

Determined to succeed, Ferrick created her first live album, Melissa + 1, in 1997. The live recording was initially a demo but was so successful, she was signed to What Are Records?. Ferrick played at the 1998 Lilith Fair along artists Sarah McLachlan, Natalie Merchant, Indigo Girls and Erykah Badu. She recently established her own record label, Right On Records. She released her ninth album, Listen Hard, in 2003.

Shannon Petrick: Tell me about when you were growing up. Who were your influences that shaped your musical tastes today?

Melissa Ferrick: "Influence" is such a strong word. I was subjected to what my parents listened to. I lived in a 70s, pseudo-hippie household so I listened to bands like the Beatles and Derrick and the Dominoes.

I started playing the classical violin when I was five years old. My dad bought me the violin for Christmas one year when I was a kid. Then, I started writing songs on my grandmother’s piano.

SP: Most of the musicians I talk to were in band when they were young. Were you in the school band?

MF: Oh yeah, I was in the band [laughs]. All the athletes hated us but that’s all right—we hated all the athletes!

SP: You were on tour throughout most of your 20s. Do you feel like you missed out on a lot of things?

MF: You know, I’ve been thinking about that a lot lately. My touring started when I went on tour with Morrissey. I was twenty years old. It has been a lot of work. I think the things I’ve sacrificed the most are intimate relationships. I’m really close with my family so being on the road is really hard because I don’t get to see them. I’ve had more Thanksgivings at Denny’s...

It gets harder as I get older though. When I was in my 20s, I was self-absorbed and I partied a lot. I wasn’t aware that I wasn’t creating stability in my life at that age. It’s still hard. I’m only home for four weeks every year! But I just I look inside myself and stay centered and I know that I’m doing this for the right reasons. I mean, I don’t have a day that I don’t want to be out here. The only thing I’m sad about is not having a home life.

SP: But many of the female singers out there, especially certain pop singers that will remain nameless, don’t write their own material. Do you think the public will eventually grow tired of these mass-produced songs or do you think there will always be a market for them?

MF: Yeah, I think there will always be a market. People use the radio to tune-out from their life. They use the radio as background music. People don’t sit around and think about who writes these songs they hear on the radio. People turn to the radio to heal, not to think. There’s nothing wrong with that—I listen to it too. But there’s a difference between playing a record you love and listening to the radio. When you listen to a song you love, you’re really focused, you know?

The music industry is so bizarre. What ever happened to rock bands that worked their ass off to get where they want to be? I think U2 was the last band to do that. Now, there’s a new, popular rock band everyday.

MF: I don’t really know when I’m going to write—it just comes to me. I used to think I wrote songs when I was in emotional turmoil. Now I find I write songs even when I’m not in some sort of turmoil.

I remember one time I let my drummer, Brian Winton, go. At the time, I didn’t know whether I wanted to work solo or not. But after I let Brian go, I realized how much I rely on the people around me. I wrote my song "Nebraska" during that questioning time.

MF: I absolutely love Ani DiFranco. The first album I bought was "Violate." She’s such an amazing songwriter. I love the person she is—she stands up for what she believes in. I also love Shawn Colvin as a songwriter. And I love Bruce Springsteen’s new album ["The Rising"]! And Nora Jones...her album kicks my ass! I also like Sheryl Crow. But I only like her "real" songs and her deep cuts. I hated "I Wanna Soak Up the Sun."

SP: Yuck, me too. What about female singers of the past? What singers to you like from past decades?

MF: I love Aretha Franklin’s voice. I’m also a huge Pretenders fan...Chrissie Hynde is such a rock star!

SP: You used to be on Atlantic Records and then you joined the smaller indie label, What Are Records?. I’m sure they each have their advantages and disadvantages, but which do you prefer and why?

MF: There’s been some confusion with that. I’m not with What Are Records? anymore. The problem is, they’re still promoting me! They still have me on their website.

MF: [laughs] That’s true! I don’t know what’s going on there but I own my own record label now called Right On Records. I was dropped from Atlantic in September 1995. I had released two records on Atlantic [Massive Blur and Willing to Wait] but they didn’t do well sales-wise. I had the option not to leave—Atlantic’s A&R guy, Tim, said he didn’t want to drop me but he didn’t think a big label was right for me.

After that, Rob Gordon from What Are Records? picked me up. I thought I would be a big fish in a small pod when I joined a smaller label but I realized that someone always owns you when you’re with a label—big or small. Artists pay for a lot on an indie label because a small label can’t afford much.

I tell people who have been offered a deal by a major label to go for it. Maybe it will be right for them but it wasn’t right for me. As far as indie labels, I think that if you’re selling less than 100,000 albums, it isn’t worth it. If you’re selling less than that, you should start up your own label. I’ve started my own label and I’m actually making a living! I got a royalty check for the first time [laughs]! I couldn’t believe it. But we live in a world dominated by the Internet. With the Internet, there’s no reason you can’t put out your own CD.

