Ryan Tedder returns to FAULT Magazine Cover ahead of new OneRepublic Album



Ryan Tedder is a very busy man these days. Having worked alongside the biggest talents in the industry, he’s now taken time to focus on OneRepublic’s 4th album due to be released in early October. Some have accused Tedder of handing out his greatest hits to other musicians, but the band’s upcoming album is bound to prove everyone wrong. Appropriately entitled Oh My My, the album unmasks Tedder’s incredible versatility and vocal range, as you’ve never heard it before. In short, it’s safe to say that Oh My My is a revelation and the beginning of a new era for OneRepublic. An era where Tedder fully showcases a modern day genius whose talent falls beyond comprehension. After writing for the likes of Beyonce, Adele, Ed Sheeran and many more, he’s comprised all of it in the form of Oh My My. From first listen onwards, you shortly realize that you can find Ryan Tedder in Ellie Goulding’s Burn, Beyoncé’s Halo and Adele’s Turning Tables – as opposed to the other way around. Tedder is undoubtedly the music industry’s secret weapon and the mind that makes it all go round. We spoke to Ryan ahead of the album release and here’s his take on it all.


You’ve worked with some of the biggest names in the industry– Beyoncé, Adele, Ed Sheeran, Ellie Goulding, Taylor Swift – just to name a few. Aside from that, you’ve also got OneRepublic. That’s a lot to put on anyone’s plate. Do you have a particular routine that you stick to in order to be more efficient?

You just get really good at multitasking. There are a lot of hours in the day, there’s a lot of time that people waste and you basically figure out how not to waste that much time. So there’s no routine basically – every day is different. I’ve got a different routine when I’m on tour as opposed to when I’m not. But it all comes down to not wasting time and being as efficient as you can.

Oh My My – your next album – is coming out in October. After Native, how far did you go with this one?

With this album, I pushed the envelope as far as it could go and on some songs we probably pushed it too far. But then again, that’s how you figure out how far you can go within your own world.


What qualifies as ‘too far’ for OneRepublic?

There will be some songs that people hear and go ‘Oh, they shouldn’t be doing that’. Because people have their own perception of whom you are. Like ‘Oh, you look amazing! You shouldn’t be wearing that jacket though.” Or if you dye your hair black – there’s always going to be that one person who’s going to say that you look better blonde. I’m sure that there are going to be some people that feel that some songs are too far, but it’s a very honest record. The songs are crazy; they’re all over the place. It’s like a playlist. And that’s how people listen to music nowadays anyway. You listen to five artists; you don’t listen to just one artist. I work with 100 artists, so our music is reflective of that. You’ll hear little moments of Adele, little moments of EDM. You won’t hear a song that sounds like it, you’ll hear like a second. You can hear the influences, but the album feels very honest. Our last album did better than we thought, so we have a lot of pressure of doing something that’s better than that.


Do you ever get overwhelmed?

Yes, but that’s normal.

What’s your process of differentiating the material that you’re going to use for yourself as opposed to what you’re going to give away?

It’s pretty easy. If you’re a chef and you own a Japanese restaurant, you can go cook with your friends at different restaurants anytime you want. But one friend of yours might have an Italian restaurant or a hamburger shop and your other friend might have a dessert pastry shop. That doesn’t mean that you’re going to go back to your Japanese restaurant and make pizza.


In short – it’s a question of being aware of your own identity.

Yeah and I know myself very well. Even the hit records that I give away to other people – I give them away because they’re inauthentic. If I put out a record that’s a hit and it’s inauthentic to me – guess what happens – it’s not a hit. It doesn’t connect because people won’t believe it.


So the core of OneRepublic’s sound lies very much in the humanity that you put in it. Is that what you feel that draws people to your music?

That’s exactly what I feel. If I did Katy Perry’s record, people would be like “What the hell is he doing?” Or if I released Taylor Swift’s 1989. Can you imagine that? It would’ve been pretty inauthentic, to say the least. Even Ed Sheeran’s Thinking Out Loud. People go like ‘Oh, I can see you doing that’ – but no. If we actually did it, people wouldn’t believe it coming from me. It wouldn’t be real coming from me.

