Joe Keery, widely recognized for his breakout role as Steve Harrington on Netflix’s Stranger Things, continues to prove that his talents extend far beyond acting. With the release of his latest album, The Crux, under his musical alias Djo, Keery embarks on a bold sonic journey that pushes boundaries and redefines his artistic identity. This genre-blending record significantly evolved his music career, offering a vivid, emotionally resonant listening experience. Unlike many actors-turned-musicians who treat music as a side project, Keery has consistently demonstrated a genuine passion for sound and songwriting.
The Crux is not a vain effort—it’s a carefully crafted body of work showcasing his growth, ambition, and willingness to experiment. It builds on the psychedelic pop and indie rock foundation laid by his earlier releases, particularly 2019’s Twenty Twenty and 2022’s Decide, but goes further in scope and emotional depth. From the opening track, The Crux immerses listeners in a richly layered soundscape where analog synths, punchy basslines, and warped guitar riffs converge. It’s an album that feels retro and futuristic, drawing influence from 1970s psychedelia, 1980s new wave, and 2000s indie electronic—yet managing to sound entirely of the moment. In the article “Digital Cover Story: Djo on ‘The Crux” the author wrote, “This emotionally honest, communal spirit is what guides The Crux, which finds Keery dropping the proverbial mask for the first time since he released ‘Roddy,’ his first single as a solo artist.” Keery’s production choices are adventurous, balancing polished melodies with textured, sometimes gritty sonic elements that make the album feel alive.
Lyrically, The Crux dives into themes of identity, disillusionment, and the complexities of modern life. Keery reflects on fame, technology, self-awareness, and the search for meaning in a digitally saturated world. Tracks like “End of Beginning” and “Fool” highlight his introspective songwriting, revealing a vulnerability that resonates with listeners. He doesn’t shy away from expressing confusion, loneliness, or the pressure to evolve—feelings especially poignant in today’s cultural climate. What makes The Crux stand out is its refusal to conform. Keery creates songs that evolve organically rather than chasing trends or relying on formulaic pop structures.
Some tracks shift tone and tempo mid-way through, while others play with vocal effects and unconventional arrangements. This unpredictability keeps the album engaging from start to finish. Fans of artists like Tame Impala, Unknown Mortal Orchestra, and even Prince will find familiar sonic threads here, but Keery’s approach is distinctly his own. Critics have praised The Crux for its sonic ambition and emotional honesty. In the Rolling Stone article “Djo Is Anything but Basic on ‘The Crux’,” the author writes, “The album’s second single, ‘Delete Ya,’ kicks off with a Prince-like riff and breaks into a radio-friendly breakup groove reminiscent of the Police. “Oh god, I wish I could delete ya,” he croons in the breezy chorus, “’Cause nothing can compete with ya/I replenish and repeat ya/A /A heart excretes only one of us/Only one.” It’s a record that feels deeply personal while offering something universally relatable. Whether you’re drawn in by the infectious grooves, the dreamy synths, or the lyrical depth, there’s something in The Crux for every kind of listener. With this release, Joe Keery firmly establishes himself as a multi-hyphenate performer and a serious and innovative musician. The Crux is more than just an album—it’s a bold artistic statement, and a clear sign that Keery is only beginning to tap into the full potential of his musical voice.