SP: You’ve won a few awards. For example, you won the "Best Fold Rock Band Award" at the 1999 Boston Music Awards. How important are things like awards to your musical goals?

MF: Well, it feels good! I’m from Boston and it’s so weird because in high school, I bought a ticket to the BMAs [Boston Music Awards] and Aimee Mann won an award. I fast-forward my life and I’m in the same place she was back then! It’s so bizarre. When I went to the stage to accept my award, I pointed to a seat in the back and said, "I was there watching a few years ago."

I get so frustrated with Boston—I haven’t even been played on the Boston music stations! I mean, how many awards to I have to win?! Even Aimee Mann and Ani DiFranco aren’t played on Boston radio and Aimee even won an Oscar! It’s clearly a corporate world. Because of all this, I never let the radio sponsor my shows. If they can’t play my music, there’s no reason they should be interested in sponsoring my events. They want to promote when it’s convenient for them. I’d love to sue for payola! But I have to ask myself—is it really that important that I get played on the radio? I mean, if the people I love and admire aren’t played on the radio then why should I care?

SP: Radio only seems to play songs that will bring in massive amounts of money. No one I know actually listens to the radio.

You recorded your Freedom album on a budget of $5,000. How in the hell did you manage that?!

MF: God, those were the What Are Records? days. I was in hysterics and tears when I found out my budget. I thought, "How am I supposed to do that?" I bought a 4-track minidisc player and a mic. I knew it was my last release on What Are Records? so I just did it. I put all the money into mastering and editing. I told the label, "$5,000? I have more money on my credit cards!" I kept thinking, "Is this what you think I’m worth?" It was bad—but I did it!

SP: You’re an openly gay artist. It seems that now, many celebrities feel comfortable with coming out. Do you think people, in general, are becoming more accepting of gays and lesbians? Or do you think this country has a long way to go?

MF: I think there is an invisible rulebook for celebrities—they’re allowed to get away with much more than the average person. I think it’s important to be honest. I’m sick of using words that put me in a box. Words are so limiting and I don’t believe in them anymore. To me, to be a feminist means transcending gender—it doesn’t mean hating men. Feminism applies to men too—they deserve equal rights. I believe all minorities should get together and form a majority. By using names such as "gay," "lesbian," "African-American," and "Asian-American," we’re painting ourselves into corners. I don’t play places that have a "no men allowed" rule. That’s just ridiculous. My heart, soul and brain have no gender and no labels. I’m tired of being pigeon-holed.

That’s why I admire Ani DiFranco so much. She won an award a few years back at the Gay and Lesbian Awards. The press had just found out that she had married a man and when she went on stage to accept her award, the audience heckled her. It was horrible. Ani was in tears and she said, "Love has no gender. I hope you’ll understand." I mean, are the gays and lesbians biased now?

SP: You contributed an acoustic version of your song, "Everything You Need" to a compilation featuring female artists and benefiting battered women and children. How important do you think it is for artists to use their success to benefit others?

MF: I think it’s very, very important. I’m all about that. There was no hesitation when they asked me to do it. Even if I didn’t get paid, I would play music because it’s what I love. If doing what I love can benefit others, then great!

MF: I’m working on two live things. I’m working on a double-live album with Brian [Winton] and I’m doing a live show with three people—me, Anne Heaton and Edie Carey. I bring them on the road with me. We have a crossover fan base so it’s really interesting. Edie is more of a folk singer than me and Anne plays the piano. In 2004, I will release another studio album. I love to do live albums better than studio albums though—I’m too critical in the studio. I love the challenge of studio albums but they’re really scary to me!

SP: I’m based in Miami and we’re going to get to see you play live at Calliope Fest in March. For fans that haven’t seen you live, what can they expect?

MF: Joy! [laughs] Joy in watching two people connect. Brian and I just let go and do what we love when we’re on stage. My live shows are very emotional because the lyrical content is emotional. Expect a lot of joy and release. It keeps my therapy bills down!

SP: That’s the truth! Ok, last question, Melissa. This interview is going on an internet site that has a large audience of female musicians. For girls just starting out in the music business, what advice do you have for them?

MF: What saved me was touring and support from my fan base. So, when you start out as a musician, pick four or five cities close to you and tour them religiously so you can build a fan base. I toured the Northeast at the same clubs every weekend and by doing this, I built a large following. I also had a mailing list sign-up sheet so people could receive news about my music.

You know, it baffles me—musicians don’t put their demo tapes out there. You have to make demo tapes! People come up to me after my show and they tell me they’re musicians who are just starting out. When I ask them for a demo tape, they tell me they don’t have one! Well, you just missed a great opportunity. I listen to almost all the demo tapes people give me.

My advice is: think ahead, think about other people—think outside the box. Promote the hell out of yourself.

For information on Calliope Fest, featuring ANI DIFRANCO, MELISSA FERRICK, LYDIA LUNCH and many other rockin’ female artisits, visit: www.calliopefest.com