JP Hoe

Artist Information

Biography

JP HOE BIO

Think "tongue-in-cheek torch songs" and you have one place of departure with this Winnipeg based singer songwriter. JP Hoe writes tirelessly in all styles, charming audiences with his sharp lyrics, a smooth voice and a casual demeanor. Humour, simple phrases, and bold ideas are all part of his trade. In May JP released his fifth effort, Mannequin, featuring 11 new original songs. He will celebrate the release with a cross Canada tour, and the first single, "Nothing's Gonna Harm You" has been charting on CBC Radio 2 ever since.

Mannequin is a beautiful collection of songs with a dark and melancholic edge weaving it’s way in and out of the tracks. 'Tight', 'focused' and 'confident', are words JP uses to describe the album. From the catchy first track Bingo Palace to the co-written song Conversation with Luke Doucet, the album explores the different sizes and shapes of adult alternative pop, similar to a window dresser experimenting with his ‘mannequins’ in the storefront.

JP is anything but a cookie cutter artist, and has remained fiercely independent throughout his career. Whether its routing tours around his favourite BBQ shacks in Mississippi, or returning home every December to throw the city his themed concert in the form of the JP Hoe Hoe Hoe Holiday Show, the three-time nominated Western Canadian Music Awards artist is pursuing his vision. He’ll continue to connect with audiences young and old, near and far, sharing the stories behind his songs, refusing to rest on his laurels and thankful he’s found a place amongst so much noise.

He's toured around the world; at times providing support for seasoned veterans such as Jann Arden in concert halls and arenas, and other times playing in the hidden roadhouses that dot the southern USA. This troubadour knows you’re only as good as your last show. The Australian Review had this to say about JP.

"Highlight of the evening, however, went to our next performer – acoustic singer/songwriter JP Hoe from Winnipeg, he recently made waves playing the One Movement Showcase in Perth. At times Sufjan and Andrew Bird-esque, at others reminiscent of David Gray and John Mayer, JP Hoe’s talent is quite outstanding. There is true power in his voice and words, in an instance where he simply makes it look easy. Make sure you check this guy out when you can."

Let’s get out and celebrate the new release from one of Canada’s true hidden gems!

Instrumentation

Solo: acoustic guitar, electric guitar, banjitar
Duo: acoustic guitar, electric guitar, banjitar, mandolin
Band: (4-7 piece) acoustic guitar, electric guitar, banjitar, mandolin, keyboards, drums

Discography

2012 Mannequin LP
2010 HOE HOE HOE Holiday Songs EP
2008 The Dear John Letters LP
2007 The Live Beta Project LP
2003 The Here In Review EP

Official Website

http://www.jphoe.com

Links

• Facebook
• Twitter
• MySpace
• Youtube

Audio

• Nothing's Gonna Harm You
  Listen  
• Do I Know You
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• Conversation
  Listen  
• Lions and Tigers
  Listen  
• Learn To Let You Go
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• I Only Did It For Love
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• Bittersweet
  Listen  
• Dead of the Dark
  Listen  

Video

Nothing's Gonna Harm You - JP Hoe.mov

Dead of the Dark 2011 Holiday Show.mov

Photo Gallery

Press

• Ottawa Life Magazine - JP Hoe – Getting Under the Skin on Mannequin [+ Show ]
  

