Start Listening To: Jo From School

With a debut EP release ahead of her and a couple of successful releases behind her, London-based Jo From School chats with Still Listening about her artistic trajectory.

“I tend not to work away at a song too much. I quite like the lyrics and melodies to stay as close to the original thought”, Jo From School tells me. Listening to the handful of singles that she has thus released, that style of expression proves not only apparent, but somewhat essential; Jo’s writerly lyrics and controlled yet streaming cadence effortlessly conjoin the edges of her flinty power-rock with a more soft-lit, careening interpretation of indie folk. Even in its most strained and muscular moments, an unmistakably conversational openness runs beneath the surface - as though each track is discovering new facets of itself in real-time rather than forcing a polished conclusion.

Following a run of supporting shows with Skullcrusher and the release of a few tracks - including ‘Julia Roberts’, produced by Rich Cooper (CMAT, Billie Marten), Jo will be releasing her debut EP, ‘Grace, Flair & Distance’ on August 7th via Chess Club Records. Below, she has shared her thoughts on going to Brit School, her most left-field influences, and more.

What is an unexpected influence that informs your sound - one that might not seem apparent on first listen, but that shows up in how you approach rhythm, lyricism, performance, etc.?

More electronic-leaning worlds: Bladee, Boards of Canada, Square Pusher, etc. - they are so good at building worlds and playing with fun textures and also very real and grounded melodic ideas. Sometimes it strikes a chord emotionally more so than some folk that I love. I hope I’ve taken that balance of play and reality into some of my songs.

You’ve just started putting out more music recently - what has been the most significant point of recent growth for you as a musician or performer since you’ve shared your work with the public?

I thought my debut would be this solidified answer to the public of what jo from school’s music world is, but I’m already wanting to sound different and explore different avenues. No one I look up to has come into the music space polished and ready and with prolific works ready to go. Music is a lifelong thing for me that I’m just now realising won’t always be a 100% accurate representation of me as an artist.

Expounding upon that - what is the next point of growth as a musician that you are most eager to reach at the moment?

I’ve gotten the scariest part (in my opinion) out of the way. Now that people have heard some stuff, I’m ready to hone in on the writing and go deeper into jfs land to see what will change and hopefully develop in my writings.

What song by another artist embodies what you are trying to emulate most in structure/style/both?

I’ve been really hooked on Fog Lake’s music as of late. Sometimes I get concerned that I only like playing the same chords over and over, but he is awesome at doing that in a way I will never get bored of. I see it as making you feel the music that bit more each time you hear it repeat. I cannot get enough of ‘Catacombs’ and that piano progression.

What is the most resonant compliment you’ve ever received about your music?

My pal Jude said I choose a lot of good/unusual words for my lyrics. That’s always flattering to hear. At heart I’m still a secondary school English student nerd that enjoys describing moments in the most concise but interesting way. Then again, in one of my songs I say ‘junior doctor’ unironically, so I don’t know if I’m quite there yet!

Which song that you’ve put out so far are you most proud of; why?

I’m proud that ‘Chicken’ saw the light of day because I really thought it would stay unreleased. It’s not revolutionary, but I love the song and its many failed versions.

What is a feature about your music that you think separates you from the rest of the singer-songwriter indie scene? Is that an intentional departure from the norm, or simply serendipitous?

I tend not to work away at a song too much. I quite like the lyrics and melodies to stay as close to the original thought. That does not make me different in a superior way; I admire my musician friends that chip away at their songs for months and years to achieve exactly what they want. But I guess the speed at which creating happens (not spending too much time on it afterwards also) and the playfulness in the music is serendipitous, I would say.

You went to Brit School. What has been the toughest ‘reality shock’ since leaving and coming into the industry?

Regardless of school, I think I would’ve always had a big massive shock coming into the industry world. It’s not intrinsic or normal to market a person as a brand. I haven’t met anyone that likes thinking about and talking themselves as much as artists are expected to.

Playing music with friends in school at sixteen was the key thing that got me wrapped up in music. Following the ethos of music being a fun, connection-based process with people I like is what I took with me, focusing on that helped a lot when being in the industry felt weird.

Photography by: Lily Doidge and Rosa Levinson