The Man of a Thousand Songs: Ron Hynes and His Lasting Impact on Canadian Music

From local hero to Canadian icon: tracing Ron Hynes' long and difficult musical journey

Mar 23, 2025

The salty scent of the Atlantic hangs in the air as you navigate through a sea of bodies in St. John's Mile One Centre on this August evening in 2012. The buzz of 3,000 voices creates an electric atmosphere, all waiting for just one man. He's 61 years old now, his trademark fedora as much a part of him as the weathered acoustic guitar he's carried across countless stages throughout Newfoundland and beyond.

The lights dim, plunging the arena into darkness, and the crowd erupts as a single spotlight reveals Ron Hynes: "The Man of a Thousand Songs," standing center stage. This performance carries extra weight; everyone knows he begins cancer treatment tomorrow.

His voice, textured by decades of storytelling, fills the space as emotion flickers across his face, a blend of tears and smiles, gratitude and farewell. Then something magical happens: as the opening notes of "Sonny's Dream" ring out, 3,000 voices rise as one, transforming from audience to chorus.

In this moment, you understand you're witnessing more than just a concert. You're part of a cultural communion, as this once-in-a-lifetime storyteller connects on a deep and genuine level with everyone in the room over your province's shared heritage.

Hello again, and welcome to today’s installment of Celebrating Canadian Music. Today we’ll be remembering Ron Hynes. A man often hailed as one of Canada’s greatest singer-songwriters.

Yet outside Atlantic Canada, you might only have a passing familiarity with his name. Today, let’s fix that.

Ronald Joseph Robert Hynes was born on December 7, 1950, in St. John’s, Newfoundland and Labrador, and raised in the nearby town of Ferryland. If you’ve never seen Ferryland, it’s a coastal spot just south of St. John’s, where ocean spray hits the rocks as fishing boats glide in and out of the harbour.

Growing up here shaped him in ways that echo through his work. His father spent much of Ron’s childhood away at sea, while his mother ran the household in Ferryland.

Ron developed a love for music early on in his life, especially through the old country records of Johnny Cash and Hank Williams. As a kid, he received his first guitar from his uncle, Thomas “Sonny” O’Neill, who lived just a few houses away.

O'Neill was a significant influence on Hynes’ life and career. He taught Ron how to play guitar and introduced him to the music of other Country music artists. This mentorship inspired Hynes to pursue a music career.

By his late teens, Ron was playing at coffeehouses and pubs. First around St. John’s, then venturing to Toronto to play in front of bigger crowds. But no matter how far he roamed, the pull of Newfoundland always tugged on his heart.

In 1972, 21-year-old Ron Hynes became the first Newfoundlander ever to release an album of completely original songs. That record was called Discovery. Although Ron would later distance himself from it because he felt he was still learning his craft and it sounded amateur to him, it helped him land better gigs and connect with a broader music community.

Up until that time, Newfoundland's musical heritage was deeply rooted in traditional folk songs, sea shanties, and ballads passed down orally for generations.

Many musicians prioritized preserving these traditions rather than creating original compositions. Early recordings often featured adaptations of traditional songs rather than new material.

Newfoundland also lagged behind other regions in Canada in terms of access to recording studios and record production facilities.

It wasn't until the mid-20th century that local artists began to record music professionally, and even then, the focus remained on traditional or popular adaptations rather than original works.

Newfoundland's geographic isolation contributed to a slower adoption of modern musical trends, including the production of original albums. But by the 1970s, Newfoundland's music scene began diversifying, with artists exploring rock, pop, and other genres that encouraged original songwriting.

It’s an understatement to say that Ron Hynes' Discovery was groundbreaking. It represented a departure from tradition by showcasing entirely original songs, setting a precedent for future Newfoundland artists to embrace composing their own songs and telling their own stories.

From 1974 to 1976, Ron served as composer-in-residence for the Mummers Troupe, a St. John’s-based theatre collective known for tackling social issues through plays.