  Twice-nominated Western Canadian Music Awards artist JP Hoe is the ultimate singer-songwriter. The W...Twice-nominated Western Canadian Music Awards artist JP Hoe is the ultimate singer-songwriter. The Winnipeg native is earnest, wry, ironic, funny and insightful. His material has a genuine homespun feel, filled with catchy hooks and melodies – genuine, uncontrived and confessional.
  Hoe’s songs have vision and substance, and are a welcome change in this age of disposable everything. Hoe’s casual style is the perfect foil to his warm and welcoming voice. His approach has been described as a combination of torch song and tongue-in-cheek humor, but this is something of a disservice to an artist who uses genuine insight, emotion, smart lyrics and strong melodies to craft such heartfelt and fun music. Hoe is also most definitely a DIY kind of guy, having sold zillions of copies of his previous two critically acclaimed records: The Here in Review EP and The Live Beta Project, without the help of a record label, but rather through talent, relentless touring and continual hard work.
  Yet it’s Hoe’s relaxed, familiar approach to music that fills his new release with life. The song arrangements on Mannequin are smartly built from the seed of his voice and guitar, and the subject matter revolves mostly around love and heartbreak… themes at once personal and common to all of us. But that’s definitely one of Hoe’s touchstones and strengths as a writer and storyteller: his ability to weave songs from an everyman’s point of view. Hoe’s extremely popular and perennially sold-out Christmas show in Winnipeg, called somewhat cheekily The JP Hoe Hoe Hoe Holiday Show, is a perfect illustration of how important he holds the ideas of connection, roots and community. And it’s his sense of connection to our shared humanity and foibles that has made Hoe a substantial musical success in his native province. JP Hoe could easily be called a troubadour, a man almost displaced out of time, using the honesty and simplicity of his guitar and voice to travel the world and slowly build a devoted and deserved audience.
  
  Dark and at times tinged with melancholy, Mannequin has powerful moments, given an even greater strength by Hoe’s honest,forthright and focused approach. It’s a solid collection of pop-folk-influenced material, with a distinct, flavorful touch. What makes the album particularly impressive is Hoe’s willingness to experiment with traditional pop arrangements and instrumentation. This is a skillful record, peppered with memorable hooks and lyrics. Hoe is obviously quite comfortable plumbing and experimenting with the different aspects and perspectives of traditional radio-friendly pop music, and this approach works extremely well on Mannequin.
  There’s a tendency that some music reviewers have to compare the artist being reviewed to other artists that readers may be more familiar with. While I understand the efficiency and directness of this tactic, for Hoe, that type of pigeonholing doesn’t really work and it doesn’t do Mannequin justice. This record is a great example of the fact that Hoe can write a memorable, profound, downright charming piece of music, period. Case in point: I can honestly say that after hearing Nothing’s Gonna Harm You only once, the damn thing stuck in my head like a big, fat wad of sugary-sweet bubblegum in a fifth grader’s hair. This tune is propulsive, simultaneously sweet and foreboding, and almost impossible to forget. Hoe sings: So take back what you said, and we’ll start anew like the morning’s end… a rather nice sentiment until it’s followed up by the lyrics I want your eyes looking at me, that’s why I keep you under my thumb, turning the track on a dime from sweet pop song to a statement on the hazards and dangers of obsession and control in a relationship. And it’s in these shades and perspectives that Hoe is most successful on Mannequin.
  
  The record’s opener (Bingo Palace) is another high point and a great pick to get the whole magilla rolling. Subtle, soulful and emotive, Hoe’s mournful, heartfelt vocals, framed by lush, orchestral string arrangements, and his colorful, succinct, observational lyrics nestled warmly in between, create a truly beautiful song. The main line of the chorus wryly illustrates what we must all certainly feel at times: This world is tumbling around like balls in a bingo palace. He’s not wrong. And the haunting, determined, straightforward chorus of Learn to Let You Go, with its jangly guitars and sing-along backup vocals, will definitely tug at your heartstrings, but it will also make you smile: Oh, how did I learn to let you go. It’s the kind of song and lyric that inspires thought and consideration, simple and profound, the best kind of insight and wisdom.

• Post City - JP Hoe Gets Dark at Supermarket [+ Show ]
  

  The Prairies are where it’s at — musically speaking, that is. More and more bands seem to be sprouti...The Prairies are where it’s at — musically speaking, that is. More and more bands seem to be sprouting from the wheat fields and garnering nods from mainstream Canadian music heavyweights. Take JP Hoe, for instance, whose two-month-long cross-Canada tour (with stops in New York and L.A.) wrapped up in Kensington Market last night.
  
  The folksy, alternative pop singer-songwriter from Winnipeg — think Andrew Bird meets John Mayer — made his final stop at Supermarket Tuesday night. The set drew heavily from his fifth full-length, Mannequin, which is a good thing: it’s an album that digs deep, with Hoe embracing his edgy side.
  
