JAD

“Don’t Let the Sun Set on Me” by JAD is a gentle acoustic indie folk song that’s the musical equivalent of the summer golden hour sun seeping in between the leaves. It’s a late afternoon, golden hour lullaby that’s meant to soundtrack a film reel of sepia-toned memories.

For simplicity’s sake, this song could be described as having the folk-blues texture of the Milk Carton Kids and the serene humming melodies of Sufjan Stevens; though bear in mind that it truly creates its own space within the indie folk sphere. While there’s a likeness to those names, it would be an injustice to strip it of its ability to be totally unique in its own right.

It’s a long song, lasting just over 7 minutes long, but not once does it ever feel monotonous or repetitive. Through changing melodies, layered guitar tracks, and lush harmonies, it keeps the listener interested and asking where it will go next. In fact, the 7 minutes goes by so quickly, it begs a second listen just to digest all those B sections and different guitar textures. It’s no easy feat to hold a listener’s attention for 7 minutes, but JAD’s authentic storytelling and mastery of guitar proves that not only is it possible, but that the listener will restart it as soon as it ends for a second round.

Lyrically, “Don’t Let the Sun Set on Me” is about desperately clinging to the moment and fearing its loss as it happens— wanting to remain in the happiest of moments forever, but being hyper-aware of how quickly it can pass us by. It’s like a breakup song not for a relationship, but for those experiences we know we’ll be nostalgic for in the future. There’s an Elliot Smith-like quality to these lyrics in their ability to be vulnerable and moving in their simplicity.

Hitting its sonic climax around the 4-minute mark, it was difficult to predict what the final few minutes would have in store. At the risk of spoiling the experience, I can say I was pleasantly satisfied with the full circle moment it ended on. Every musical, melodic, and lyrical motif was tied together pretty with a bow; if every song is a story, “Don’t Let the Sun Set on Me” is a well-written novel.

JAD was born in Canada to Lebanese immigrant parents, making identity a large part of his work as an artist. From his debut album “Still Life” in 2017, to recording in Elliot Smith’s New Monkey Studios, to eventually taking a more DIY approach to music, JAD is remaining an outlier in every genre- refusing to be pigeonholed and making room for himself in every music space he pleases. An unapologetic creative, his distinctive work is his understanding of an enigmatic world.

Written by Jess Ward - Unheard Gems

Artist: JAD

Song: “Don’t Let the Sun Set on Me”

Genre: Folk, Indie, Singer-Songwriter

Toronto-based songwriter JAD has found inspiration for his music in his search for identity, both public and private. His music remains also difficult to identify, melding traditional folk and acoustic styles but incorporating other elements to give them fuller, wealthier textures.

While his latest single “Don’t Let the Sun Set On Me” is a stripped back, acoustic track, its production gives it more depth and heart than the traditional singer-songwriter fare. The seven and a half minute track rides gently on acoustic guitars, with JAD‘s soft vocals channeling prime Elliott Smith. The track, written “to preserve the feelings born in the moments between a certain individual and I during the summer of 2019, two paths converging, if only for a night”, conjures lovely coasting during a summer sunset, even as JAD‘s emotional lyrics lay out a stark vulnerability.

Check out this latest track in our Check This 2022 Playlist on Spotify or Apple Music! - The Indy Review

Switching tempos, our next recommendation comes doused with a syrupy sheen that fits perfectly with summer’s haze. Ottawa-born, Toronto-based singer-songwriter JAD hits a heartbreaking high with “Don’t Let The Sun Set On Me”, a wistful track dedicated to the highs and lows of temporary entanglements. Across eight minutes of brooding folk, JAD captures what it means to bask in a bittersweet afterglow. Soon to return from a month-long residency at Chateau Orquevaux, we cannot wait to indulge in his latest sonic directions. - Also Cool Magazine

Quirky, sophisticated, intense, poetic, and brave, are just a few of the terms I’d use to describe the music of singer-songwriter, JAD. Throughout his half-hour performance at Irene’s Pub on Saturday afternoon, he silenced the crowd several times with his array of emotionally charged songs. He showcased a few tracks from his debut solo album Still Life, released in July.

Armed with his acoustic guitar, JAD began with a three-quarter timed minor music box melody called “Apathy.” He would give us the first sample of his dramatic textural formula where he moved from tenderly sung verses to belting out the latter half of the song in a higher octave. He then looped a repeating progression both instrumentally and vocally, which created a thick whirl of choral sound before removing the layers one by one until there was nothing but dead silence in the room.

