JBL Emerging Interview: Why Jessy Fury wants you to love or hate his music

In the heart of L.A.'s vibrant music scene, one name is quickly gaining momentum with a sound that blends nostalgia, raw emotion, and a touch of cinematic flair: Jessy Fury. The singer-songwriter, whose moniker draws from his own name, Jesse Robitaille, is an artist with a rich musical lineage and a captivating stage presence. 

With his slicked-back hair, leather jacket, and a voice that channels the timeless spirit of ‘50s rock 'n' roll, he’s ready to transport you to a world where classic rock meets modern edge. In this Emerging Headliner interview powered by JBL, Fury dives into his latest work, his eclectic musical influences, and why he wants people to either love or hate his music.

Hi Jessy! Where are you right now?

I’m in Santa Monica. In honour of today, I’m having some British tea. I actually lived in London for three years, and while I had a lot of amazing experiences and personal growth, it also led me to where I am now. 

The UK is amazing; the whole place is great. One big difference is the scale of everything. In the UK, you can drive across the whole country in a few hours, whereas in the US, you could spend the same amount of time just driving across Texas! It’s massive.

Who is the very first artist you can remember having an impact on you?

I’m an old soul, and I come from a musical background. I was just listening to Roxy Music. The first record I remember listening to was by The Beatles, so it was probably hearing Here Comes the Sun or The Long and Winding Road in the car with my parents. 

Then I had a vinyl of James Brown, and I’d listen to both sides over and over. His music was just so electrifying. I do listen to new music, but lately, I’ve been into Johnny Cash and Roxy Music again. I love old-school music – it takes me back to a simpler time, a different way of life.

Are you into any music that might surprise people? For instance, anything that’s totally different to the kind of music you make or that is at odds with your ‘50s rock and roll look?

I like classical music. To be honest, there are fewer genres I dislike rather than ones I do. For me, it’s more about energy. Even if I don’t usually listen to a particular genre – like dubstep, for example – there are certain Skrillex tracks that really get me fired up. 

I think Charli XCX is an incredible performer. I saw her at Coachella, and she was just extraordinary – the energy, the dancing, the whole marketing approach. I have nothing but respect for what she does. There’s so much music out there now, it’s easy to miss things. 

The barriers to entry have almost disappeared – anyone can upload their tracks online, which means there’s a huge mix of content. There are no gatekeepers anymore.

You caught the performing bug at just nine years old. Did something click for you straight away when you were on stage?

I caught the performing bug pretty early. I can still remember how it felt, and yeah, something just clicked when I got on stage. It was about me finding out who I am and discovering my identity. So much of life doesn’t make sense – we’re all just spinning on this planet in constant motion, and who really knows what it all means? 

But when you find something that resonates with you on such a deep, soulful level – something that allows you to express an innate truth within yourself and share it in a way you couldn’t otherwise - you just have to keep pursuing it. You’d be doing yourself a disservice if you didn’t.

Did you ever have a Plan B if music didn’t work out?

Sometimes, when things got tough, I did think about other options. Being a musician today means wearing so many different hats – you have to be a producer, a manager, direct your own videos… 

There's just so much creative and logistical work involved. At times, it’s been challenging, and I’ve questioned whether this is really for me. But then I get up on stage and perform, and I think, you know what? This is awesome. This is exactly where I’m meant to be.

When you first embarked on his journey into professional musicianship, you threw yourself in the deep end before you were fully developed and ready to take the plunge. What did you learn the hard way?

I learned a lot, mainly about believing in myself. When I was young and got thrown into the industry, I didn’t know how to say no. My dad was a professional ice hockey player, my mum was a musician, and my grandfather was a musician. 

I also have a lot of family history in the entertainment industry here in L.A, so I felt this pressure to just go all in. But I wasn’t necessarily being true to myself as an artist.

Your grandfather, Bob Totem, was a member of 1950’s Cinnamon Cinder house band The Pastel Six. What have you taken from your grandfather in terms of musical style, dress or performance style?

My grandpa was around at that time, and, funnily enough, I’ve just become a Canadian citizen because my dad’s from Quebec, so I have family on that side. My great uncle was in a band called The Beau Marks, who were also doing new things in those early days – pre-Beatles, but really at the birth of rock and roll.

My grandpa was literally driving somewhere in Hollywood with his band, and they needed a drummer. They pulled up at a stop sign and saw a guy tapping on his lap. 

They rolled down the window and said, “Hey, do you play the drums?” And the guy went, “No.” And they said, “Well, do you want to?” And he just said, “Yeah!” and jumped in.

My grandpa was one of the main people who taught me to play guitar. I have a couple of his guitars, and listening to those old records really gave me a huge appreciation for the music that came before my time.

You’ve said you want people to either not be able to get enough of your music, or absolutely hate it. Why is that?

I think that’s what art is about – it’s about being honest. If you’re truly being yourself and not censoring anything, you’re naturally going to divide opinion. 

And we see that more than ever now – everything seems split down the middle, love or hate. That can be challenging because I like to think of myself as a nice person, so I sometimes have to remind myself that it’s okay.

As artists, it’s our duty to be true to the music or the art form. That means that once you put something out, it doesn’t really matter what happens next.

Your recent single, Runaway is an anthem of escape and resilience. What were you thinking about when you wrote it?

I read 1984 by George Orwell. It really sticks with you. The themes are still so relevant today. And I also liked that it had a romantic element, too. That song is very much for today’s times. 

Those themes are still prevalent in our world, and it’s about escapism. But also, no matter what happens, there’s a hopefulness that we’ll be okay.

You have also teased a song called Funeral; Where did the idea, ‘tell me at my funeral’ come from?

It’s an exclusive for fans on my mailing list, but we still put everything into it, just like any other song. There’s so much content out there now, and artists are constantly told to post, post, post. But for us, quality over quantity is key.

“Tell me at my funeral” just sounded like something Johnny Cash would say! It became a joke in the house, like, “Take out the bins.” “Tell me at my funeral.” And the rest just followed from there.

In terms of the equipment making all your music possible, so in your home studio you’re using an AKG P220 mic, K240 MK-II headphones and a pair of JBL 305P MKII powered studio monitors. How do they enhance your music production?

The monitors really pack a punch for their size. As studio monitors, they definitely help take your production and mixing skills to the next level. Plus, they're a great option if you need something high-quality at an affordable price. 

That’s something I really respect about them. They’ve been really useful in finishing up the record and tracking. Being able to play guitar with the speakers cranked up and really feel the music makes a huge difference to my performance.

And the AKGs are proper studio headphones; I’m really excited to have a pair. Listening on headphones gives a different perspective than listening through monitors. It’s important to check mixes on multiple speakers to really understand how they translate.

The mic (which I’m using now) picks up a great range of frequencies. It really captures the mid and lower bass tones well. I’m pretty close to the mic, but it still sounds really clean. It’s an excellent entry-level mic for anyone looking to achieve professional-sounding recordings.

What’s next for you in terms of new music? Is an EP or an album in the works?

Yes! We’re working on finishing up the EP, which should be out in the first quarter of 2025, and then the full album will follow later in the year. 

The working title for the EP is Hollywood Forever, and the album is tentatively called American Cinerama. The idea behind it is that each track feels like a little movie – a snapshot of different experiences.