JP Hoe
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JP Hoe

Winnipeg, Manitoba, Canada | Established. Jan 01, 2003 | INDIE | AFM

Winnipeg, Manitoba, Canada | INDIE | AFM
Established on Jan, 2003
Solo Pop Adult Contemporary

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Press


"Thousands turn out to enjoy Shrewsbury Folk Festival"

"JP Hoe offered a different pace with music that made the hairs stand on the back of the neck. He displayed consummate artistry with fluid melodies, spine-tingling tunes and delicious acoustic soul and Americana. Canada has produced a glut of folk musicians, all wishing to follow in the footsteps of such trailblazing legends as Neil Young and Gordon Lightfoot. Few can reach that benchmark, but JP Hoe's Saturday set came closer than most."

- Shropshire Star (Aug 2014) - Shropshire Star


"JP HOE PRESS QUOTES"

"JP Hoe is one of the finest young talents of the Canadian folk scene and an artist you should be listening to" - Cadencemag.com

"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." - Ottawa Life

"...strong melodies and emotional rawness" - Plaid Mag

"Though the young singer-songwriter is influenced by the greats ("Bob, Neil and Joni put an acoustic guitar in my hand," he says), Hoe has carved out a unique path where humour and tongue-in-cheek lyrics feel just as right as a tortured ballad." - The Coast (Halifax)

"His folk pop/rock seems to reach the hearts of his listeners by the deeply personal but universal working lyrics" - Popyoularity.com

"...an artist who uses genuine insight, emotion, smart lyrics and strong melodies to craft such heartfelt and fun music." - Ottawa Life

"..,Hoe never forgets to include hooks that bring his Mannequin to life." - Winnipeg Free Press - Various


"UnNomDeGuerre.Com - JP Hoe - Mannequin Album Review"

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:
- UnNomDeGuerre.Com


"UpVenue.com - JP Hoe Talks About His Latest Album"

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...
- UpVenue.com


"UnNomDeGuerre.Com - JP Hoe @ The Railway Club"

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


"Verb Magazine - Stolen Moments"

Online Content - Verb Magazine


"Post City - JP Hoe Gets Dark at Supermarket"

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? - Post City


"Ottawa Life Magazine - JP Hoe – Getting Under the Skin on Mannequin"

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. - Ottawa Life Magazine


"Ottawa Life Magazine - JP Hoe – Getting Under the Skin on Mannequin"

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. - Ottawa Life Magazine


"Mannequin CD Review - Penguins Eggs Magazine"

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 - Penguin Eggs


"Acoustic Soul"

"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."
- Cadence Magazine


"JP Hoe Talks About His Latest Album"

"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."

- Plaid Magazine


"JP Hoe, 2.0"

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 show - Uptown Magazine


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

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. - AU REVIEW


"CMW: Day 1 – Free Times Café Showcase feat. Jack Carty and JP Hoe - Toronto, Canada (09.03.11)"

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. - AU REVIEW


"Simon Clark's 7 TRACKS FROM 7 DAYS - October 2010"

JP Hoe is the third and final Canadian of this month’s 7 Tracks. Hailing from Winnipeg he is an artist who fits very much into the Singer-Songwriter category. He is a brilliant songwriter, with songs that are packed full of heartfelt meaning and emotion but that don’t come off as clichéd or over the top. "Sing Me A Song" is perhaps such a song, it’s a great ballad, which picks up and drops in speed throughout, making it both - but also wonderfully poignant - all at the same time.
Listen: http://www.myspace.com/jphoe - AU REVIEW


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

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. - AU REVIEW


"ChartAttack.com"

There's something soothing and relaxing about J.P. Hoe's stage presence. It's like an old sweater that is just so damn comfortable you can't get rid of it. His blend of melodies and lyrics make for solid and intelligent pop music. It turns out that it's really hard to pin down J.P. Hoe. There are moments where the banter between the guitars remind you of Chet Atkins and Mark Knopfler's Neck and Neck, but than he turns into a more Ryan Adams country/rock sound. Check him out and figure it out for yourself, it's definitely worth it.

