Bassist, songwriter, and all-around sonic adventurer, Daryl Johns is bringing a fresh wave of euphoria from New Jersey to Los Angeles. His self-titled debut album, ‘Daryl Johns,’ is a 14-track anthem fest blending “diner rock” with jazz fusion, bubblegum country, and even a hint of motivational TV jingles. It’s pop for the everyman, sugar-rushed and ready to win.

Since joining Mac DeMarco’s indie rock posse out west, Johns has found his groove among the likes of Drugdealer and a cluster of jazzy new wave cats. But don’t box him in—this is the same dude who’s wowed jazz legends like Pat Metheny and Macy Gray. Now, he’s here to just have fun, reminding us all to “have a good time.”

The singles? Pure nostalgia. ‘I’m So Serious’ drops you into an ’80s high school basement, Converse sneakers tapping to the beat of burger-and-milkshake vibes. ‘Happy’ is the record’s rallying cry—think jazzy, carefree Americana with a beer in hand. Then there’s ‘Maggie and Me,’ a Gaelic-tinged heartbreaker that lingers long after the final note.

Johns sums it up: “This isn’t Urban Outfitters cute. It’s 80s boom and hope, with a dash of TV jingles and Americana zest. It’s worship music for a generation that just wants to feel good again.” And with Daryl Johns, we’re all in for a feel-good trip.

“I always want it to sound inviting, warm, and TV show-like”

Would you like to share about your upbringing? How did growing up in New Jersey shape your musical identity? Were there any defining moments in your childhood that pointed you toward music?

Darly Johns: I don’t know, New Jersey is near New York, so I grew up near the city where all the best jazz musicians were. I was exposed to a high standard of musicianship from an early age. My parents are jazz musicians, so that’s how I was exposed to it. Besides exposing me to jazz, my dad showed me Peter Gabriel’s ‘So,’ Sting’s solo stuff, 80s jazz fusion like Michael Brecker, and hmm, what else? Yeah, lots of stuff that I rep today in my music.

Let’s dive into your teenage years. What was daily life like back then? Can you paint us a picture of your environment, and what kind of music was swirling around you during those formative years?

Hmm, my high school experience was cool. I’d go home, take a four-hour nap, then wake up at 8, drink my parents’ wine, and play drums along to music I liked for hours. Then I’d listen to whatever I wanted till like 2, and then wake up and do it all over again. My dad had lots of old 60s drums in the basement and keyboards. I did lots of all-star jazz high school programs, so I met lots of fellow musicians my age around the country. I found the jazz kids from L.A. to be the coolest because they showed me lots of indie stuff like The Smiths, Joy Division, Flying Lotus, Baths, emo stuff, etc.

Did you find yourself part of any particular music scene growing up? Were there favorite hangout spots or local venues where you’d catch shows and soak in the vibes? Any memorable gigs that stand out?

Yeah, the New York/greater jazz scene. I’d go to Smalls Jazz Club in the Village to jam, hang, and see shows. That’s the best club in New York—smells like old beer and cigs—and it’s one of the last cool old hangout jazz spots in New York. I felt miserable doing lots of gigs as a freelance jazz bassist, so transitioning into a recording indie rock formatted artist was freeing to have full control, though I still rep and tap into my jazz influences in my own music.

If we could step into your teenage room, what kind of records, fanzines, and posters would we find? Who were your musical heroes back then, and how did they influence your own sound?

Hm, I was really into the Midwest emo stuff when I was a teenager. I loved and still love Cap’n Jazz, American Football, Algernon Cadwallader, etc. Though I rep more the 80s analog thing—Police, Peter Gabriel—or whatever now, it still has emo streaks in it no matter what. I’m a sucker for that and was as a teen. I do find, though, that The Police were the proto-emo guys anyway—the bittersweet, happy-sad anthemic chord palette. So there’s a connection there.

Being born to jazz musician parents must have had a huge impact on you. Can you share some insights about how their music shaped your understanding of rhythm and melody, especially as you transitioned into your own style?