  Don’t let the catchy hooks and pop-driven melodies fool you: Hoe’s lyrics are weighted with the morose reflection of a self-proclaimed loser. When asked about the latest effort, Hoe says, “I don’t care about being cool,” (which is about the coolest thing he could have said). Instead, the 11 tracks are “stolen minutes and moments from other people’s lives around me.”
  
  Fittingly, Mannequin is about trying on different clothes, so to speak. Hoe puts himself in the shoes of those around him and — with the few exceptions — sings accessible and relatable songs. “Conversations” is a nugget co-written with Luke Doucet, with whom Hoe says he has nothing in common with. Doucet, he explains, runs marathons, while Hoe usually makes a point to stop on tour to eat at the restaurants featured in Diners, Drive-ins and Dives. The two found common ground after having a conversation that they would one day love to be talked about the way they talk about their influences: Bob Dylan, Neil Young and Joni Mitchell.
  
  If you’re only as good as your last performance, then Hoe can die happy after Tuesday night’s gig. For someone who seems to have adopted a laissez-faire mantra, Hoe is extremely confident both when performing live and on the record. So much so that if you only heard him sing, you’d never know that he has a (rather endearing) lisp. He’s likely not used to sharing the stage with such a large band, which inlcuded a drummer, a cellist and a violinist. Luckily for those of us in attendance, that meant that the set sounded just about as close to the actual record as it could get. Despite its sweeping orchestration, Hoe held his own and dominated the stage, proving that yes, the Prairies can foster and inspire the musically-inclined.
  
  Road trip, anyone?

• Mannequin CD Review - Penguins Eggs Magazine [+ Show ]
  

  JP Hoe Mannequin (Independent) Mannequin is fresh and surprising. Winnipeg singer/songwriter JP ...JP Hoe
  Mannequin (Independent)
  
  Mannequin is fresh and surprising. Winnipeg singer/songwriter JP Hoe writes with a quirky sense of humour. Hard to categorize, Hoe’s delivery has a pop sensibility. The production is clean and flatters the matieral. The Luke Doucet co-write, Conversation, is the source for the album title and is a thinking person’s lyric to a tune that could find a place on top 40 radio. Hoe’s vocals on Conversation are reminiscent of David Gates but this is not a song that Bread would have recorded. Lions And Tigers has more hooks than a cloak room. Bittersweet is just that. Mannequin is Hoe’s fourth release and well worth your time and money.
  – By Ruth Blakely

• Verb Magazine - Stolen Moments
  

  Online Content

• UpVenue.com - JP Hoe Talks About His Latest Album [+ Show ]
  

  Usually when we conduct interviews, we do them in dressing rooms; this interview was no different, e...Usually when we conduct interviews, we do them in dressing rooms; this interview was no different, except that it was an actual dressing room at Citizen Vintage clothing store in Montreal. Playing a short acoustic set at the store, JP Hoe took the time to chat with us prior to his performance. JP is what we at UpVenue like to call a Diamond In The Ruff; one of those artists who can make you a fan, if you give them a chance...
  

• UnNomDeGuerre.Com - JP Hoe @ The Railway Club [+ Show ]
  

  Last week, I was heading over to the JP Hoe show at the Railway Club in a foul mood. Work was stress...Last week, I was heading over to the JP Hoe show at the Railway Club in a foul mood. Work was stressful, etc, but I knew all I needed was a good concert to cheer me up.
  
  Hoe more than delivered. "What the hell is he doing here at the Railway Club?" I asked myself halfway through the second song. No offense to the Railway Club of course (if you have a chance to catch a show there, do go - it's a perfect venue for singer-songwriters), but Hoe just has that "it" factor that makes me wonder how much longer it will be before he makes it big.
  
  Hoe's guitar and vocals was accompanied by a cellist (who switched to bass at certain points), violinist and percussionist. It was a nice, simple set up that was able to balance with Hoe's own big sound. In between songs, he would launch into stories of what inspired the songs, which isn't all that unusual for singer songwriters. What struck me, though, was how much imagination Hoe brought into his songs. The first, "Learn to Let You Go", was about some he knew that decided to walk away from his life and join a cult. "I wondered what that would be like," Hoe said.
  