Speaking of Taylor and Ed, how do you usually go about picking the artists that you’re going to work with?

You’ve got limited time in a day and you have to choose the ones that move you the most. You can’t just chase the ones that you think you’re going to have a hit with. You go for the ones that you know you’ll bring out the best in and that they’ll bring out the best in you. There are a handful of really big pop stars that I haven’t worked with and that’s not an accident. It’s no offence to them – it’s just that what they do isn’t a brand of clothing that I wear. I can look at Fendi all day long and admire the hell out of it, but I’m not going to wear it. There are some brands that you just don’t wear.


Having worked with Taylor and winning a Grammy for her 1989 album– is there something that you’d like to put out there – especially now in times of turmoil – about her that you feel the public needs to know?

She is pound for pound the most talented writer of any artist I’ve ever worked with. Taylor is the only artist that I’ve worked with that has the complete skillset. If she weren’t an artist, she’d be the number one songwriter in the world. If she weren’t a songwriter, she’d be the number one artist in the world. She can write songs with the technical understanding of a master of songwriting, but she still taps into the emotional and personal side of the artist that she is and writes from that place. To do both at the same time is incredibly rare and I haven’t met many other people that do it. And Taylor has known what she wanted to do ever since she was 12, so there’s that. She’s a bit of a prodigy. And as long as I’ve known her, she’s been nothing but kind to me and thoughtful and generous. I’ve read a lot of stuff and heard a lot of stuff and obviously, she’s caught up in some drama right now and it’s a sticky situation – but personally I’ve had nothing but awesome experiences with her from day one.

Having shared the studio with so many talents, is there a specific moment in your songwriting career that has stuck with you to this day?

Stevie Wonder. I did a song for a movie with him a couple of weeks ago. He and I were sitting in a room, going back and forth over lyrics and I had a moment where I was sat there and I wished there was a camera filming – because I was writing a song with Stevie Wonder. And it was just like – this is the coolest day I’ve ever had. I’ve been to a lot of places, I’ve seen a lot of things – but the evening with Stevie – I remember literally every hour of it. Up until 3am. I remember everything that happened. Which you can’t really control, your brain just prioritizes memories without you thinking about it. That was probably my favourite moment. I have so many though, it’s hard to choose.


For the sake of amusement, you must have quite an interesting bundle of stories under your belt. Care to share one of them?

I accidentally stood up Peter Gabriel. Twice. I’ve obviously got random tour stories and stuff like that, but I think my most embarrassing story is my Peter Gabriel story. He’s one of my favourite recording artists and this happened last summer. It was during Ed Sheeran’s Wembley Stadium shows and I connected with Peter through a mutual friend. One day, I got an email from my manager who had talked to his manager and said that Peter wanted to have coffee and get to know me. I went to Peter Gabriel’s place in Notting Hill and I worship him so I was like ‘This is incredible’. I hung out with him all night, we had dinner, listened to music and then it ended. And at the end of the night, I was like ‘Okay, that was amazing, let’s get together again soon.’ What I didn’t know was that there was a miscommunication between his manager and my manager – so his people thought that I had booked to write with him Saturday and Sunday. The way it was explained to me was that we were only meeting up for coffee. So I hung out with him on Friday, had a great night, and Saturday – without knowing – I stood him up. He came into the studio at 10am and waited for me until 2pm and I never showed up. I didn’t know that I was supposed to be there. And the next day – I was also booked. The message that I stood him up on Saturday never got to me, so I didn’t know. And then Sunday – AGAIN. As I was driving to the airport to leave, I get a phone call from Peter. He had been in the studio again for the second day for 2 hours. And he was less than happy with me. So I was on the phone with him for 20 minutes just apologizing while emailing my manager telling him that I stood up Peter 2 days in a row. I was completely mortified and upset. That was my favourite recording artist and I just completely blew him off 2 days in a row. And we made up – after I continuously sent him emails and phone calls cause I was horrified that he was going to hate me – and well, it took two months to make up, but he eventually agreed to work together and now he’s featured on our album. And it’s one of the best songs on the album. It all worked well, but that’s my worst story. My idol is Peter Gabriel and I blew him off two days in a row. It’s the single worst thing that’s happened to my career so far.