- Rob Kingston


"Winnipeg Buzz: JP Hoe Hangs With Cracker Man And Breaks Out The Pop"

Feb 03, 2006

The roots music community, the power pop contingent and the heavy rock scenesters have all formed strong, tight connections in Winnipeg. Interestingly, as JP Hoe has learned, there's not a lot of support for a straightforward pop artist.

"In the city of Winnipeg, being in the pop category is a rough and tough line to be in," he says. "Ska, punk, hip-hop acts — they've all got strong allegiances, and they aren't there for pop culture. I haven't had the circle of support that some acts have, but that's just made my resolve stronger."

Of course, Hoe's music contains nods to folk and alt.country, so he's not totally free-floating. Drafting guitarist Rob Pachol, a hirsute fellow who's pretty firmly entrenched in the roots community, hasn't hurt. Working with modern rock/power popsters Quinzy has also broadened both Hoe's appeal and level of support.

"Yeah, the funny thing is, Pachol and Quinzy both hate my EP (The Here In Review EP)," Hoe admits. "But it's nice to play with great musicians, and they're helping me grow as an artist."

Another gent furthering Hoe's musical ambitions is Cracker/Camper Van Beethoven frontman David Lowery. The man who has produced artists such as Counting Crows and Sparklehorse worked on three songs for Hoe, and they're planning to complete a full album later in the year. Lowery and a few of his cohorts in Virginia are also shopping his demo to labels and managers. Hoe reveals that hooking Lowery was easier than some may think. "I emailed his management and I got a reply the next day saying he's interested."

About the business assistance, Hoe says, "The best case scenario is a label picks it up and we'll finish it. I'd rather not put it out independently and do it all myself. I don't think I'm smart enough to book shows, be a manager, a publicist, write and play and do my day job."

However, Hoe's done alright by himself so far. The tracks completed with Lowery sound accomplished without being "too shiny," as Hoe eloquently puts it. And as far as promoting himself and getting music to listeners, he has some pretty good ideas. Hoe will record what will become a live album at the Park Theatre on February 8 and 9. He's also videotaping everything for promotional use.

"The Park is a cool place, and it's a movie theatre, so we should be able to control the sound," Hoe enthuses. "I went and saw Monty Python's Holy Grail there, and I think we can have a nostalgic, Elvis Presley feel, like on his comeback show."

Hoe says he'll do part of the show accompanied by Pachol, another section with Quinzy, and a third with everyone onstage, including opening acts Hayley Gene and Jodi King.

Although the instrumentation will be fairly diverse, it'll all sound like Hoe music. "A good melody is a good melody, and nothing I write will ever be loud and obnoxious — hopefully," he says.

—Chris Monty Yackoboski - CHARTATTACK.COM


"Quotable Quotes"

“...Hoe is an artist that you should expect greatness from with new albums in 2006.”
- Chris Flower Yackoboski

“Hoe’s original pop songs are like musical heroin; once you get a taste of that sweet, sweet smack, you’ll be itching to come back for more”
- Jeff Robson, Stylus Magazine

“Think Ryan Adams without the rock-star complex”
- Bartley Kives, Wpg. Free Press

“With a smoldering energy and soaring voice, Hoe outclasses the big names...it will only take one listen or one show to quash any doubts.”
- Broose Tulloch, 95.9fm CKUW

“He jams like Jack Johnson, and writes like Rob Thomas, and has a voice somewhat like David Gray...whoever sent me this CD – snaps to them.”
- Kristen Pasculli, DiscoveringArtists.com

“That was great.”
- Bernie Finkelstein, True North Records founder and managing Bruce Cockburn

“Some of the songs on the album so instantly stick in your head that if you hear them, you'll likely find yourself humming them for days.”
- The Uniter
- Various Sources


"Jann Arden Canadian Tour - JP HOE REVIEWS"