  Next came "I Only Did It For Love", about his best friend who got cold feet before his wedding (Hoe was the best man), followed by a track about Mrs. Claus, for whom the singer felt sympathy after discovering she was basically created by Coca-Cola as a marketing tool. Hoe later covered Radiohead's "Karma Police", which totally made my night.
  
  Since Hoe and I are both from Winnipeg, I can see how his imagination would come in handy. During the eight months of winter, it's an incredibly unforgiving city and the best you can do is hibernate until spring (aka flood season and mosquito season) comes again. He told a cute little story about receiving a lot of "3's" on his report card (the school system's way of noting "needs improvement") and his teachers noting he had an overactive imagination. It's clearly coming in handy - his storytelling style reminds me of Gordon Downey of The Tragically Hip. Let's hope Hoe is given the same attention.
  
  

• UnNomDeGuerre.Com - JP Hoe - Mannequin Album Review [+ Show ]
  

  JP Hoe - Mannequin Album Review Wednesday, May 16 Mannequin, the fifth release from JP Hoe cam...JP Hoe - Mannequin Album Review
  
  Wednesday, May 16
  
  Mannequin, the fifth release from JP Hoe came out yesterday. Known for his “tongue-in-cheek torch songs,” the Winnipeg singer-songwriter has had a successful independent career, touring around the world and opening for such veterans as Jann Arden. Being a fan of other sharp lyricists, I was intrigued to see what Hoe’s latest effort had to offer.
  
  It’s an album of contradictions. It sounds big budget, but it was released independently. It feels melancholic, yet the melodies are bright. The songs are based around simple acoustic instruments, but the surrounding musical arrangements are dense. It’s an interesting style; one that has worked well for other ambitious singer-songwriters like Sufjan Stevens and Andrew Bird, two musicians Hoe has often been compared with. His style of singing is also familiar – think Ryan Adams without the drawl and pomposity.
  
  Mannequin varies between upbeat pop songs and somber ballads. On one hand, there are songs like “Nothing’s Gonna Harm You”. Opening with just an acoustic guitar, the song quickly builds into a catchy pop-rock stomp, complete with strings and handclaps. On “Lions & Tigers,” the album’s centerpiece and highlight, the chorus soars with a memorable melody. Things slow down for “Bittersweet” and “Conversation,” two tracks co-written with Veal singer/guitarist Luke Doucet. The latter boasts some clever lyrics: “Whispers and quips from your J-45, they’re all so imperfectly perfect,” Hoe sings over a sparse arrangement of guitars.
  
  The majority of Mannequin combines traditional and non-traditional instruments. “Dazed and Confused” contains accordion and glockenspiel on top of a rhythm section that resembles a marching band. Elsewhere, keyboards and mandolins fill the void. Hoe even lays down a whistle solo in “Do I Know You.” However, Mannequin gets a little too sugary sweet at times. For this reason, songs like “I Only Did It For Love” and “Learn To Let You Go” come up short, despite their adventurous arrangements. There’s a hint of schmaltz in their execution, which is unfortunate because, otherwise, a lot of Hoe’s songwriting is strong.
  
  All in all, Mannequin contains some pretty solid music from an ambitious singer-songwriter. The record’s bold instrumentation keeps the songs fairly enjoyable despite some formulaic missteps along the way. In short, a good release from a talented up-and-coming artist. JP Hoe is currently on a cross-Canada tour. Be sure to catch him at any of the following tour dates:
  

• JP Hoe, 2.0 [+ Show ]
  

  JP Hoe didn’t mean to make you cry. It just sort of happened that way. Mannequin, the latest full...JP Hoe didn’t mean to make you cry. It just sort of happened that way.
  
  Mannequin, the latest full-length album from the golden-throated local singer/songwriter, is an emotional ride. Underneath the pop-perfection hooks and the big, shiny choruses lurks a moody melancholy. (There’s also a couple numbers that straight-up deal with death.)
  
  Despite being named after something soulless and plastic, Mannequin is anything but.
  "When we finished everything, there were a lot of songs," explains Hoe, 31, over coffee. "It wasn’t a thought process of, ‘Let’s make people cry’ —we had 25 songs that we whittled down to 11, and although those songs were sad, they were the best chance for a diverse record."
  