There were no two songs even remotely the same. “These Days” surprised me with its dreamlike quality and jazz chords, which he played on distortion-laced electric guitar. Another called “Knuckle Sandwich” had a very Beatlesque melody with lovely descending progressions and emotional vocal surges. This song’s dramatically contrasting flavours perfectly conveyed its dysfunctional theme. He ended on a single strong note that again hushed the room. One entitled “Lydia” moved me with its swaying waltz beat, his higher vocal register swoons, and looped counter melody creations.

The half hour had already ended, but the crowd pleaded for one more. In attendance was his mother who asked for “Don’t You Care About Me Now?” He strapped on his electric, threw on the distortion, and tore into a minor-chorded smouldering rock number that seared in his heavy vocals during the chorus. He worked the song into a frenzy before coming back down to finish in a quiet whisper. Hands down my favourite of the set.

JAD has a daring way of expressing himself as he moves from heart wrenching tones, breathy close-to-the-mic tenderness and strong falsettos, to leaving the audience hanging on a single belted note. He dished it out in spades… and we loved it all. - Terry Steeves (APT613)

JAD is one of those singer-songwriters that can be described as the classic troubadour, who writes songs from the heart, and sings them with a naked kind of truth that stabs you right in yours.

The first time I caught his performance was by pure luck. He was the opening act at a show I attended a few months back. I was swept away in the cadence of his songs which travelled through soft and strong intensities, both instrumentally and vocally. There were switches from gentler acoustic guitar melodies to distorted electric guitar progressions, complimented with an equally versatile vocal style.

After witnessing that first performance, I suspected he’d been a musician for quite sometime. Although only 22, he carried an air of old soul experience in his songwriting and confidence in his playing ability and vocal delivery. I spoke to JAD about his lifetime of musical discovery, interest, and study which would lead him to sprout early into becoming a musician with his first band at the age of 15 called Tall Trees. Now a solo artist, it’s not surprising to learn that the late great American singer-songwriter, Elliot Smith, has been one of his biggest musical influences. In fact, his description of Smith’s music is precisely the way I would describe JAD’s:
“It didn’t get serious until middle school where I realized I wanted to go to Canterbury to study music there. When I was a kid, I got into whatever was popular at the time, but it was my dad that opened my musical palette with bands like Led Zeppelin. In high school I began listening to different stuff and was struck by bands like The Black Keys. But my all-time artist I love listening to – that I’ve been listening to since I’ve been 14 – is Elliot Smith. I’m so overwhelmed and influenced by his music and the way he communicates through it. He inspires those very simple melodies that are also sophisticated that provide a lot of emotion.”

JAD recently released his first independent solo album Still Life in July of this year. Its 11 tracks feature a barebones-style recording that has captured his pure vocals and raw guitar work front and centre, with some musical and production help from friends Peter Klaasen and Jensen Grant (both of Old Man Grant). The melodies have a melancholy, sometimes haunting yet sophisticated quality, with lyrics that speak of love lost, depression, and a delving inside for answers… or as he states in his album’s subtitled description: “Thoughts, observations, musings, moments. The things I’ve said, and the things I haven’t.” JAD talks about the album:

“The songs really took on even more meaning and came together when we started recording them. The entire album was borne out of this past year which brought forth a lot of sudden and unplanned change in my life. I felt removed, like I was on the outside looking in. I had come out of a committed 5-year relationship, to finding myself, and into navigating certain social interactions and circles. Some of it’s just observational, reflecting on me, other people, and the human condition as a whole. The whole thing was sort of a catharsis for me.”

The newfound chemistry with Klaasen and Grant was just the thing that awoke him from the temporary slumber of depression and creative dormancy he was in. Songwriting juices were resurrected, new goals achieved with more on the horizon, and a growing number of opportunities have continued to present themselves with every step forward. Now with the new album, and a recent relocation to Toronto, the ball is in motion to further his career. And even though he has been immersed in music for most of his life, I think the beginning of his real creative bloom has only just begun. JAD opens up about the move, and the difference in the music scene:

“I moved to Toronto in early June to pursue music there, but I’m back and forth so often it’s almost like I never left. It ended up that as soon as I left, I started getting offers to do shows in Ottawa. As I get acquainted with venues, owners, and local acts in Toronto, it’s nice to be able to go back to Ottawa and have that connection here. I feel like Toronto is like what Ottawa is becoming – which is a good thing in my opinion. I find Ottawa has really been stepping up with new venues and what they’re doing… places like LIVE! on Elgin, Bar Robo, Pressed and others that are spearheading that sort of professionalism in supporting the local scene. As far as reception goes, I find the audiences are very similar, although its more of an individual thing…people will be different from one show to another… Toronto’s just a little bigger is all.” - Terry Steeves