J.P. Hoe used his short six song set to good advantage, and pairing the Winnipeg native with Arden seems to have been a smart move given the audience's approval. He's got a voice that bleeds at times into Rufus Wainwright, with a touch of the Ben Harper/Jack Johnson axis of slick and groovy acoustic throb, but that may have been as much to do with his stripped down acoustic-guitar-and-voice presentation as anything else.
-Tom Murray, Edmonton Journal

“Winnipeg singer-songwriter J.P. Hoe opened the concert with an impressive set of acoustic pop.  Despite suffering a cold (he visited a walk-in clinic in Victoria earlier in the day) Hoe displayed a powerful and clear voice.  His songs are melodic and cleverly constructed; this is a young artist with oodles of potential”
 -Victoria Times Colonist,  Sunday, May 13, 2007.

Winnipeg folkie J.P. Hoe showed the audience earlier in the evening that he could be a songwriter to reckon with. He had a commanding voice, is a proficient acoustic player and showed a highly attentive and appreciative audience that he has some thoughtful lyrics.
He played the harmonica, a la Bob Dylan. Like Dylan, sometimes it was difficult to figure out where his verses ended and where the chorus' began with his songs. He won the audience over completely by finishing with a cover of the Lennon-McCartney tune Blackbird, and you can't go wrong with that.
-Saskatoon Phoenix May 4, 2007

Homeboy J. P. Hoe also went under the covers with a take on the Tragically Hip's Wheat Kings in his opening set. Taking a leap from the bar scene to the big stage, he battled nerves but came out strong with his Rufus Wainwright rasp and a soothing acoustic set.
- Winnipeg Sun May 1, 2007
- various media


"THE DEAR JOHN LETTERS"

JP Hoe has a lot to say in his Letters...he moves confidently between Wilco-ish country-rock, shimmery roots-pop and intimate folk - while handling topical fare and personal confessions with equal ease - you're just as likely to hit repeat. And hope he writes again real soon. - Sun Media


"The Here In Review EP (Reviews)"

Stylus Magazine
Winnipeg singer/songwriter J.P. Hoe’s original pop songs are like musical heroin; once you get a taste of that sweet, sweet smack, you’ll be itching to come back for more. His brand of musical narcotic is interesting and melodic intelligent pop, and he serves it up well. “Fine” has the kind of melodic hook that’ll turn you into a J.P. junkie in an instant, and “Lady Bliss” will put you in exactly that state, no matter what your gender. There’s a kind of beautiful simplicity to the lyrics and melodies that makes them so easy to digest. …the way he’s able to send words out like a sonic boom, and then drop back down to a whisper without losing any potency. Enough chattin’ already, I’m ready to hook up with another fix of J.P. Hoe.

Sun Media
Singer-songwriter J.P. Hoe says he's following in the footsteps of folkies and folk like Dylan, Mitchell, and Matthews. On his EP The Here In Review, he might want to add Mayer, Adams, and Yorn. With his warm vocals, strummy grooves, rich melodies and deft tunes that toe the line between roots, folk, pop and rock, Hoe displays plenty of potential...everything you need is Here.

The Uptown - John Kendle
Hoe is one of those maddening artists whose material reminds you of bits and pieces of all kinds of other people, yet somehow manages to elude being pinned down. Still, this album sounds like it's been given a radio-ready, major label treatment. Poppy and folky, laid-back and intense. Hoe is a naturally expressive singerwith a theatrical background and training. He's also a bona fide singer/songwriter(with all that implies)whose material is acoustic-based yet swells with rich instrumentation and arrangements. It's quite rare to hear something with such lavish production values, especially on a debut. - Multiple Sources


"The Live Beta Project LP (Reviews)"

DiscoveringArtists.com
JP Hoe and the Truly Richards
The Live Beta Project

Wow. A stunning collection of acoustic-based songs with JP Hoe's magical vocals. You can feel his pain and joy in each line of "Always," which kicks off this live album. Hoe sounds an awful lot like David Gray, but his songs are more simple and honest. Still, you have the backup of a professional band with a sharp sound as his voice soars. Things get soft and sweet in "All of a Sudden," a song sure to make the ladies swoon.  If you ask me, he has a brilliant career ahead of him, and this live recording will one day be a savored gem when he hits it big. I love that we heard him first.