Do you currently have your eyes set on any newcomers that you’d like to work with?

James Bay would be great to work with. Someone connected us and we plan on writing together at the beginning of 2017, around January. But yeah, James is my favourite newcomer. I’m sure there are more, but I’ve been so busy with the album that I literally didn’t have time to pay attention. I normally know everything that’s coming out.


What’s your FAULT?

Over commitment. I’m overly ambitious and I over commit, which inevitably leads to letting someone down.


OneRepublic’s new album Oh My My is available for pre-order now via iTunes and is due to be released on October 7th on Interscope Records.


Words  Adina Ilie

Photography Joseph Sinclair

Styling Krishan Parmar

Grooming Shamirah Sairally


Dark Paradise – Exclusive Online editorial




Top & blue skirt : Ester Mangas


White skull dress: Evgeniia Galeeva

White skull dress: Evgeniia Galeeva


Silver top and grey skirt: Daniel Pascal Tanner Shoes: Vintage

Silver top and grey skirt: Daniel Pascal Tanner
Shoes: Vintage


Red dress: Evgeniia Galeeva

Red dress: Evgeniia Galeeva


White top + black skirt: Daniel Pascal Tanner

White top + black skirt: Daniel Pascal Tanner


Orange dress + black skirt + corset : Daniel Pascal Tanner Mask: Simply Masquerade

Orange dress + black skirt + corset : Daniel Pascal Tanner
Mask: Simply Masquerade


photography ralph whitehead

photography assistant melissa arras

styling & art direction eduarda concon

styling assistant lucas miracca

makeup charlie macdonald

hair styling michael john o’gorman

imm models lottie

Behind The Scenes on our FAULT Magazine Issue 23 Photoshoot

With the theatrical release of X-Men Apocalypse only 6 days away, take a step behind the scenes on our FAULT Issue 23 cover shoot with star Alexandra Shipp

Video: Steve Failows

Words: Kee Chang l Photography: Irvin Rivera l Styling: Sharon Williams @Art-dept l Makeup: Carola Gonzales @Forwardartists l Makeup Asst: Laramie Glen l Hair: Larry Sims @ Forwardartists l Photography Asst: Phill Limprasertwong l Production: Ashley Tsai @ashley.tsai

FAULT Magazine go from Adulthood to Brotherhood with Arnold Oceng

London street kid, refugee, boxer and grime MC. Arnold Oceng has played them all (except grime MC, that was real). As one of Britain’s greatest emerging talents, with two international blockbusters soon to be under his belt, we caught up with him ahead of the release of his latest movie Brotherhood. The final instalment in the Noel Clarke trilogy, which many of us grew up with, sees Arnold‘s character ‘Henry’ in a whole new light.

FAULT: We are so excited about Brotherhood…
It’s awesome. It’s awesome, man. I can’t express it anymore. If you’ve seen the trailer, or any of the other films, you’ll know what to expect. Henry, my character, comes back bigger and better from when he got bricked in the head [before]. He’s grown into a mature man. He has a wife, children, he’s not on that way of life anymore. He’s a working man.

FAULT: The clips we’ve seen seem to be a lot more comical and a lot less gritty. Is that the tone, or is that just the clips we’ve seen?

I think that’s just the clips you’ve seen, but there is… As I’ve said before, my character, Henry, he does bring the comedy element to the film. As I said, he’s not on the violent stuff, even though he gets pulled into it. So through all the violence and stuff, he is funny and he makes the funniest scenes out of real serious situations.

FAULT: Brotherhood is also being shown at The Toronto Film Festival…
Yeah! I think that’s next month. To be selected for TIFF (Toronto International Film Festival) is… I’m sure you know, is like a major, big, deal. I went there for the first time last year for another movie that I did and so I’ve experienced the Toronto film festival before and it is amazing. The amount and the calibre of films that are there, that are selected… The actors, the celebrities that are there, that attend… It’s one of the biggest film festivals in the world, so for BrOTHERHOOD… This London film that started off so indie and so small, for that to be accepted and to be amongst such huge films, it’s a blessing. It’s a massive achievement for us.


