Djo: ‘Music is a direct line to the soul’

It’s just shy of noon when a mysteriously named ‘Decent’ requests access to our Zoom call. Taking the gamble, I allow them to join – and the risk is instantly rewarded by the warm voice of musician Djo, AKA Joe Keery. He’s pottering around his New York apartment, pleasantly “chilled out” and eager to soak up the “absolutely stress-free day” that lies before him. I ask about his display name. “Oh, Decent?” he laughs. “It’s just what my phone is called. But I’d say it’s pretty applicable to me, too. Decent, y’know… could be better, could be worse.”

The comment is offhand, yet it’s delivered with a degree of humility that seems to define Keery. Despite having cemented his place in Hollywood through his acclaimed acting roles, notably as the boy-next-door Steve Harrington in Stranger Things and the antagonistic Gator Tillman in Fargo, he’s disarmingly grounded. There’s not a speck of ego in relation to his flourishing music career, either, despite his 2022 single “End Of Beginning” becoming a viral mega-hit with over 1.6 billion Spotify streams and counting. Instead, there’s a genuine hope that he’s done enough to satiate the masses. “Whenever I write a track, there’s a hope that it does something magical for whoever hears it,” he muses. “Writing for The Crux, I was very honest lyrically and musically. I hope it manages to connect with people. I can’t say whether I’ve managed that, but I hope I’ve gotten close.”

The April release of The Crux is a reflection on a life in flux, boasting a psychedelic pop-rock smorgasbord of fizzy synth tones, glistening existentialism and frolicking Beatles-esque tunes. Keery has lived many lives, both on-screen and off, and the record seems to unstitch every one; “Fly” floats in a liminal world, the sonic embodiment of a life on the road, constantly torn from home, while “Egg” wrestles with self-worth, pondering “can one be great?”. Yet there’s still more for Keery to unfold.

Last Friday, Keery expanded upon his earlier release with The Crux Deluxe. While the name suggests it’s only an added appendage to The Crux, the bonus record serves up an entire 12 new tracks. It serves as a testament to Djo’s diverse palette and willingness to bare his soul on record. Below, Dazed talks to Keery about his sound, how he’s dealt with the pivotal cruxes of his own life, and why wires might be the death of him.

I want to open up by asking what music means to you?

Djo: Man, what does music mean to me? Right now, I’m making a little bit of a career out of it, so it’s like my livelihood, but it’s a lot more than that. It’s just a magical thing, where you can communicate something that words aren’t always able to. You can’t really describe something in a way that a song can. Sometimes a song will strike you when you least expect it, and it will strike you so much more powerfully than any other art form. Music is really evocative, and it can put you in a totally different headspace or inform your mood. I guess it’s a direct line to the soul, in a way. Songwriting also gives me a real sense of satisfaction, so I love it.

What’s the last song that ‘struck’ you?

Djo: I've been really into Tom Petty recently, and the other day I was listening to the Tom Petty & The Heartbreakers Greatest Hits tape in the car with my mum. She has a car with a tape player, and we were driving around with it on last time I visited home. That whole record kind of struck me. But I’ve also been on an equally amazing kick of just listening to a bunch of Beach House. They really have a special place in my heart.

A lot of your catalogue is quite existential and reflective. Are you always living in the past, trying to unpack experiences? Or is this just your way of growing and maturing?

Djo: I try not to live in the past. I think [humans tend] to have that busy brain, always trying to unpack every detail of why something happened. People become obsessed with what they’ve experienced, where they’ve been, and it’s not healthy. I think the point of life is to be happy, and the easiest way to be happy is to live in the moment. You just need to enjoy the day-to-day and acknowledge the grander perspective – it’s insane that we’re all alive, that we’re all here! It’s an absolute miracle that we’re able to do things like have a coffee with a friend. So enjoy that. Don’t spin out about things you can’t control. Live in the present. But, when I’m songwriting, it’s a cathartic way to work through some things. It’s sort of a therapy style approach.

People become obsessed with what they’ve experienced, where they’ve been, and it’s not healthy. I think the point of life is to be happy, and the easiest way to be happy is to live in the moment

It’s definitely cheaper than therapy.

