Hitmaker JUSTIN JESSO Talks to us about his New Single 'Too Good To Lose' & His Journey From Songwriter To Solo Artist
Justin Jesso has gone from strength-to-strength since breaking through as featured artist and co-writer of Kygo’s global hit ‘Stargazing’. With tracks such as ‘Getting Closer’, ‘Bigger Than’ and the recent ‘If You're Meant To Come Back’, he’s exceeded a total of 650 million streams and commands 4.1 million monthly listeners at Spotify.
Justin excels at dramatic, arena-scaled pop which explores the myriad ways in which love falters. That’s also true of his new single ‘Too Good To Lose’. The song opens with Justin’s naturally compelling vocal immediately hitting the emotional heart of the situation. The production subtly builds anticipation, before the towering hook powers into prominence with a striking melody.
Recent weeks have seen Justin share a variety of content to continue to connect with fans. Highlights have included an emotive lockdown-themed video for ‘If You’re Meant To Come Back’; a home-streamed show which included a dazzling solo rendition of ‘Stargazing’; and the Evening Standard’s performance / Zoom.
In addition to ‘Stargazing’, Justin has written or recorded with Nina Nesbitt, AJ Mitchell, Seeb, Madcon, Alle Farben, Backstreet Boys and Armin Van Buuren. He was even nominated for a Latin Grammy as co-writer of Ricky Martin’s chart-topping ‘Vente Pa’ Ca’. His solo career took off with his debut EP ‘Let It Be Me’ and its lead single ‘Getting Closer’.
Expect his journey to continue with further releases in the near future.
You’ve performed large arena shows, COVID 19 has restricted performances such as this; are you looking forward to returning to performing live and what is your favourite part about performing live?
1000000000%. I can’t wait to get back to performing live. I miss the people. I miss meeting them after shows and getting to hear how my music has affected them. I miss being on the road, I miss my friends I tour with, I miss the adrenaline rush of being on stage. I miss it all! My favourite part though is getting to chat with people after shows.
Is the spectacle of an arena show and the intimacy of your songwriting process hard to combine?
Interesting question. No, I don’t think so... when I write I want my songs to tell the truth If they do that, I feel like most of them you can dress up to work in either an intimate acoustic piano style setting or an arena. In fact, some of my favorite moments in my show are when it’s just me and a piano... a lot of times, that emotion fills up the arena better than a full band would. But usually, I strive to have both, lots of dynamics, to make a good show.
You wrote ‘Too Good to Lose’ on a writing trip to Sweden. Has European music influenced your music?
Tremendously. Early in my career, I was making writing trips out to Europe because European collaborators were responding to my style of writing. I ended up being invited to a bunch of songwriting camps. That translated to writing for some regional acts in Europe as well as writing k pop songs in Norway. Stylistically, I feel a bit more aligned with Europe than the states even.
You said in another interview that it was an internship at EMI, while studying at NYU that led to becoming an industry songwriter. Did your university course in Recorded Music at NYU help you as an artist?
Yes, it was! Well a professor at NYU helped me get that internship... so yes :)
But also, I learned a lot from my time at the Clive Davis Dept I’d Recorded Music at NYU. And still have great friendships from that program that have turned into collaborations.
You haven’t taken the direct route to become an artist, you started out as a songwriter for well-known pop acts, such as Ricky Martin, The Backstreet Boys and HRVY. You have talked about how it frustrated you to have labels want your music for other artists and not back you as an artist, but did this insight into the music industry better prepare you for your current success?
Oh for sure. I feel like it gives me more of a critical overview/business sense of how the industry works. It allows me to be more hands-on when interfacing with the label, planning tours, examining opportunities... etc.
You’re a classically trained actor with several acting credits to your name. How has this training and your acting experiences impacted your music?
Music and acting to me are both about the same things: emotions and telling stories. Studying acting actually taught me a lot less about acting and a lot more about myself and how I was feeling, and how to get at those emotions and use them. That’s what I do when I write and perform my songs.
Your voice has an amazing range, has vocal coaching aided your vocal performance?
Definitely. I’ve had great vocal coaches most of my life. Classical ones, recording specific ones, stylistic ones. They have all contributed immensely. I grew up training with opera singer Winifred Brown who taught me technique and love of singing and my teenage years with Jeff Morrow who taught me about phrasing and r and b. Then I studied in college with Joan Lader in NYC who reinforced technique and healthy practices. Every morning I wake up now and do a 15-minute vocal warmup tape from my La guy, David Stroud.
You’ve been open about your periods of depression and mental health. Is using music as a tool and an outlet a therapeutic process for you?
It is! I’m really lucky. I’ve had a lot of amazing things happen to me. I’ve got an amazing family, incredible friends. I still struggle with mental health (and physical health). Music helps me through it... but even more importantly, I hope my music helps others through it as well. That’s why I do it.
Anton Rundberg and Julia Karlsson have some pretty heavy songwriting credentials. What was it like working with them? What did you gain from the experience?
Hahaha, I love them! They are great people and wonderful collaborators. We geeked out on a couple of songs they have done.. and I didn’t even realize it was them until I used it as a reference in a session and they were like.. oh yeah we wrote that (it was MNEKs touched by you - brilliant song).
You’re a supporter of underappreciated songs and artists, having curated playlists featuring their work in articles you have featured in. What drives this?
There is so much great music out there and so many hidden talents. Sometimes they just need a light :)
What’s been your most memorable live performance and why?
Oh, man. It changes. Sziget festival comes to mind with Kygo. It was Shawn Mendes and then us and the crowd was 110k deep and NUTS! That was a crazy night. My own headline show in Berlin 500 people packed into a tiny room. But the love was incredible. My headline show at the troubadour. Same thing 500 in a room. Lots of friends. It was like coming home.
The song is upbeat almost celebratory, but the lyrics are a little melancholic. Talk us through that contradiction.
Well, I think the lyrics really say that the relationship is gonna continue... even though it shouldn’t. But it shouldn’t end because the love isn’t there... it should end because of timing and graciousness for the other person and their needs. It’s kinda a breakup song without a breakup in one way. It’s self-deprecating but not heartbreaking. It’s open to interpretation really though. Maybe someone hears this and thinks they are destined to fail... and that may be true, but in the relationship, it’s still good and we are still gonna enjoy the ride. It’s too damn good to lose.
What are you working on now and what are your plans for the future?
I’m working on an EP before the end of the year!!! I can’t wait to share it. I’ve even got some Tunes in the works for 2021 :)
Hopefully 2021 we can get back on the road :)
Interview by Emma Rose Burton