FAULT: It will be interesting to see how Brotherhood is received, because the urban street culture in Toronto is quite similar to ours, here in London…
Yes! It’s so funny that you said that, because – I’m going off topic now, but it’s cool. I got a Whatsapp message from a friend of mine and he was like, ‘yo, you’ve got to  check out the Vlogger on YouTube’ his name is something like That Dude McFly or something like that. He’s got thousands of followers on Instagram and Twitter, he’s huge. He’s from Toronto and he’s a big advocate for grime music. He plays grime on his vlogs all the time and he’s getting known over here just for supporting the movement. So anyway, I clicked on the link, expecting him to talk about grime again and he was talking about how everyone thinks Toronto stole London’s ‘swag’, in the way they talk and act etc… But they’ve been taking like that for a while etc… But he said he got introduced to our street culture, like a lot of them did over there, by watching KiDULTHOOD and AdULTHOOD. He said those were the films that he got a lot of London slang from and because he heard grime on the soundtrack, that is what made him get involved and seek out grime music. He tweeted me the other day – which is so crazy – saying how much he loves the trilogy and can’t wait for BrOTHERHOOD. So I understand the culture over there. They really are engrossed in what’s happening over here.

FAULT: Speaking of Canada and London street culture… you were in CH4’s ‘Top Boy’ how much can you tell us about Drake making another series?
[laughs] ahh I knew you were going to ask me that. I know you are going to think I’m lying, but I honestly don’t know. I’m very close with Ashley Walters, I speak to him all the time and he’s expressed how much he wants it to come back. I want it to come back as well. The whole thing with Drake being onboard… I think he’s expressed how much he wants to be involved. I think it’s just down to sorting out finances, which we are not involved in at all. So I don’t know much, sorry.

FAULT: So it is a real rumour?
It’s a real rumour. We’ve all been talking about it. So, erm… Yeah. It is a real rumour.

FAULT: We don’t want to typecast you in this interview, so please tell us about your next film ‘A United Kingdom’ which is out in November.

‘A United Kingdom’ will be my second international film. It’s an amazing, amazing, script. It’s directed by Amma Asante. If you’re not familiar with her work, her last film was ‘Belle’. So this is like, her next project to come out, so it’s highly anticipated. As I said, it’s an amazing script. It stars David Oyelowo
and Rosamund Pike and it’s a true story about love. It’s a period drama set in the 1940’s I believe. David and Rosamund fall in love in a time where interracial relationships were still very much frowned upon, but against all odds and against everyone trying to separate them, true love prevails and they fight for love.

FAULT: That’s two, major, international films. Are you now officially a ‘big deal’ in the acting world?

[laughs] It has been a very good 2/3 years for me. I’m just very humble. I’m just taking it all in to be honest.

FAULT: Your first international film ‘The Good Lie’ where you worked opposite Reese Witherspoon must have been a huge learning curve. How do you remain humble?

I learnt so much from that film. Like… yes, good things are happening, but take it slow, don’t shout from the rooftops just yet. So that’s my thought process right now, with the United Kingdom or with any project I’ve got coming up. You never know if a film will do well or not, so just let your work do the talking, if you know what I mean?

FAULT: The feedback was really good too, highly critically acclaimed…

The feedback was amazing. I’ve never been in a movie that has had feedback the way that that film has had feedback. Up until this day I get tweets from all over the world saying how much they love the film and how much they love my character. I think it’s because of the storyline. Refugees are pretty current to what is going on today, so I think it resonated with a lot of people. So many people have told me it’s their best film of this year, or their best film of all time… It means a lot to hear that stuff.

Your character in ‘The Good Lie’ has a heavy Sudanese accent. Sometimes, actors use one blanket accent for the whole of Africa…

Yes, like you said, not all African accents are the same and to the untrained ear it’s just one accent, which it really isn’t.

FAULT: I find English actors are better at accents. Do you think that is true and why?

In my honest opinion British accents are the best accents in the world. Even my agent says it. It’s just instilled in us. When you think of thespians, Shakespeare etc…

Would you make the move over to states given how well you are doing at the moment?