Mummering is a folk performance style characterized by communal storytelling and often tied to seasonal celebrations. The troupe modernized this tradition while addressing pressing social and political issues through their plays.

During his tenure, Hynes composed music and lyrics for several notable productions, including East End Story, Dying Hard, The IWA Show, and What's That Got to Do with the Price of Fish?

These works tackled topics such as labour rights, economic challenges, and community struggles in Newfoundland. His role was pivotal in blending music with theatre to amplify the troupe's messages, making their performances more impactful.

The Mummers Troupe's innovative approach to theatre included collective creation processes, which allowed artists like Hynes to collaborate closely with actors and playwrights. This experience helped him develop a knack for storytelling in his music.

Hynes once reflected on this time by saying, “The secret for me was to get outside myself." Once he opened himself up to understanding the experiences of the people around him, he started seeing and hearing songs everywhere he went. Telling people’s stories would be the key to his success through the rest of his career.

By 1976, Hynes was on the road playing gigs with his band and testing out new music. If you only know one Ron Hynes song, it’s probably the now iconic “Sonny’s Dream.” He wrote it while on tour out west in the back of a van that year.

It’s a short, heartfelt piece about a mother and her son, set by the sea. Inspired by his uncle, Thomas “Sonny” O’Neill, the song explores themes of longing and the pull between chasing dreams and staying close to family. Tensions familiar to many growing up in rural Newfoundland.

Originally, Hynes shelved the tune for a year after he finished writing it. But then in 1977, he performed it for the first time at the LSPU Hall in St. John’s.

The audience response was electric. Soon after, he tried it at a lounge show when the band needed an encore song, and the crowd demanded it again the next night and the next after that. It was then that Ron knew he’d captured lightning in a bottle.

“Sonny’s Dream” has gone on to be covered by more than 200 artists, including Stan Rogers, Great Big Sea, Valdy, and even the legendary Emmylou Harris.

For many people across the Atlantic provinces, “Sonny’s Dream” is practically an anthem of Newfoundland. At Irish pubs, in Scottish taverns, or even in New Zealand folk clubs, people sing it and assume it’s a centuries-old folk tune.

In some ways, he was both grateful and slightly overwhelmed to be so identified with this single song. But as he once joked on stage, “It’s nice to be known for something.”

Around this time, Ron also wrote “St. John's Waltz.” It was inspired by watching Portuguese sailors interact with locals in St. John's, this song celebrates Newfoundland's capital city and its vibrant culture. It paints a vivid picture of life in St. John's while reflecting on its charm and history and became a standard in his setlist.

During the ‘70s, Ron married fellow musician Connie Corkum and the couple welcomed their daughter Lily Hynes.

Once “Sonny’s Dream” started taking off, Ron joined forces with a group of local musicians and comedy performers, including members of the Cod Company (CODCO) comedy troupe, to form the Wonderful Grand Band.

They mixed folk-rock with comedic sketches, produced their own CBC television series, and put out two albums. In Newfoundland, the group became must-see entertainment. Ron’s songs, including “Sonny’s Dream,” were an integral part of their live shows.

By 1983, the band broke up, but Ron’s career was on the upswing. He recorded a children’s album (Small Fry), wrote for theatre again, and even starred in a stage show about the country singer Hank Williams.

Everywhere he went, he carried his trademark mix of humour, heartfelt storytelling, and Newfoundland pride. He earned a Genie Award in 1992 for the track “The Final Breath,” which appeared in the film Secret Nation.

During the 1980s, Ron and Connie were divorced. He was also in a relationship with Jane Dingle and they had two daughters together, Rebecca Hynes and Elena Hynes.

By the early ‘90s, Ron had a catalogue of hundreds of songs. The recording giant EMI took notice and signed him to a record deal. While with EMI, he released Cryer’s Paradise (1993) and Face to the Gale (1996).

They didn’t necessarily dominate the Top 40, but critics were impressed, and his songs resonated with fans across Canada. Suddenly he wasn’t just a local hero, he was now viewed as a national artist.