Favorite Tracks: All of a Sudden, Always
Rating: 5 stars


Sun Media
We've been trying to figure out who J.P. Hoe sounds like. Is it the singer from Semisonic? The guy from the New Radicals? A younger Bob Dylan? No matter. Aside from that voice Hoe's sound is his own - an alternately forceful and forlorn brand of indie-rock. Recorded at the Park Theatre, Live Beta Project features 12 of his tunes (plus a rollicking cover of All the Young Dudes) and finds him getting fine support from a crew of friends and fellow musicians. If you weren't there, this disc's comfy-as-an-old-couch vibe will make you feel like you were. 4 out of 5 stars


The Projector Newspaper Red River College
J.P. Hoe and the Truly Richards
Live Recordings
The Park Theatre
A

BY CARA LYTWYN
FEB 20, 2006

J.P. Hoe and the Truly Richards played their two part live recording concert at the charming Park Theatre; an intimate venue with inviting acoustics, creative design and saturated humbleness, much like Hoe himself.

Hoe was welcomed by a euphoric crowd as he opened with his latest single, Always. He bounced across the stage into every girl’s heart and if he wanted, pants.

He led into the hypnotic Sing Me a Song, which was carried by the pure tenor of his voice. Hoe switched up guitars, announcing that it wasn‘t actually his own. “It belongs to a friend, Fred Penner. You may have seen it on World Vision and maybe it will inspire me.” The hauntingly romantic, Lady Bliss, received a roar of cheers as Hoe danced all over the stage beneath his puppy dog eyes and brown, cotton blazer. It’s difficult to grasp how his self-effacing and affable character can change into one that is powerful and authentically demanding on stage.

When introducing the Truly Richards, Hoe elaborated on their dashing handsomeness. “I was fortunate to hook up with three male models,” said Hoe. Winnipeg guitar legend, Rob Pachol, joined Hoe on stage as the pair played soothing versions of Rise, the Nicest, and Stop, a song about a girl who cried rape. Dream On, the opening track for  his EP release, The Here in Review, held even more credibility as Hoe revealed the song was actually about how his grandparents met on a beach boardwalk.

His newest mantra is entitled, All of a Sudden, a song about becoming too arrogant and forgetting what you have. A thick soulful voice and irrefutable guitar talents helped smear the memorable, Fine, all over mainstream radio. I heard it come on following a Mariah Carey song, and I thought, ‘Oh no,’ “said Hoe.

Before closing with a cover of David Bowie’s, All the Young Dudes, Hoe gave his gracious appreciations. “I could not be more thrilled or for lack of a cheesy word, touched by all the work that went into this,” said Hoe.

Hoe found the overall experience to be unique and challenging. “It was far more stressful than just going into the studio, but whatever comes out of it, we’re pretty happy,” said Hoe. “We think it’s a really neat experience, and it brings something different for Winnipeg.”

Hoe’s studio album will be available near the end of this year and the live CD is expected out in late March 2006.

- Multiple Sources


"Review - JP Hoe"

Review – JP Hoe

August 21, 2015 Heather Young
By: Heather Young

Album- Hideaway
Release Date- Aug 21st 2015

Winnipeg native JP Hoe has released his new album “Hideaway” today. The album was produced by Dana Matyas (Imaginary Cities) and mastered by Joao Carvalho who has worked with artists like City and Colour, Serena Ryder and Sloan. With all of this talent going into one record, you can only assume it would blow your mind, and that it does. “Hideaway” follows the highly praised “Mannequin” (2012) from the six time Western Canadian Music Award nominee JP Hoe. This album is a golden example of the pure talent JP has.

“Hideaway” opens with his single “Beautifully Crazy” the track is smooth and almost majestic. The whole thing just reminds me of something you would hear from the great U2. The lyrics describe people society deems crazy, but finding the beauty in that instead of trying to save them. This one really stood out to me and I found myself listening to it on repeat. Without giving you a full run down of every track and what makes it amazing (because trust me I totally could) the next one that really stood out to me was “That Word”. This song is just incredibly well written with brilliant lyrics and a catchy chorus. It quickly became one of my favourites. This whole album is a stunning piece of work that showcases not only JP’s strong and very complex vocal abilities, but his distinctive song writing skills. It’s no wonder people are taking notice.

