
Beyond Hawkins: DJO's Joe Keery on his most personal album yet
Musician Joe Keery, aka DJO, is both excited and nervous about his upcoming album, The Crux, which will be released on 4 April. The 32-year-old, best known for playing Steve Harrington in the Netflix Sci-Fi hit, Stranger Things, gained even further mainstream recognition last year when his song "End of Beginning" went viral.
His third studio album marks a stylistic shift from his synth-heavy, bedroom-recorded past to a more expansive, guitar-driven sound evocative of late '60s and '70s pop. "I think the recording process influenced the sound", Keery told Euronews Culture.
Recorded at New York's legendary Electric Lady Studios, founded by Jimi Hendrix in the 1970s, The Crux was shaped by its environment. "We used the tools available there, which naturally shaped the album's direction", Keery explained. "I'm a big fan of music from all eras, but there's something about the pre-digital age that intrigued me this time. We tried to keep things as real and analogue as possible – less reliance on computers, more organic recording techniques."
Keery, juggling two careers at once, explained that he recorded this whole album while shooting Stranger Things, where he portrays one of the main characters, Steve Harrington.
For him, his acting and music career are feeding off each other. His characters, however, are not creeping into his music. "I'm not the type of actor who brings my work home. I like to have a little bit of a line in the sand. I'm not a method actor or anything." He concluded: "The POV is really from me."
Letting the whole world read your diary
Keery described his upcoming record The Crux as a kind of journal. "I'm writing about things happening in my life. It's not necessarily linear in how the songs are arranged, but there's definitely an overarching message", he said.
Regarding the album's message, he paused and explained that "it's about finding what's important to you, holding onto it, and appreciating the simple things – friends, family, the moments that really matter."
The musician did acknowledge, however, that putting out such personal music can feel vulnerable – after all, it's like letting the world read his diary. But to him, that's the point of art. "It's about connecting with people and being brave enough to share", he told Euronews Culture.
"You lay it all out there and hope that if someone is feeling the same way, they know they're not alone." Despite the occasional fear, he finds the process cathartic.
Keery is not only influenced by personal but also current political and societal issues. "I think it's probably creeping in on everybody. It's hard to ignore what's going on. It's a very scary time we're living in", he said.
Although he hadn't been writing new music recently, he believes that personal experiences, shaped by current events, inevitably make their way into his work. "As painful as it is to watch, and as much as everyone wants to turn away, it's important – now more than ever – to tune in", he continued.
The pressure of going viral again?
DJO's viral hit "End of Beginning" was one of those tracks that seemed impossible to escape last year. The catchy, nostalgic song captures the emotions triggered by being in a particular city – in Keery's case, Chicago, where he went to study at the Theatre School at DePaul University after graduating high school.
The hook, "And when I'm back in Chicago, I feel it. Another version of me, I was in it. I wave goodbye to the end of beginning", became especially popular on TikTok, with users pairing it with their travel videos.
With more than a dozen million hits on YouTube and over one billion streams on Spotify, the song's success raises the question: Has it put Keery under more pressure on to reproduce that level of achievement?
"Honestly, I don't know", Keery replied. While he recognises the uniqueness of the situation, he insisted that he didn't do anything different when producing the song. "You put music out, and sometimes it catches a wave. Other times, it doesn't", he added.
"Once it's out there, it's out of your control. Of course, I want my songs to connect with people, but even before 'End of Beginning', I had fans who cared about my music. I make it for myself, but also for them", he explained.
As for whether he feels pressure to have more songs go viral, Keery said that his new album feels like a blend of his first two, "but with more maturity."
Still, he acknowledged his high expectations but remained realistic. "A song going viral again would be near impossible – but that's not really the point. My goal is to enjoy the process", Keery concluded.
'Are you doing it just to be famous?'
When listening to newly released music nowadays, one notices that some of them have grown substantially shorter in length. One reason behind that could be the theory that shorter songs are somehow more poised to go viral. Keery admitted that he also fell into the trap of producing shorter songs.
"But at the end of the day, nobody can predict it. If people could, music labels would just crank it out", he said.
He believes it always comes down to why artists do what they do. "Are you doing it because you enjoy it and have something to say, or are you doing it just to be famous?" In his case, he will continue making music, "whether it goes viral or not", he concluded.
'Delete Ya'
Ahead of the album release, DJO has shared the record's second single, "Delete Ya", today. Following the release of his third studio album, he will embark on a US and European tour.
For the European leg, Keery is especially excited to visit cities and countries he's never been to before. "I think I'm most excited to visit Copenhagen. One of the lead hairdressers on Stranger Things, Sarah Hindsgaul, is from there, and she's been talking about it for years. I'm really looking forward to checking it out."
One of the highlights of the tour for him is getting to experience it with his friends – both his bandmates and his friends from Post Animal.
"It's going to be a lot of fun. Of course, I want to enjoy the shows, but I also just want to soak it all in because it's such a unique experience. Right now, at this stage in my life, I understand how fleeting things can be. So it's important to appreciate these moments, and that's exactly what I plan to do", Keery concluded.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