Well, my dad is a drummer, and he loves Jack DeJohnette and Steve Gadd, so those drummers I imitate in my music hardcore, especially on this album of mine coming out. In terms of melody, my dad showed me Pat Metheny, who I’ve heard from a reliable source champions any music that sounds like ‘Happy Birthday’ or ‘Row, Row, Row Your Boat,’ so in terms of melody, I like anything that feels like that.

In your song ‘I’m So Serious,’ you evoke a nostalgic high school social scene. Can you tell us more about your high school experience? Did you have a close-knit group of friends who shared your passion for music?

My high school experience was being a jazz nerd that got accepted into the jazz all-star programs. In these programs, I met the L.A. kids, and they showed me the hip alt music of the day. Their tastes foreshadowed my exit out of the jazz format and more into the pop alt format—like exemplifying pop/jazz in an alt hipster production format—instead of being a jazz nerd who covers, say, an indie band in a jazz trio format. Not shitting on that, but I figured I’d rather be the indie band than be the jazz group that covers the indie band in a jazz context.

You’ve mentioned influences like diner rock and 80s pop. Is there a specific track or artist that you feel embodies the sound you’re going for with your debut album?

A mix of Pat Metheny, Yellowjackets, Jackson Browne, any pop sped up, sped-up Journey, sped-up Pixies, Police.

You discuss the challenge of creating “happy music.” What does happiness mean to you in the context of songwriting?

It comes from church music, TV show intro music, Journey. It’s not a challenge to me because that’s what I’ve always set to do. I do have production, mixing, and singing challenges that plague me, but even when instrumental, it comes out as TV intro music worship—Inspirational pop. Inspirational music is super natural to me.

With your background in jazz, how do you approach composition? Do you find that your jazz roots influence your songwriting in unexpected ways, especially when it comes to structure and improvisation?

Again, some songs are more verse-chorus-esque like ‘I’m So Serious’ and ‘BBQ in the Sun,’ but the other ones are more stream-of-consciousness jazz brain ADD. Again, each melody chord cell is a nugget of ‘Happy Birthday’ or some familiar old tune.

You mentioned a love for Americana and the imagery of burgers and shakes. How do you see yourself contributing to the narrative of American pop music today? What elements do you think are essential for a song to feel distinctly American?

Even when my music gets complicated, it’s supposed to sound and feel like 10 TV intros at once. Some songs are simple, stupid like ‘I’m So Serious.’ Some are more crazy structured, but I always want it to sound inviting, warm, and TV show-like—Full House.

Having played with artists like Mac DeMarco and The Lemon Twigs, what’s the most valuable lesson you’ve learned from collaborating with others?

What I learned from The Lemon Twigs is that the 70s is cool and that being over-the-top flamboyant is cool. Mac looks like Mike Myers and smokes cigs and made recording sexy for me, where I thought recording was for nerds. This is a blunt caveman way of saying this stuff, but it’s true. Collaborating is new for me. I like to go four bars at a time with my friends Chris Fishman and Pedro Martins—we go in a circle writing four bars each.

How do you hope listeners will connect with the music?

I hope we go through an era where musicianship is finally appreciated and valued again, while the fun of poppy music remains—where being smart is valued as well as being dumb. Because I’m a hipster indie popper via jazz nerdom, I can’t deny my technique. I wear the technique and nerdom on my sleeve, as well as the pop bubblegum aspect—they are not mutually exclusive.

Let’s end this interview with some of your favorite albums. Have you found something new lately you would like to recommend to our readers?

‘New Day Rising’ – Hüsker Dü
‘Hermit of Mink Hollow’ – Todd Rundgren
‘Rock and Roll Nightclub’ – Mac DeMarco
I don’t like albums—I get bored. I’m more of a song guy. I like the song ‘Looking for the Magic,’ the Phil Seymour version, ‘Photograph’ by Def Leppard, and ‘Time’ by The Speedies.

Klemen Breznikar

Headline photo: Kevin Allen

Daryl Johns Instagram / YouTube
Mac’s Record Label Website / Facebook / Instagram / YouTube