  To meet JP in person, there’s a disconnect between the darkness on the record and the lightness of his gregarious personality. It’s not surprising to hear that the songs that make up Mannequin aren’t autobiographical.
  
  "They’re about other people — I’m a pretty happy person who enjoys almost everything," he says, describing himself the way someone might describe a golden retriever. It’s a well-worn misconception that you can’t be a well-adjusted artist; as Owen Pallet once told me in an interview: "It’s hard to write songs about riding bikes and drinking in moderation."
  
  "I’m sure my mom will think I’m depressed," he adds with a laugh. "It’s a nice outlet to work out some sad emotions. I’m not sure, for me, that I believe these songs a therapeutic. I don’t know if that’s a genuine quote all the time. But it’s a way to explore sadness, which is an emotion I don’t feel a lot."
  
  Of course, that isn’t exactly true. Hoe is obviously someone who feels other people’s sadness quite deeply and shoulders their weight in song — sometimes in rather naked form. Take the catchiest song on the record, I Only Did It For Love: "That one’s about my best friend," he says. "He had a serious case of cold feet right before his wedding and I was his best man. I had to remind him that he was doing this because he loved her. I’m sure it was pretty easy for him to recognize himself."
  
  Other times, the muse is less obvious. "Learn to Let You Go is about a guy I knew who joined a cult and how he had to basically walk away from his life," Hoe says. "I don’t know if he’d see himself in that one." (Hoe has a knack for penning clear, unadorned narratives, but he’s not always a literal lyricist; "Although I’m not as cryptic as some of my heroes, I like to think my songs are open to interpretation," he says.)
  
  Spacious and well-crafted, the songs that make up Mannequin have a maturity and a confidence that Hoe hinted at on his last album, 2008’s sprawling 17-track opus The Dear John Letters. Mannequin may have a more economical run time, but it somehow manages to feel like the bigger album. (It’s not a funeral dirge either, by the way; like all the great pop songwriters before him, Hoe expertly marries a sunny melody with a grey-day lyric.)
  
  "I think compared to the other records it’s the most singer/songwriter, but I think it’s a whole lot more cohesive as an album," Hoe says. "I think it makes sense and you can listen to it from start to finish. There’s a lot of colour. Elliott Smith’s albums are like that; Amy Mann’s albums are like that. Those are the kind of peers I want to have."
  
  If Hoe sounds focused, it’s because he is. He’s an artist, but he’s also pragmatic: he wants to be creatively fulfilled, but, like anyone else, he also craves stability in his personal life.
  
  "I have a really clear picture of what success is," he says. "Musicians have skills we’ve worked on, like any other professional. It’s a means to an end. And I love doing it. It’s the most fun skill that I have. If this career dies, if people stop liking the music — I can live with that. I have no illusions that I’d be totally comfortable being a starving musician. I want to do this as long as it makes sense. There’s more to life than writing songs."
  
  Happily, it’s still making sense. "I’m making it happen on my own terms," he continues. "I’ve been a full-time musician for three years. I don’t want to come across as a dick (writer’s note: not possible), but I’ve never felt I compromised. I was offered shortcuts when I was younger, but I’ve turned them down. I’ve gotten to see every city in North America, and I’ve got to experience all aspects of this business."
  
  Still, Hoe’s career hasn’t been without its growing pains. He’s seen his share of successes — see: the beloved annual JP Hoe Hoe Hoe Holiday Show, plenty of next-big-thing critical acclaim and, oh yeah, an arena tour with Jann Arden — but he’s also seen stasis. The four-year gap between The Dear John Letters and Mannequin was, as JP describes it, "a re-tooling period."
  
  "Without getting too specific, there was some bad advice offered that I took because I didn’t know any better," he says. "Unfortunately, that resulted in a sit-and-wait situation. That’s when I learned about corporate shows and house concerts – but I served too many steaks that year."
  
  So, he decided to help himself. "I started working with Manitoba Music and Manitoba Film and Music and benefit from all the access they were giving me," he says. "I’m really shy when it comes to schmoozing with people."
  
  Hoe has been working hard ever since — and he’s got a stunning new record to show for it.
  "I’m happy it’s finally done," he says. "I feel like this record is a re-branding and everything up until this point was a learning experience.
  
