The keen reader might remember producer and songwriter Johnny Payne from an article we published just a few months ago, praising ‘Real Magic’ as “embracing a shockingly groovy and uplifting aural ethos, borrowing greatly from the so-called ‘Heritage Revivalism’ indie rock scene”. Since then, the Canadian creative has been hard at work on a larger body of work, ‘Dazzle Me’, an album that’s set to be released next week, on April 17th. We were able to get a preview of it and were left quite hypnotised.
You see, ‘Dazzle Me’ champions a deeply nostalgic and wholesome ethos. It borrows from the classics, approaching the aural subject matter with heartwarming, organic allure. From a sonic standpoint, the record communicates the sort of retro ‘paste’ and texture that’s been all the rage in the past few years. That said, Payne still manages to pen a record that feels contemporary and relatable. It’s just undoubtedly elegant and timeless, if you will. The title track is a perfect example of modern soul. ‘Mrs Moonlight’ is instead a more Cuban-leaning piece, steeped in percussion and a tender, fuzzy vocal tone.
Intrigued by the album, we caught up with Johnny Payne to learn more about his artistry and creative process… Interview below!
Hey Johnny, thanks for chatting with us! I wrote a short feature on ‘Real Magic’ back in December, but at the time, I didn’t perhaps understand the level of artistic commitment that lies behind your project and yourself, as a human being. Are you satisfied with where you are at the moment, from a career standpoint? Does the music you write nowadays feel truly authentic to you as a person?
My pleasure, I enjoyed your words on ‘Real Magic’. Thanks for that.
It depends on what you mean by satisfied. I would say that I’m financially unsatisfied but philosophically satisfied. But yes, the music feels authentic to me. More so than ever, I would say. It’s easier to be honest with yourself the older you get.
Taking a cue from ‘Real Magic’ once again, I was quite impressed with the quality of the production, something that showcases your technical expertise, as well as your good taste in music (not everyone has that). Before we dive into your upcoming album, ‘Dazzle Me’, I’d love to know if there’s a particular artist or record that has inspired it. Anything special you are listening to at the moment?
To be honest, Smokey Robinson was a big influence on it. And I know I’m not supposed to say that because of all the terrible things coming out about him lately. But the truth is I made the record 2 years ago and, at that time, he was my favourite songwriter. I wanted to try and make something that had even a tiny bit of the magic his music has.
The title track specifically is an homage to a certain Motown era and sound. Big strings and percussion and tight arrangements. I even tried to sing like him a little, haha, though no one but me will pick up on that, surely. Besides Smokey, there was other stuff: The Bee Gees, Janet Kay, John Lennon, Bread, The Supremes, The Beach Boys, Laura Nyro, The Grateful Dead…also a lot of old Jamaican and Cuban music.
We said it: ‘Dazzle Me’ marks your forthcoming album, out on April 17th. As I understand it, it was largely written during a selfless creative retreat on Vancouver Island, a trip that allowed you to approach your writing process in a more relaxed, honest way. Tell us, was it a smooth process, or did you encounter any blocks, so to speak? Were you working within the confines of a certain genre or reference?
Not so much of a retreat as I live here on the island now. It was when we first moved to the country, though, and I did quite a bit of the recording in a little cabin on the property. I should say, I would also take trips to Vancouver to do a lot of tracking and mixing with my friend Matt Krysko. He’s a wonderful engineer, and we had a great time working closely together and enjoying the city. When I got back here, the work went well too, but it was the first time I’d had the freedom to tinker endlessly on my own without time or money restraints. That was a process that allowed me to really refine all the performances and vocal parts, which can make you a bit loopy when you’re playing all the instruments yourself and working alone. Especially in a little cabin in the country, heh.
It was fruitful for a while, but eventually I reached a point where I was almost obsessing over it, and I had to let it go and say it was done. All of that to say, I probably won’t make an album that way again for a while. Even though I’m sure I will one day. Listening now, I wouldn’t change a thing. So that’s good!
Do you have a favourite track in the album? Perhaps there’s a particular message you’d like to highlight…
I like ‘Dazzle Me’. The drums sound good, and I like my vocal on it. The string arrangement is lovely, too. Other than that, I think I like certain moments more than specific songs. I love the way the guitar break in ‘Best Friends’ came out. There’s a longing, plaintive feel to it that really comes across. I also love the Latin jam at the end of ‘Heavenly Breeze’. That was my way of blowing a little kiss to my Cuban Grandmother up in Heaven. She loved a cool breeze on a hot day.
You have been making music for a very long time; before your current solo project, readers might remember your militance in Canadian outfit The Shilohs, an experience that has been central to your development as a musician and songwriter. I am interested in getting your take on how the industry has changed over the past couple of decades. Do you find it difficult to release music coherently in 2026?
I don’t think I’ve been around THAT long hehe. But yeah, it’s obviously changed a lot. Only in the lame ways, though. Social Media and streaming basically gatekeeping who has success is the biggest bummer. That stuff has sucked a lot of the cool out of being a musician. I think I speak for many when I say we long for a time when musicians made music and somebody else handled the rest.
Delving deeper into the mechanics of your creative process: do you usually start with a song (lyrics) or with an instrumental? I suspect you might like experimenting with gear and sounds? I find that’s a very powerful way to get inspired and stumble upon unexpected results.
Actually, no, I’m not really a gear guy. I can use it, but I get frustrated with it, to be honest. It’s a means to an end. Tools that I can use to get my song out and recorded, but I wouldn’t say I spend a lot of time experimenting with gear. Matt Krysko had some amazing gear, though. Really old Neumann microphones and Telefunken pre-amps and a Telefunken console with these amazing EQs. As Beatles-y as it gets, this stuff was, and it really sounded like it. Holy grail kinda stuff. So I will admit that was fun, hahah!
I usually sit at the piano or guitar and get a little melody first. Then I kind of walk away and do something else for a while and try not to think about it until ideas come. They might be words, more melody, arrangements, or instruments. You never know what you’re gonna get.
Beyond the album, I noticed you also run a rather successful podcast, the Impossible Way of Life with James Younger. Do you find talking about music as rewarding as playing it? 🙂
Not quite as rewarding, but it sure is fun. We have a good time and a lot of laughs on the podcast, and it never really gets old to us, which is truly amazing after 500 episodes. It serves a very important purpose in my life. It’s an outlet for things that may otherwise remain dormant in me. It’s all about friendship, though. IWOL is about half of my social life these days!
Lastly, as we gear up for ‘Dazzle Me’ and its release on April 17th, I wonder whether you have plans for some local live shows? Are there any other plans for the year?
I’m going to do a couple of release shows and might do some local festivals, but I’m actually building a proper studio here at my house now, so I’m very busy with that, as I have artists already booked to come and make records with me. I’d like to do as many shows as I can fit in, though.