LeMonde
a day ago
- LeMonde
'A guy like him, sinking into that? So fast?': How the manosphere is destroying relationships
On Tinder, Marc's (name changed) photo was typical, and his bio said little. During the Covid-19 lockdown, Sarah (name changed), a bit bored, swiped right. Like her, Marc, a sales manager, was in his 40s, and, as a bonus, lived just 500 meters from her apartment. Very soon, Marc moved in with Sarah. Between Netflix evenings and shared meals, together with their respective children, the first months spent in close quarters with each other went by smoothly. "Normally, I would never have stopped for him," admitted Sarah, an academic. "But then, I was amused to debate with him; he was very different from me and from the progressive men I know." Marc was chauvinistic and openly displayed sexist tendencies, but nothing that seemed insurmountable to Sarah. She saw it, rather, as a form of spicy otherness. Despite this, her friends warned her: They found Marc bad-tempered and aggressive when contradicted – and this impression was confirmed. The man Sarah had once considered, with some amusement, as a " boubour" (a portmanteau of " bourgeois" and " bourrin," meaning a "rough bourgeois," a kind of antithesis of the " bobo" or hipster-style "bourgeois bohemian"), soon turned into a domestic tyrant. When Sarah began a promotion tour for her latest book, Marc soon couldn't bear her increasing unavailability, and, as she spoke at more conferences and gave more interviews, he started to envy her social success. "That's when it all went off the rails," she said.


Euronews
2 days ago
- Euronews
Why has Auschwitz Museum created a digital replica of the death camp?
Due to conservation protection, shooting films at the Auschwitz site is not possible. In order to meet the needs of filmmakers, the Auschwitz Museum has made a digital replica, which was created "out of the growing interest of directors in the history of the German camp," explains Bartosz Bartyzel, a spokesman for the museum, in an interview with Euronews Culture. Euronews Culture: Where did the idea to create a digital replica of Auschwitz come from? Bartosz Bartyzel: The Auschwitz Museum has been working with filmmakers for many years - both documentary filmmakers and feature film directors. However, due to the conservation protection of the authentic Memorial Site, it is not possible to shoot feature films at the site. The idea to create a digital replica was born out of the need to respond to the growing interest in the history of the Auschwitz German camp in cinema and the daily experience of dealing with the film industry. This tool offers an opportunity to develop this cooperation in a new, responsible and ethical formula. Why is a replica necessary? B.B.: The regulations in force at the Memorial preclude the possibility of shooting feature films on the authentic and protected site of the former camp. However, filmmakers - especially those who want to reach for more narrative forms - need a space that allows them to tell the story faithfully. With a digital replica, they can do this without compromising the integrity of the historic site. Were filmmakers consulted with before the implementation? B.B.: In fact, it was the day-to-day collaboration with filmmakers and the production needs and challenges they reported that inspired the project. The idea was not detached from reality - on the contrary, it was born out of specific conversations, experiences and questions that had been coming from the creative community for years. Who was involved in the creative process? How long did it last? B.B.: The Picture from Auschwitz project is a joint initiative of the Auschwitz Museum, the Auschwitz-Birkenau Foundation and a team of technology specialists led by Maciej Żemojcin. The very concept crystallised over several months in the course of joint work and discussions. The technical team used the most advanced spatial scanning technologies to create a digital replica of the Auschwitz I camp. At the moment, the Foundation is making efforts to raise the funds needed to continue the project - to create a digital replica of the grounds of Auschwitz II-Birkenau, as well as the interiors of some of the buildings. What reactions did you receive after the announcement of the creation of the replica? B.B.: The reactions were definitely positive - both from the film community, which sees this as a viable and professional working tool, and from the general public, for whom this is an opportunity to learn about history in a deeper and more authentic way through the medium of film. The project has also been recognised in international debate, including at the Marché du Film in Cannes. Are there already willing filmmakers who will benefit from the replica? B.B.: We have already started discussions with the first filmmakers who have expressed an interest in collaborating using the digital replica. The details of these projects remain at the agreement stage for the time being, but we hope to be able to provide more information on the first productions soon. How has this project been funded and what will it take to sustain it? B.B.: The creation of the replica is financed by the Auschwitz-Birkenau Foundation from earmarked donations made by private donors. The Foundation is seeking funds to continue the project. Its assumption is that ultimately the maintenance and development of the programme will be financed through licence fees paid by film producers who will use the materials within the Virtual Film Location. This way, the project will become a self-financing tool, simultaneously supporting the educational and commemorative mission of the Memorials. What difficulties have arisen in implementing the project? B.B.: Such large and innovative projects always face difficulties. One of the biggest was, of course, obtaining adequate funding to start and develop the project. A key challenge was also the need to reconcile high-tech solutions with the very special status of the space we were mapping. Although we are working in a digital environment, we must not forget that every step we take concerns an authentic Memorial, which is subject to unique protection. This must be a priority thought in every action.


Fashion Network
3 days ago
- Fashion Network
Timex to launch Wednesday collaboration in India
Timex is set to launch its latest global collaboration in India with a special-edition watch collection inspired by the Netflix series 'Wednesday' and its central character, Wednesday Addams. Designed to engage fans of the franchise in India, Timex x Wednesday collection reimagines two of the brand's signature silhouettes, the retro-style T80 and the Timex Weekender, through a gothic lens shaped by Wednesday's distinctive aesthetic. The India launch of this collection marks a continued expansion of Timex's cultural collaborations, with this edition appealing to fans of dark academia, alternative style, and unconventional design, Timex announced in a press release. The watches feature references to Nevermore Academy, monochromatic colour palettes, and Timex's signature Indiglo® backlight. The collection aims to balance nostalgia with modern storytelling, drawing on Timex's history of watchmaking while aligning with contemporary cultural narratives. Timex x Wednesday' is not positioned merely as a fashion collaboration but as a commentary on individuality and expression in design, the brand asserted. With the second season of Wednesday continuing to expand the show's global reach, the collection taps into a growing audience of viewers and wearers seeking items that reflect character and personal identity, according to Timex. The collaborative collection will retail in India on Timex's e-commerce store and will be priced between Rs 9,495 and Rs 12,995.