“Hideaway” is full of extremely powerful tracks that will be an excellent addition to any music lovers playlist. I highly recommend it to anyone that really enjoys music to get lost in and lyrics with substance. Be sure to hit up iTunes on the 21st and see for yourself and be prepared to be blown away.

Rating: 4.5/5 - Canadian Beats.ca


"JP HOE: Hideaway"

Perfect Pop

Winnipeg’s JP Hoe is a different folk rock musician. While his music could be construed as commercial and smooth sounding, it doesn’t push its pop sheen in your face like some other artists (East of Avenue comes to mind). There’s something at work on his sixth release, Hideaway. It could be that his choice of producer – Rusty Matyas, who has worked with the Sheepdogs – had something to do with it. Or it could be that he co-wrote four of the songs on this album with Andy Stochansky, who is most famous for recording with Ani DiFranco and is something of a songwriter-for-hire these days. No matter the influence, Hideaway is a record that shows that you can be pop without being annoyingly so. In fact, at times, Hoe seems to be channelling the spirit of Michael Penn, and first single “Beautifully Crazy” (co-written with Stochansky) even feels as though it could have been positioned on Penn’s 1997 album Resigned. For all of that, Hoe comes across as a folk rocker who knows what he’s doing. Sure, maybe his songs will get played on commercial radio, in an ideal world, but Hoe has touches and glimmers of a mature and robust songwriter going on. Each of the songs on Hideaway feel like singles in their own right, and that just helps to elevate the overall cadence of the album. This is carefully constructed folk rock, and anyone with a penchant for that would do well to look here for inspiration and enjoyment.

“Beautifully Crazy” works because some of the chords seem swiped from Penn’s “Try”, but go off in a different direction when you think it is going to be rote copying. Helping things, too, is the judicious use of stabby strings that give a weight and heft to the material, making it feel orchestrated. As much as it might reference a song that appeared in the late ‘90s, it also has a very 1970s pop vibe going for it – with a modern touch to boot. The ‘70s aspect to it may have to do with the use of a Mellotron that adds a syrupy touch to the material, but things are so shiny and complete that this is a song that could have come out today. “Save You”, meanwhile, continues in that vein – using strings to dewy effect, while Hoe sings with such emotion that he reaches the high highs of Radiohead’s Thom Yorke in delivery. “Danger”, meanwhile, inverts – on acoustic guitar – the chords for the Cure’s “Boys Don’t Cry”, which suggests that Hoe knows a thing or two about pop history, if not pop perfection. When you get to the chorus, though, things take a melodramatic turn, and Hoe wrenches every dollop of emotion out of the song – showcasing his mastery of the material. “Run Away From Me” just adds to the folk-pop fusion, starting out with gently plucked acoustic guitar lines before twinkly pianos and swooping strings come to the fore. The song shows that Hoe is a master of the “build up”, adding more and more layers to the song by adding different instrumentation as the song progresses.

Essentially, what Hoe proves on Hideaway is that he is a consummate expert at the pop format. Of the album’s 10 songs, seven or eight of them flirt with the radio-friendly three-and-a-half minute mark. All of these songs, again, could be radio-friendly singles in their own right, but when taken as a whole, there’s cohesiveness at work that is charming and delightful. Hideaway is a rarity of a pop album: a record that plays well as a whole, but whose individual parts could stand up to scrutiny on their own. So when you get to a song such as “I Need You”, which differs slightly in feel by offering some cascading piano runs that might have you reaching for either Elton John or Billy Joel, it feels as though the song is lockstep with the rest of the record, and perhaps the reason is, again, the use of those sad strings, which come in and give an emotional weight to the record. Listening to this, it seems as though, in many ways, that Hoe is 40 years late to the party – had this record come out in 1975, my opinion is that it would be doing gangbusters and Hoe would be a household name. That’s not to say that Hoe can’t fit into today’s musical landscape. For one, he has a reputation as a local act: his annual holiday show is a sell-out in Winnipeg each year. However, Hideaway shows Hoe reaching for something broader and much more universal. This is the work of someone who clearly knows his way around a decent song, and has put his all into creating that rarity: a perfect pop masterpiece.