I am back and forth at the moment, but I’ll just see where the route takes me. I wouldn’t want to leave England or London, that’s my home. The way things are at the moment, you don’t necessarily have to live there. You can send an audition tape in via email… Living there, you don’t really have to do that anymore… But it can be beneficial.

So is Snakeyman, your grime MC alter ego dead, will we ever hear you on a track again?

[laughs] you are insane… Just bringing  things out of the woodworks like this! I like that… No he’s not, but when I do come back, I’m not going to come back as Snakeyman, just because I’ve outgrown him. I’ll just come back as Arnie, but I’ve got some really, really good music there. It’s been sitting there for a long time. I’ve been so lucky these past couple of years with acting, I just haven’t had time to release stuff and do music videos, I’ve just been busy. If I ever get a window of free time I will definitely do that. My mindset has changed from before. I don’t want to make music to get signed or anything it’s just therapeutic for me and I like it. So in the future, if I just want to put something out I will and whether or not it gets a response, I don’t really care, because I’m doing it for me now.

 You’re working on a film at the moment where you play a boxer. How much preparation did you have to do for that?

Yes, It’s a Danish movie. You’re a real detective [laughs]. I speak in English, then there are some parts where it’s in Danish.
Oh, it was mad. I had to put on weight. They gave me a personal trainer, they gave me a nutritionalist. I was training everyday, in the gym everyday… It was very hard work.
The film is called ‘The Greatest Man’ and I’ve literally just finished filming it. It’s another true story about this boxer who comes over from Uganda to Denmark because he’s been offered a title fight and that’s my character. Then he goes over there, because it’s set in the late 70’s/early 80’s he faces a lot of racism, banana peels are thrown at him, when he gets into the ring there are monkey chants…

No spoilers, but he has to win the title after all of that …or it would be a pretty depressing movie?

Oh yes, of course – but only in the ring. The Danish people were just unsure of him at first, slightly ignorant, but he wins them over by how humble and down to earth he is and the fact that he never retaliated. The only time he is aggressive is in the ring.


Here’s what Diztortion and Melissa Steel had to say at the Premier


“Great movie, really enjoyed it. Being from Amsterdam it’s great to see how similar and different the urban scenes can be, this director is something special”

“I absolutely loved this movie! Noel Clarke did a great job with capturing London and the growth of the characters from the last two movies. Must watch!”

Melissa Steel


Words Trina John-Charles
Photography Jack Alexander
Styling Felicity Gray
Grooming Shamirah Sairally


Foals Exclusive Photoshoot and Interview With FAULT Magazine Online



Foals is one of the few bands these days that has reached the top on their own terms. The past year has been the result of nearly a decade of sweat and hard work: Wembley gigs, a Brit Award nomination for Best Group and now – a headline spot at this weekend’s Reading and Leeds. At this pace, we trust that the guys are still going to be hitting it hard in another decade to come. We caught up with the bands just moments ahead of their monumental headline show at Reading and Leeds and here’s what the boys make of it all – before you see it all unfold on stage.


You’re just about to headline Reading and Leeds. What’s going through your heads right now?


We’re like a mixture of quietly confident that it’s going to be good and fun, but we’re also a little bit terrified. Whenever there’s a big show, there’s a big build-up towards it. You just want to get it done after a while. But it’s okay, everyone is in good form. That’s the thing with these things – it’s the sense of occasion that makes it a success. I like to think that we’ve sort of won anyways and if we just play through the songs, we should be okay.

You’ve been in the music industry for over a decade now. Let’s do an overview of how things were back in the day and what they’re like now -when you’re just about to do one of the biggest shows of your careers. What’s changed and what’s stayed the same?


The thing that stayed the same is definitely our attitudes toward playing live and how we operate as a band. We’ve definitely gotten used to more comfort, we travel a bit more, there’s more luxury now and all that stuff that just comes with being a bigger band I suppose. But what has definitely changed was the way we made music over the years. We figured out really early on, after our first record, that if we were going to have any kind of longevity as a band and success in the industry, then we needed to keep our fans and ourselves kind of on their toes. And basically change up everything we do, but still be true to ourselves. We haven’t done it perfectly, but we managed to do it.  I feel the lifespan of the band would have been dramatically shorter if we were just going over the same ground and putting out the same record.


