JP Hoe is a singer/songwriter from Winnipeg, Canada. With a great voice and so many great songs, he’s in Australia to entertain audiences across the country. While in town, Simon Clark had a chat to JP about his music, his influences, and his thoughts on the current popularity of Canadian Music.
How are you looking forward to touring Australia?
So far so great! It’s kind of been exactly what I was hoping for. Friendly people, receptive audiences and perfect…perfect weather.
What are your thoughts on the One Movement set-up of mixing industry, fan and musician together?
I’ve been to many different conferences in North America and this one has the qualities of a major to-do, but somehow manages to capture a more intimate setting. SXSW and NXNW are great, but giant festivals take on a life of their own and it can be difficult to meet your goals and meet the delegates. Perth/One Movement is just the right size, with incredible attendees in incredibly willing to meet whomever.
Who are your main influences?
When I first started, it was easily, Bob Dylan, Joni Mitchell, and Neil Young. When I began to take this career more seriously I became drawn to the Beatles, Jon Brion, Aimee Mann, Fiona Apple, David Gray, Wilco, and a Canadian staple Tragically Hip. I love great melodies, even though most of the contemporaries get little to no airplay in Canada (save Tragically Hip).
How do you approach the creative process?
I’m not sure if there’s one way that I approach it. As far as the nuts and bolts of writing songs I love coming up with a melody in my head then flushing it out on guitar or some stringed instrument, then I try to determine what kind of emotion the melody evokes. Content wise, I never feel as if I’m all that interesting and so I’m constantly stealing moments from those around me. I love to get my head into their situation, explore options and sometimes exaggerate the stories. It’s as close to writing from experience as one can do without living it. Then again, I wrote a song about a Russian mail order bride this spring, no one I know has publicly confessed to such an arranged affair.
Where did the title The Dear John Letters come from?
Ryan Adams once got into a scuffle with a journalist for giving him a bad revue. It did not turn out well for Ryan and I learnt that you can never win, when someone else has the pen. There was this guy who would not give me what I figured was a fair shake, and in my silent protest I titled the album the Dear John Letters, ultimately saying “screw you I don’t care what you think, I’m moving on” just like a real dear john letter would represent.
Any particular songs you are particularly proud of? Any you like to play the most?
I love Nicest. I have a friend who started with nothing and has built herself up so tall. “A human triumph” or something, and it inspired me to write this for her. There were a few times performing the song live I got lost in the song thinking about her situation and that’s when I knew it meant a lot to me. And more recently, there is a song called Learn To Let You Go. It’s probably my strongest hook yet and it’s about an urban myth in my family that someone (though we never name names) joined a cult way back when and I thought it would be fun to explore how one goes down that path.
On your record you have quite a few different elements – violin etc, how do you approach this live?
As a singer-songwriter, the catch 22 is you are the boss and don’t have to fight, but the downside is everyone costs money. Over the years I’ve been fortunate enough to bring my string players to certain shows, shoot a TV special with them and will continue to do so, so long as it’s financially viable. The reality is, it won’t be every time and that’s okay. I love the tone of the melotron and it makes for an adequate substitution live. One day I’ll keep a quartet in the trunk, just not yet.
What can audiences expect from your live show?
Regardless of the set up (solo, duo, full band) they can expect to hear a voice that is not altered in the studio, songs that have been well crafted and a sincerity to the product. If you like good songs and a strong voice and have no reservations against Franco-Asian Canadians, you are meant for a JP Hoe show.
Canadian musicians and their music seem to be hot property these days, why do you think this is?
I don’t know really. I think in general Canada stays in the background, much like my hometown of Winnipeg. That gives us the creative freedom to do as we please and not place too much emphasis on what’s hot. At least that’s how my circle of friends feel at home. I love having no big shots constantly telling me what direction I should be heading or how I should sound more like this or that, we write what comes naturally, and maybe folks around the globe are finding it refreshing. Also, there is a food called poutine (fries with gravy and cheese curds) that also might have something to do with it.
What are your plans for the future? Got a new record in the works?
January I have the studio booked and am eager to get in it. The songs are done and I’ve been working them live for the past year. I’m proud of myself for continuing to develop. I hope I haven’t reached my pinnacle in terms of song writing but I can certainly see the progress from where I came. The next record will be tighter and more concise. It will be more in the singer-songwriter vein since I have had the opportunity to try out indie pop rock and straight ahead pop rock records, time for something new. I want to showcase song and voice and see where that leads.
Will we see you back in Australia soon?
If I can get everything in place I would love to make Australia a permanent tour route, ideally twice a year. It’s hot, no mosquitoes, and I’ve heard you can get a pretty sweet tan.
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