melodies, that stir the knife in the wound. Not in a way that plunges, but in a way that uplifts. Because it feels good that the pains of feelings turn into something beautiful: a beautiful text, a beautiful melody. I still aspire to find the heartbreaking melody that will bring tears to my eyes. A melody whose quality gives it a sacred dimension." Cosette Schulz of Exclaim! described the singer as a "master of crafting simple but stellar tracks". Writers have likened Hardy's music to that of English singer Marianne Faithfull. Comparing both singers, The Guardians Keith Altham wrote in 2014: "They both sing sad songs with a simple folksy style. They both have the same shy, wistful, almost waif-like appeal about them. They both have a dramatic, 'all-alone' quality about their voices which commands sympathy and attention." Her deadpan delivery, characterized by its "cool, aloof air", has also been compared to that of German singer Nico. The recurring themes of her lyrics are sadness, personal pain, heartache, one-sided love, sleeplessness, boredom, loneliness and confinement. Hardy is known for her demanding attitude towards her music—such as her decision to leave low-quality French studios to go record in London during the mid-1960s—something that set her apart from her French compatriots. As she matured, Hardy honed her own despairing songwriting, but also chose with alacrity the works on offer from leading professionals. Producer Erick Benzi recalled: "From when she was 18, she knew she was different. She was capable of going in front of big artists like Charles Aznavour and saying, 'Your song is crap, I don't want to sing it.' She never made compromises." Tony Cox recalled his experience working with Hardy: "Françoise was good in that she liked things to be slightly more adventurous than the norm. There was a bit of the Left Bank about her – she’s not your average pop singer, that’s for sure." She is also known for her disapproving views towards her skills as a singer and musician, telling Rock & Folk in 2018: "I'm not a musician, that's it. By stopping to compose, I went towards ease, but also towards realism. I understood that even if I did learn things, I would never be able to do as well as real melodists. That's why I thought it was best to bring in musicians whose work touched me." Development 1962—1967 Most of Hardy's musical output