Djo: Yeah, it’s cheaper. It’s like a public confessional, you know? I’ve been very honest on this record. I’m really just blabbing about my own shit. It’s just a way for me to confront life, try to make sense of it. But it probably means that, whenever someone listens to the record, they can easily figure me out. I’m not that complicated, really.

What are the primary themes you’re trying to make sense of throughout The Crux and The Crux Deluxe?

Djo: Identity is a big one. But I’m also reflecting on heartbreak and what it means to really love someone – be that friends or family. I’m thinking about what it means to share your love, but also the responsibility that you have to love yourself.

What does love mean to you, on a grander scale?

Djo: Love is understanding, it’s compassion. I think a good indicator is showing up for people; if you’re going through something and someone is there for you, that’s huge. I also think there are a lot of movies, plays and songs about romantic love, but there are fewer pieces of art about friendship or companionship. I’m always interested in exploring that. ‘Back On You’ from The Crux is all about how I love my sisters, and they sang on it too. That’s a love that’s very important in my life, so why not commit it to song?

You also explore another kind of love on the record on the track, if we think of mindfulness and peace as a kind of ‘love’. ‘Thich Nhat Hanh’ is a nod to the Buddhist monk and peace activist – where did your interest in him come from?

Djo: I was in a pretty dark place in my life when I found his book, How To Focus. It’s part of a series of shorter books, and I found it in a little shop, read a page of it, and knew it was right for me. It’s easily digestible because there are all these short little blurbs throughout. You can crack it open and read it whenever. It just came into my life when I needed it, because I was in a headspace where I needed that kind of inspiration. I wrote that guitar part at the same time as ‘Potion’ and ‘Fly’, while I was working on Fargo in Calgary, Canada. 

Sounds like you got a lot of music out while working on Fargo!

Djo: I was just in a bad place and trying to deal with it. I was working on this job that I really loved, but my life had kind of fallen apart. I was working on essentially my dream job, but I was also leaving a relationship. It was a time when I was feeling really lonely, confused and trying to figure out how to cope.

I know you’ve recently built a new home studio set-up. It must be so great having the freedom to just record as and when you want to. Like, how did you even record all your earlier records from your bedroom?

Djo: I honestly have no idea. I would get so hung up on the technical side of things… just going mad thinking ‘how do I plug all this shit in?’ Plugging is my absolute nemesis. I love to produce things, but those aspects can really hamper my creative process. If I’m in the middle of a track and I have to work out why I’m not getting a signal from something… it’s the worst fucking thing ever. 

What’s the craziest thing you’ve managed to record in your bedroom or even on the road? Any near-impossible feats you managed to make work?

Djo: I mean, a couple of tracks from Decide were recorded while I was on set for Stranger Things. I remember recording these insane MIDI parts while I was so fatigued – I was going a bit insane programming all this MIDI stuff. Like, some of those drums would be absolutely impossible for a drummer to perform live.

There are a lot of movies, plays and songs about romantic love, but there are fewer pieces of art about friendship or companionship. I’m always interested in exploring that

Was that in your trailer?

Djo: There’s a boat house that was pretty integral part of season four, and the ‘green room’ was essentially in someone who lived nearby’s living room. So I’d be sat in there, headphones on, writing things and just going insane.

How does it feel, knowing that Stranger Things part of your life is actually over now? Is it scary?

Djo: Honestly, it's nice – it’s fun to have a change. I’m liking it… I mean, come on, I wrote a whole song about liking ‘Change’!

Do you never worry about what the future holds?

Djo: It’s good for things to change! It’s always good. There’s always some scary stuff, but the opportunity that comes with change is fantastic. It’s a great shift of perspective. 

That Thich Nhat Hanh mindfulness is really showing right now.

Djo: I’m always trying to be a little more mindful. Not perfect, but always trying. The older I get, the more willing to allow myself a bit more grace. It’s easier sometimes, harder other times.

So what does the future hold for Joe Keery?

Djo: I’ve literally got no idea. It’s been exciting touring The Crux, playing with my old band Post Animal, and right now I’m doing all this press... but who knows what tomorrow holds. I hope to record more music. And I’d love an acting job to really sink my teeth into. And then maybe I’d love to force myself to try to do something else that’s not music or acting. A hobby that’s purely a hobby. 

That’s the problem when you make your passion into a job...

Djo: Well, I can’t really complain too much about that. What a problem to have!

The Crux Deluxe is out now