If anything can be said about Hideaway, it is that – musically, at the very least – it connects emotionally with an audience. There are plenty of tearjerkers, particularly “I Need You” and “That Word”, but there’s a resonate feeling of hope that permeates the record. These are bright and sunny songs for the most part, song that are guaranteed to put a smile on your face and a spring in your step. True, nothing on Hideaway sounds remarkably startling in terms of sheer innovation, but Hoe has done right in capturing the feel of a long gone decade, and referencing other artists – there’s a slide guitar in “My Silhouette” that feels ripped from the George Harrison songbook – without sounding merely imitative. With this album, JP Hoe makes the case that he is an artist that is unique and somewhat original, one that transcends decades of songcraft. As much as these songs might have done well in the ‘70s, they do equally well in 2015. Part of that is the production – polished and polished to a glistening lustre. However, as much as these songs are smooth, they do not feel insincere or merely pap for the masses. There’s a depth in the musicianship, and all of these songs are undeniably catchy in their own right. I would be hard pressed to name a dud on this record, and, if today’s commercial radio landscape doesn’t mind an artist such as Hoe, I would imagine that these songs would do well if given the chance and audience. JP Hoe is an artist with nothing to hide, his emotions being laid bare. These songs stand up and showcase an artist who can leapfrog over pop genres, and those who love perfect pop are going to have a lot to dig into here.

Rating: 8 outta 10 - Invisible Ink Music Blog


Discography

2015 Hideaway LP (MapleMusic Recordings)

2012 Mannequin LP

2010 HOE HOE HOE Holiday Songs EP

2008 The Dear John Letters LP

Photos

Bio


JP HOE


HIDEAWAY




Trying something new is always difficult, especially if you couple that with acknowledging your past mistakes – showcasing them and eventually owning them.  JP Hoe has done all of that with his new record ‘Hideaway’ it’s personal, raw and completely uplifting. Of the album, the six time Western Canadian Music Award nominated Hoe comments, "I loved making this record, from the song-writing to the final master. Some of these songs have such a profound meaning to me, I can still get lost in them when played live. I sincerely hope they connect with people as much as they were intended to."


Recorded in his hometown of Winnipeg ’Hideaway’ was produced by Dana Matyas (Imaginary Cities), mastered by João Carvalho (City & Colour, Serena Ryder, Sloan) and features Andy Stochanksy as co-writer on four tracks - including the first single 'Beautifully Crazy. The record follows Hoe's highly praised 'Mannequin', which was released in 2012 – and it expands on the talent that was already highlighted in his past work. His gift for crafting songs is exceptional and his generous, spacious voice is all encompassing and entirely engrossing.  He has the enviable skill of sounding as good stripped down around a campfire as he does in a soft-seat theatre with a full orchestra.


Hoe has spent hundreds of days on the road, playing gigs all over the world - and the constant consistent is how he connects with audiences via his down-to-earth unpretentious charm. The balancing act of that life and his life as a new father keeps him on his toes and keeps him grounded.  That sense of home and family resonate clearly with him and allow him to create traditions within his own community…hell, there’s a reason his annual hometown concert, The JP Hoe Hoe Hoe Holiday Show, is a perennially sold out December institution; the guy knows a thing or two about showmanship.


“Canada has produced a glut of folk musicians, all wishing to follow in the footsteps of such trailblazing legends as Neil Young and Gordon Lightfoot. Few can reach that benchmark, but JP Hoe’s Saturday set came closer than most.” – Shropshire Star 


“His material has a genuine homespun feel, filled with catchy hooks and melodies – genuine, uncontrived and confessional.” – Ottawa Life

Band Members