Hynes wrote “Atlantic Blue” (1993) as a tribute to the victims of the Ocean Ranger disaster in 1982. This song captured the heartbreak and loss felt by families after the offshore drilling rig sank during a storm, killing all 84 crew members—most of whom were Newfoundlanders.

The lyrics express grief and the unforgiving nature of the Atlantic Ocean. It is considered one of Hynes' most powerful and enduring works. A song that the families who lost loved ones have claimed as their song.

In 1994, he was nominated for a Juno Award for Best Country Male Vocalist. That same year, his tune “Man of a Thousand Songs” picked up Song of the Year at the East Coast Music Awards (ECMAs).

Its lyrics also revealed deeply personal aspects of his life, including his struggles with addiction. The song is reflective and autobiographical, addressing themes of creativity, identity, and the darker side of being an artist.

Hynes often described his songwriting as a way to confront his inner battles, and this particular song became a deeply moving expression of his struggles with substance abuse, which he faced throughout his life.

The title "Man of a Thousand Songs" also became a nickname for Hynes, symbolizing both his prolific songwriting career and the complexity of his personal journey.

His openness about addiction in his music resonated with audiences and added emotional depth to his legacy as one of Canada's most influential singer-songwriters.

EMI dropped him from their label in the mid-90s, but Ron didn’t slow down.

He collaborated with his ex-wife, Connie Corkum on the 1997 album 11:11 Newfoundland Women Sing Songs By Ron and Connie Hynes. He independently released two more albums: Standing in Line in the Rain (1998), The Sandcastle Sessions (2002) which showed off his versatile, acoustic-driven style.

During the 90s Ron had a relationship with Jamie Grdina and they had a daughter together, Lori Grdina.

Over his career, Hynes wrote loads of country ballads, but he could also do folk-rock anthems, pop-inflected tunes, or quiet story-songs that sounded like poems.

In 2002, he signed with the folk label Borealis, leading to Get Back Change (2003). That record earned him the ECMAs for Country Recording of the Year and Album of the Year in 2004.

The producer for that album, Paul Mills, once said working with Ron felt like working with “the best songwriter in the country.” The success of Get Back Change allowed him to do even bigger tours.

During this time Hynes found himself busier than ever. As well as touring, he was on stage at folk festivals, on Parliament Hill, and even representing Canada at the Vancouver Olympics.

Still, behind the curtain, he continued to wrestle with personal demons. He’d struggled with addiction on and off for decades. He called the road a lonely place at times, and even with thousands of fans around him, he admitted later that addictions nearly destroyed him in the early 2000s.

His honesty resonated with people who had their own hardships, and it made his live shows feel both raw and genuine.

Ron’s next projects included the albums: Ron Hynes (2006) and Stealing Genius (2010). Ron Hynes won him another East Coast Music Award, and Stealing Genius showcased his ability to weave the words of Newfoundland authors and poets into his own songs.

Hynes' song “Dirt Poor” (2006) is an a cappella number that captures the struggles of poverty while emphasizing dignity and resilience. Its lyrics include the memorable line, "We're dirt poor, but we're not dirt bags," which serves as a tongue-in-cheek response to stereotypes about poverty.

It quickly became a favourite amongst loyal fans who knew all too well what it meant to struggle with economic hardships. Another example of Hynes's masterful songwriting that told people’s real-life stories in his songs.

Throughout this stretch of his career, he kept on touring. Sometimes in small pubs, sometimes in concert halls. He also built deeper connections with younger musicians.

Acts like Great Big Sea, The Once, and Amelia Curran all speak of him as a guiding light who wrote about outport towns and heartbreaks with equal sincerity. A Newfoundland boy who always comes back home after being on the road.

In July 2012, Ron publically shared some tough personal news: he had throat cancer. He refused to hide from it. Instead, he was determined to keep singing until doctors stepped in and said he absolutely had to stop.

On August 11, 2012, he took the stage at Mile One Centre in St. John’s with the Wonderful Grand Band in front of more than 3,000 fans. He was 61 and about to undergo radiation and chemotherapy, but that night he stood there, microphone in hand, singing every note he could manage.