The charts were never a point of reference for you, as a band, and now you’ve become a household name. Do you feel that the music industry in the UK has a tendency of sieving out the unnecessary in time? 


We consider ourselves lucky with the fact that we didn’t have this great success with anything that was like a one time hit. I really don’t envy bands these days that are in that situation because it’s almost impossible to follow up.  If you can’t keep it up, you’re done. I think we’ve done well to avoid that.  And I like to think that we’ve become a decent name amongst other bands.


I like how you’ve used the phrase ‘decent band’ when you’re just about to headline Reading and Leeds.


Well, the moment you think you’re really good – then you’re in trouble. We know we can be good but we also know that we cannot be that good. That kind of human element, cause we give it a lot of energy and a lot of effort , is also a part of our success right now.


Do you feel that there can be downsides to your increased popularity?


Straight off the top of my head, one of the downsides is that sometimes we do feel the pressure a little bit when the shows get bigger. Sometimes you feel like you can lose a little bit of the element of control. More and more people get involved. They’ve all been brilliant – the team that’s around us is incredible and we’ve been really lucky to have the help that we’ve had from our management and label. But there’s just no way you can keep control of everything and I think that element of sometimes losing control is a little bit of a downside to increased popularity.


What’s your take on your band’s current lofty position on the British rock landscape?

I like to think that we’re up there with the big boys. There’s a certain group of bands that are around at the moment – some of them are quite bigger than us – like, say, the Arctic Monkeys who’ve done considerably bigger shows and have more achievements than us, but I like to think that because of our longevity, we’re up there with many of those bands. I like to think that we’re going to leave some kind of mark on the British music scene.


Final words: what can we expect from your set at Reading and Leeds in the weekend ahead?


We’re treating it like a celebration of 4 records. So, we’re trying to do a little bit of everything, but we don’t have that much time to try and fit everything in. We’ve been trying to work out a set that’s kind of comfortable for us and we don’t miss too many things out. We’ve got some production, we’ve got some little bells and whistles and things that should probably make it fun and make it a celebratory upbeat thing. We’re in a good place. I hope it works out, otherwise…


What’s your FAULT? 

I think it’s letting go of decision and trusting other people. I think we’re quite untrusting as a band and sometimes we need to realize that people do know what’s best for us.


FAULT Magazine Attends Full Moon Fest: Photo Gallery


Under the magic of a waning late-summer moon, the sixth-annual Full Moon Festival found its rhythm this weekend on the north shore of New York’s Governors Island. A lineup of electronic and hip-hop heavyweights from SBTRKT and Marcus Marr to Santigold and Pusha T filled the harbor with enough summer vibes to last at least until the leaves start turning.

And in our era where a sense of style define your social status, the crowd was dotted with 20-somethings who looked fresh off the set of a sepia-toned lookbook. Through wet heat and a wetter rain, the fashion at Full Moon took street style to its limits and left the rest of us with some residual closet envy.


Photography: Nate Cover

Jonathan Holmes discusses working on Stephen Spielberg’s BFG with FAULT Magazine


Veteran actor Jonathan Holmes plays a ferocious giant called Childchewer in Disney’s The BFG, the cinematic brainchild of figurative giants Roald Dahl and Stephen Spielberg.  In this interview, Holmes tells of his time as a giant among men.


FAULT: In playing a character from such a beloved book, did you feel any extra pressure or responsibility?

Jonathan: I think we all felt a huge sense of responsibility. But knowing we were in the hands of such an extraordinary creative team certainly gave us confidence.


FAULT: In The BFG, how were you guys able to shoot the interactions between giants and regular-sized people without relying on CGI characters?

Jonathan: Many of the scenes had to be shot in three different scales. And consequently shot three times. Giant scale, BFG scale (he’s half the size of the other giants), and human scale. So we would have various balls, poles, etc. to make sure our eyelines were correct. It was quite the operation!


FAULT: How much makeup did it take to turn you into such a convincing giant? Or were the effects added in editing?

Jonathan: All giants were shot using ‘performance capture’ technology. We had to wear tight suits with dots on them and dots all over our faces that picked up every nuance of our performance. The animators then animated to that.

FAULT: How did you approach playing such an unconventional character?

