The one-man-and-a-piano formula is one that is as old as popular music itself, so its no surprise that they’re still around today, even if it’s not nearly as easy to make a name for yourself. Of course there are players that have shone through in recent years, from the glittery pop piano of John Legend to more eccentric types like Regina Spector, yet it’s a tough area to write completely new pages in. But in the case of Vancouver’s Tobias Jesso Jr, he has managed to carve himself a niche in almost no time at all. Before moving back home in 2012, Jesso didn’t even play piano, but didn’t feel that his days of songwriting were over. By essentially learning to play the piano while writing the incredible “Just a Dream”, it became quickly apparent that bare, unembellished piano ballads were an area that Jesso dominated. Goon, Jesso’s debut full length shows just this; a series of stories of failure, heartbreak and moving home set to minimal, but very moving underlying melodies.
To piece together the beautifully bare drive of Goon, Jesso worked with JR White of the now defunct band Girls, and production megamind Ariel Rechtshaid, a decision that has proven to be a wise one. Jesso has already drawn numerous comparisons to simplified songwriters of the past such as Randy Newman or Harry Nilsson, but Goon boasts a polish that is entirely modern, even if the songwriting itself reminds listeners of past generations. Much like the music of Girls, Jesso’s compositions harken back to pop musics golden age, easily heard in pieces like “Crocodile Tears”, but still exhibit a modern day studio sheen. Since writing “Just a Dream” and getting some helpful encouragement from JR White, Jesso’s come a long way with his piano playing. While he still can’t lay down melodies like Nils Frahm or Fiona Apple would, his quaint playing ties perfectly with his heartfelt stories of struggle. Since Jesso played as a guitarist for years before sitting down in front of a piano, its only natural that “For You” and “Tell The Truth” have guitars taking lead. Again, the playing isn’t focused on a virtuostic display of skill, rather a simple melody that backs up the head of the show – Jesso’s voice.
“I don’t think I could be poetic if I tried” – it’s true, lyrically, Goon isn’t incredibly complex, nor does it challenge the listener; it just seeks to share feelings that everyone is very familiar with. Whether it’s the unrequited love on “Without You” or “How Could You Babe”, or the reluctant decision he makes in “Leaving LA” or “Hollywood”, Jesso isn’t afraid to bear his scars. Yet there is something undeniably hopeful shining through the songs on Goon, an element that keep the songs warm and welcoming along with Jesso’s unabashed and forthright outlook. Like his decision to keep plugging away with being a songwriter, (which has paid off in full with a shout out from Adele) it’s as if Jesso is urging you to join the struggle and stay positive regardless of whatever roadblocks presents themselves. “How Could You Babe” is the only song in which Jesso vents some real frustration, and yet he still blames himself rather than point the finger. It’s easy to find yourself swept into the emotional nuances of Jesso’s music, be it through the lyrics or the amazingly subtle instrumentation.
Take the opening track “Can’t Stop Thinking About You” as an example – starting with an innocent and delicate piano phrase and Jesso immediately calling a past lover out by name, his earnest demeanor is set in stone. As things progress, Tobias shows acceptance of this cycle of forlorn love, getting used to the fact that “my baby loves to see me cry”, with the music surrounding such lines often becoming brighter and more playful. Much of the rest of Goon is given just the right amount of instrumental backing. “Can We Still Be Friends”’ slow, orchestral swells are powerful catalysts for Jesso’s emotional croons, “Just A Dream” is made even stronger through a crash of instruments at the songs chorus, and “Tell The Truth”’s lightly bowed strings give the album a perfect sendoff. “Hollywood”, one of the albums highlights is given the slightest amount of strings and horns near the end, giving the surreal feeling of Jesso slowly distancing himself as he departs the city. It’s not hard to translate the message that Jesso is providing with Goon, but it is surprising to see just how enjoyable it is.
It’s interesting to see how fast certain artists can gain recognition today; some of them may not necessarily deserve it (cough, cough), but others most certainly do. Tobias Jesso Jr. deserves all the praise that is currently funneling towards him, and even still he acts as if it’s all some crazy stroke of luck (he even gestured that the string section he played with on Conan deserved more applause than him). Goon is Jesso’s unhinged look into his own tribulations and failures, and yet he’s still happier than ever to share it with the world. He is as genuine as genuine can be, which is a large part of what gives Goon its redeeming values. Who knows, now with Jesso’s recent found success, he may very well find himself back in L.A. with a brand new outlook.
Rating: 4.4/5