Observers said his voice had changed a bit, but his presence made that performance unforgettable. After that show, Ron cancelled upcoming dates so he could focus on treatment.

Friends described him as calm, philosophical, and convinced he could beat cancer. After enduring the harshness of chemo and radiation, he returned to touring the next year and his voice seemed to have regained much of its warmth.

Doctors declared him in remission at the time, and Ron grabbed every chance he could to keep performing. But the cancer reappeared in 2015, this time in his lung and hip.

On November 19, 2015, Ron Hynes passed away at age 64, surrounded by family at the Health Sciences Centre in St. John’s. That same evening, much of downtown went dark from a local power outage, prompting comedian Mark Critch to somberly and seriously say, “St. John’s is dark tonight, and so it should be.”

In the days following his death, tributes poured in from artists like Alan Doyle of Great Big Sea, who called Ron “my musical hero,” and from Rick Mercer, who dubbed him “the poet laureate of Newfoundland and Labrador.”

Memorial services filled with live music, tears, and laughter were held in St. John’s, and radio stations across Atlantic Canada played “Sonny’s Dream” as a collective farewell.

Ron’s grieving family, particularly his nephew Joel Thomas Hynes bravely spoke out about his battles with addiction and blamed the illness for his death. Joel Thomas Hynes publicly wrote that addiction was the underlying disease that ultimately led to Ron's demise, stating that cancer merely accelerated the damage caused by years of substance abuse.

In his raw and emotional Facebook post, Joel described how addiction had left Ron destitute, emotionally estranged from loved ones, and physically shattered. He noted that Ron had sold his prized guitars to sustain his addiction and lamented that he chose drugs over everything and everyone he loved.

This perspective highlights the profound impact addiction had on Ron's life and death, as well as its broader implications for Newfoundland and Labrador, where addiction issues remain a significant challenge.

Approximately 21% of Canadians (around 6 million people) will meet the criteria for addiction in their lifetime. Substance use disorders are among the leading causes of disability and premature death in Canada, cutting life expectancy by 10 to 20 years.

Ron’s death was a powerful and emotional reminder that most families have been, or continue to be, affected but such a pervasive and tragic disease. Its effects cannot be understated and Ron’s struggles and death are a reminder to us all that many are suffering. Most of them in silence.

In 2020, Ron was posthumously inducted into the Canadian Songwriters Hall of Fame. For many fans, the recognition felt long overdue. Speeches focussed on the songs he wrote for every corner of Newfoundland: a fisherman’s heartbreak, a mother’s worries, a friend’s longing to escape the island but never able to truly leave.

His music made these maritime stories universal.

Ron Hynes often joked he didn’t want to be remembered as just “the guy who wrote ‘Sonny’s Dream.’” Yet, that single tune became a calling card for something bigger: a life devoted to telling real stories about real people.

Though he passed away before many Canadians outside the East Coast truly got to know him, his influence remains.

You’ll hear his spirit in the young artists of Newfoundland. You’ll find him in pub ballads sung by travelling musicians. You’ll feel him in how he taught all of us to celebrate home, wherever home may be.

When you finish reading this, I invite you to listen to one of his albums. Perhaps Cryer’s Paradise or Get Back Change. You might picture an older man in his trademark fedora smiling through the haze of a smoky stage, but you’ll also hear kindness, humour, and his deep faith in the power of a song.

Ron Hynes understood better than most that home isn’t just a place on a map—it’s a feeling carried in the heart. Through his songs and struggles, he transformed the specifics of Newfoundland life into universal emotions that resonate wherever they’re heard.

His legacy isn’t measured in album sales or awards, but in how he taught us to listen closely to the stories around us, to honour ordinary lives with extraordinary attention, and to recognize beauty in staying, leaving, and returning.

Above all, he reminded us that home can be complicated—filled with ghosts and demons that either haunt us or inspire us to get out there and keep giving it one more shot.

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