  "It sounds so cheesy, but it feels like graduation."

• Acoustic Soul [+ Show ]
  

  "Hoe’s new album is a fine collection of folk songs that borrows influences from the gamut of musica..."Hoe’s new album is a fine collection of folk songs that borrows influences from the gamut of musical genre, touching on the myriad of human experience. Very much reminiscent in terms of tone and vocals to the work of Ryan Adams, Hoe’s Mannequin is steeped in a lyrical content that feels both deeply personal and universal at once—which is the hallmark of fine songwriting....Still, Hoe’s album is an impressive feat, and without a doubt, it is his most polished and inspired work yet. And a step above the work of his contemporaries."
  

• JP Hoe Talks About His Latest Album [+ Show ]
  

  "Mannequin is a mostly slow-paced endeavour, punctuated with enough musical additives to make it’s 1..."Mannequin is a mostly slow-paced endeavour, punctuated with enough musical additives to make it’s 11 songs more than just another acoustic release...Just like a mannequin when it is clothed, Hoe displays his originality through adding layers to his work, having the ability to reach beyond simple acoustic fluff on his best tracks."
  
  

• CMW: Day 1 – Free Times Café Showcase feat. Jack Carty and JP Hoe - Toronto, Canada (09.03.11) [+ Show ]
  

  Highlight of the evening, however, went to our next performer – acoustic singer/songwriter JP Hoe fr...Highlight of the evening, however, went to our next performer – acoustic singer/songwriter JP Hoe from Winnepeg, we recently made waves playing the One Movement Showcase in Perth (check out our interview with the artist here). At times Sufjan and Andrew Bird-esque, at others reminiscent of David Gray and John Mayer, JP Hoe’s talent is quite outstanding. There is true power in his voice and words, in an instance where he simply makes it look easy. Make sure you check this guy out when you can.

• One Movement: Colin Moore + Matthew Barber + The Trews + Final Flash + Elliott Brood + JP Hoe - Amplifier Beer Garden [+ Show ]
  

  I won’t lie I felt a little sorry for the final performer JP Hoe, for a start he was having to follo...I won’t lie I felt a little sorry for the final performer JP Hoe, for a start he was having to follow a great set and secondly, armed with only a guitar and his voice, he was going to have to tame a crowd that by this point was getting both a little restless and boisterous. But somehow he managed it, all while putting on a solid and assured performance. He played a mixture of old and new songs (he has a new album coming out early next year) and was able to mix both great up tempo songs with some great slower and more soulful ballads. JP really has a great voice, which is both rich and soulful and has a wonderful maturity to it. Despite being alone on stage, he always seems fully in control, which a charming stage manner. The highlight for me of his set would have to be "Sing Me A Song" which is this beautiful song, which starts off slow enough but breaks into a great chorus, it’s a song which really highlights the quality and versatility of his song. I was also struck by the quality of his character as well, both in stage, through song and afterwards he came across as a really great guy, willing to have a chat about music, and to highlight his friends in song.

• One Movement: JP Hoe + Split Seconds + The Holidays + Richard In Your Mind - Dilettante & Wolf Lane (09.10.10) [+ Show ]
  

  First up was Canadian Singer-Songwriter JP Hoe, by this point I had already seen one set by him this...First up was Canadian Singer-Songwriter JP Hoe, by this point I had already seen one set by him this festival, but I decided to see what he would be like in an infinitely more intimate setting and with an earlier billing. I think it’s says something about the showcase venues when you can get more intimate than the Amplifier Beer Garden. It was a strong and varied set much like previously. But he seemed much more upbeat and energetic on this evening, though I imagine the conquering of jetlag may have had something to do with that. Also I think he sounded great in the more intimate environs of the Dilettante car park, his music seems to lend itself really well to those great smoky bars, which Dilettante is closest to in size. My favourite moment of the set came at the end, with a sublime cover of The Beatles Cry Baby Cry in celebration for a certain Beatles’ 70th Birthday.

Setlist

Typical Set:

Opener/support slot: 30-45min of orginals

2-45 min sets: 2 covers, and the rest originals

Basic Requirements

Calendar