JOJE is a Seoul-based singer-songwriter and multi-instrumentalist who seamlessly blends indie, electronic, rock, and pop into a deeply personal sonic identity. His artistic path has led him across Europe and Asia, performing in a wide variety of settings—from major concert halls and festival stages to open-air street venues. Through his masterly use of live looping, JOJE builds an intimate, immediate connection with his audience, transforming real-time travel, spontaneous moments, and raw imperfections into vibrant soundscapes.

In this conversation, recorded on October 23 during MEX in Berlin, JOJE discusses navigating technology on stage, adapting between street busking and indoor venues, evolving his vocal technique, and embracing the freedom—and challenges—of being an independent artist.

The Architecture of Hybrid Sound: How does a solo multi-instrumentalist navigate the space between physical instruments and digital production without losing human intimacy?

JOJE: Basically, what I’m doing is a live looping show. I layer the sound and then build the song all together in the end. Because of that, it can’t really be “correct” or perfect all the time—timing and rhythm can be different in every single moment. That’s where you can feel a sense of humanity, because I’m not a robot and I don’t make the exact same beat every time. At the same time, I’m always trying to build a genuine connection with the audience while on stage.

The Physics of Unplanned Stages: In what ways does performing in public, unscripted street spaces shift an artist’s relationship to audience attention compared to ticketed venue stages?

JOJE: It’s completely different. The street is one of the hardest stages in the world because initially nobody cares what you’re doing; people are usually just passing by. Getting them to stick around and keep watching requires a real effort—you need to joke around with them and act a bit differently than you would on a indoor stage, where the audience is already seated and ready to watch you. But what I love about street performances is that I end up connecting with people on a much more face-to-face, intimate level because they’re right there next to you.

The Geography of Composition: How does movement across different geographic, linguistic, and cultural environments translate into physical musical structures?

JOJE: Since I’ve traveled to many countries with my music, I’ve realized that every country and city has its own distinct culture, preferences, and ways of reacting. I just try to transform based on where I am at the moment, figuring out what the local audience wants and prefers to hear.

Universal Emotional Transmission: How does vocal and melodic phrasing function as a primary language when lyrical content crosses cultural boundaries?

JOJE: To be honest, I currently sing mostly in Korean and English. I’d like to try other languages eventually, maybe Spanish, but for now it’s tough, so I focus on Korean and English. Even though Korean culture is growing in popularity worldwide, most international audiences still can’t understand Korean lyrics. But I believe people can still feel the emotion behind the song regardless, so I just make sure to sing from my heart.

Autonomy in Visual Identity: How does an independent solo artist build an authentic visual and aesthetic identity without the backing of a traditional studio apparatus?

JOJE: To be honest, it’s really hard. Sometimes I think about how nice it would be to have good management handling all the logistics for me instead of doing everything myself. Organizing tour schedules while trying to create music at the same time is exhausting. But on the flip side, being independent gives you complete flexibility and the freedom to focus solely on what you want to do. Having that freedom is what keeps me standing as an independent artist.

Part 2: Original Career & Music Questions

Sonic Layering & Instrumentation: When starting a new arrangement, do you usually build your electronic synth layers on top of organic guitar riffs, or do you let digital textures dictate the instrument’s chord progressions?

JOJE: When I’m creating music, my starting point is usually very simple: just guitar and voice, or voice right after guitar. I usually start by singing in a made-up “alien language” to figure out the melody, harmony, or chord progression first. It almost always begins with just my guitar and voice.

Translating “Shimmer” (아지랑이): The imagery of heat haze (아지랑이) carries both visual and physical weight. What specific production techniques or guitar effects did you experiment with to capture that hazy, distorted atmosphere across the album?

JOJE: When I created Shimmer, I wanted to give it a creamy, dream-like atmosphere using plenty of reverb and delay. I was going specifically for a “wet” sound rather than a dry, stripped-back texture.

Acoustic Environments & Performance Energy: Street acoustics in cities like Glasgow require capturing the attention of passersby instantly, whereas indoor venues like Festsaal Kreuzberg allow for quiet builds. How do you adapt your vocal delivery and looping tempo to fit those two contrasting environments?

JOJE: For indoor shows, I can handle fine details because the environment is quiet. I can slow down the tempo, lean into medium speeds, and build a chill vibe without feeling like I have to beg for attention. Outside, on the street, I naturally go for more up-tempo arrangements to grab people’s attention immediately as they walk by.

Field Recordings & Travel Memories: When writing while traveling, do you capture real-world ambient sounds or non-musical memories that later make their way directly into your track production?

JOJE: Rather than direct ambient recordings, it’s more about the physical sensations—like feeling the wind when you open a car window while driving, or the specific vibe at the start of an airplane flight. Those feelings and atmospheres inspire me to create something new.

Managing Live Looping Risks: Live looping leaves zero room for error when performing solo. Have you ever had a loop misfire during a performance, and how did you adapt the song on the spot?

JOJE: Multiple times! To be honest, I’ve made plenty of mistakes on stage. But since I have my voice, I can always handle it: I’ll joke around with the crowd, or I’ll just act like nothing went wrong and pretend it was intentional all along.

Vocal Tension & Dynamics: Many of your tracks transition from quiet, conversational verses to expansive choruses. How do you preserve your vocal stamina when switching between soft storytelling and high-output singing across a long tour?

JOJE: I used to be a folk musician playing acoustic guitar and singing with a lot of vocal strain. After injuring my voice, I couldn’t push it with that heavy technique anymore. So I shifted my direction: I started singing in a much lighter way, similar to how I talk. That allows me to preserve my stamina and sing for much longer stretches.

Melodic Phrasing Across Cultures: When playing for European crowds who might not speak Korean, do you notice specific melodic hooks or guitar motifs connecting faster than others?

JOJE: Exactly. My main instrument and weapon is the guitar. I usually leave a strong impression on the audience through guitar solos and my stage energy to catch their attention.

Technical Evolution as a Producer: Comparing your earliest independent releases to Shimmer, what specific mixing or sound design skills did you have to teach yourself along the way?

JOJE: It’s been a nightmare at times, struggling through doing everything myself—mixing, mastering, and sound design. It takes so long! But compared to when I started, I’ve improved a lot. I still have a long way to go, but every early track was a big lesson. I learned from my mistakes to avoid repeating them, though even those early mistakes feel like my own “babies,” so it’s all part of the process.

Visual Identity & Stage Setup: Your minimalist, relaxed stage presence feels intentional. How do you decide on your stage gear and outfits to match the indie vibe of your music?

JOJE: I don’t want to be a distant, poker-faced artist who stays quiet on stage. I prefer a warm, accessible “uncle vibe”—someone who can easily make small talk with the audience between songs. That’s the direction I choose because it’s what I genuinely enjoy doing.

Unexplored Sonic Territories: Looking toward your next releases, are there specific genres, rare instruments, or production styles you haven’t used yet that you plan to introduce?

JOJE: I want to experiment with more synth sounds in my upcoming tracks and I’m currently working on that. But of course, the guitar will always remain my primary instrument.

Elisa Cutullè

Foto: (C) JOJE-STEALER STUDIO