Jonathan: We were very fortunate to have a month or so of rehearsal to get used to the technology and to create these characters. Terry Notary, one of the pioneers of performance capture from the acting perspective, helped hugely in finding the physicality of these creatures. We spent a good deal of time improvising.


FAULT: How did your experience working with Steven Spielberg differ from your experiences working with other directors?

Jonathan: The main difference was the technology we used. Because the cameras would only pick up those of us who were ‘dotted’, Steven could direct us whilst actually being physically in the scene. Which, as you can imagine, was a huge thrill for all of us.


FAULT: What makes your character happy (besides eating children)?

Jonathan: A good hair day!


FAULT: Is there any food in the real world that you think tastes worse than a snozzcumber?

Jonathan: Overcooked vegetables. And marzipan.


FAULT: Is there anything else we can look forward to seeing you in?

Jonathan: I’m working on an animation series and a video game – but sadly I’m not able to tell you much more…


FAULT: What is your FAULT?

Jonathan: I have a ten year old daughter who would tell you most things are my FAULT.


Words: Cody Fitzpatrick

Preview: DNCE On the Music Cover of FAULT Issue 24


Joe Jonas’ DNCE has been topping the UK charts for 3 weeks straight, with their overly catchy tune Cake By The Ocean. After giving it a try solo, Jonas ultimately decided that he’s more comfortable in a group rather than on his own. And he couldn’t have made a better call. With Cake By The Ocean blasting from every corner you could possibly imagine, the band are currently touring Europe and are expected to release an album late in the summer. It’s safe to say that Joe has broken the Jonas Brothers mold, much like his younger sibling Nick who was FAULT 21’s cover star. In FAULT Issue 24’s Music Cover shoot, we catch up with Joe here’s his take on life outside of The Jonas Brothers, personal tracks and growing up in the public eye.



When you first got the band together, what was your initial aim? Where did you want it to go?

Originally, it was just about creating the music. At first, we had a bit of a writer’s block and we couldn’t quite figure out the vibe that we wanted. And finally, we worked with new producers from Sweden and kind of just broke the mold. It all happened very quickly and we’re really thrilled with the reaction and how things have happened so far.


How important do you think chemistry is within a band and do you think you have it?

Chemistry is very important. You’re sharing every moment with that person and you want to be able to feel comfortable with them, wherever you go. Sometimes you’re traveling internationally, you’re sharing a tour bus. Not to mention the overall vibe about performing on stage. You want to feel comfortable. I’m very lucky to say we get along.


You must have a lot of unreleased tracks under your belt that you can’t wait to put out. Do you have one in particular that you’re eager to release?

I’d say that Cake By The Ocean has been one of my favourites. There’s also a song called Almost that I wrote with our producer, Nolan, and a few other writers in LA. Almost is a personal song and I feel like it’s really fun to share those with the world. When you can really pull from personal experience and find a way to showcase it in a relatable way, it’s always a rewarding feeling. If you’re going through stuff and have any sort of creative outlet, you might as well put it into good use.


You’ve also had a solo project beforehand. Pros and Cons to working solo as opposed to working in a group?

There are a lot of similarities. There are obviously things that you do when you’re traveling and touring with your brothers that are nice, because you’ve got your family with you at all times. And then, there’s also the element of playing with friends. It’s a fun vibe. But I do prefer playing in a group. There’s something special about our band.


Do you have to deal with Jonas Brothers comparisons anymore?

There are sometimes some comparisons here and there, but I don’t mind. We’re also really supportive of each other’s individual careers, so it makes it all a lot easier.


Since you’ve been in the public eye your entire life, what’s your personal take on fame?

I think fame is something that kind of comes with what you do. Some people handle it differently. I grew up around it, so it hasn’t always been an easy thing for me, but you learn to adjust and adapt to how you’re comfortable. Ultimately, there are things that you’re gonna be cool with and things that are gonna be tough to get over. But at the end of the day, if you remember where you come from and how it can all go away so easily, it makes it a little bit easier to handle.


What’s your FAULT?

I can be clumsy on stage. There are definitely a few shows where I’ve fallen off. There are a couple of Youtube videos to be watched.




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