Newtown, Pa. native Jared Costa performs a 10:00 p.m. show at Philadelphia’s Tin Angel on Friday, May 15. The 27-year-old singer-songwriter recently released his debut CD, Onwards and Upwards, a collection of 12 well-written songs in the bluesy folk-rock vein.On Onwards and Upwards, Costa keeps the arrangements clean and straightforward, accompanying himself on acoustic guitar, harmonica, and an occasional keyboard. The style and instrumentation invite the inevitable comparisons to the work of Bob Dylan, Leonard Cohen, and Atlantic City-era Bruce Springsteen.
While those might seem like lofty comparisons for a first album, Costa’s work is up to the task. Costa succeeds specifically because he doesn’t try to sound like the “second coming” of any famous predecessor, concerned more with sounding like the first coming of Jared Costa.
For example, Costa’s “Love” talks about the subject in the broader sense, as it applies to “our fellow man”:“Well you can't look down on another man unless you intend on helping him up/And the Lord above says a window's always open whenever the door is shut/”
In a savvy move, Costa weaves a melody line from the classical piece “Canon In D” (the popular wedding ceremony choice) into the song to make his point. Costa’s music is further distinguished by his rich, soulful singing. On “Take It All” his voice glides smoothly from a deep whisper to an emotional wail; on “Love” it gets gritty and real.
Costa recently took the time to answer a few questions about his career and music.
Q: Your bio says that you played in a number of rock bands before deciding to go solo. Was that decision made primarily so that you can have more control over your music, or are there other things that appeal to you about the solo acoustic format?
A: It wasn't so much a conscious decision to go solo as it was a somewhat natural progression. I was always the primary songwriter in those bands. I would sit and write on my acoustic: putting together the melodies and arranging the music. Over time, I found I was accomplishing my vision for those songs as they were on my own - just the guitar and vocals. I do enjoy having the control and being able to really go in any direction I want to go with the music. I think the ability to really explore dynamics is what makes it so appealing. Energy and intimacy can be achieved all in a single transition.
Q: Is there anything you miss about the band format?
A: There are some aspects I miss and I may put some of my music into a band project in the future. In the meantime, I enjoy the positive aspects of a band with some of my very good friends in Crow vs. Lion, a band I play with that is fronted by longtime friend and amazing songwriter, Dan Gallagher. It gives me the opportunity to collaborate and to play several instruments: mandolin, banjo, guitar, keys, and harmonica. It's a lot of fun and gives me some ideas for my own music to be applied to a band dynamic.
Q: Your song “Love” incorporates a bit of the famous classical piece "Canon in D" by Pachelbel. Are you classically trained?
A: I am not trained in any way, actually. I taught myself how to play guitar, harmonica, and a few other instruments. Although, I do feel I am constantly taking things from those around me and I am very fortunate to have always had people around me that were willing to answer questions, give me guidance, or offer advice.
And of course, I enjoy music across the board. Classical music, in particular, has themes and melodies that really lend themselves to interpretation and imitation. "Canon in D" is certainly a favorite of mine and a great example of how I was influenced by and able to incorporate my appreciation for a classical piece into my own songwriting.
Q: What is the writing process like for you? Are you someone who has creative ideas all the time, or do you need to be in a certain mood to be able to write?
A: I try not to be too scientific about the creative process. You risk losing something if you become too rigid about something that I think has to come pretty natural. I am someone that tends to be creative throughout the day. So when I sit down to put pen to paper, I usually have a good idea about a concept or direction.
Q: Do you usually start out with lyrics or music first, or is it a mix?
A: I'd say most often I start with with music and melody based on a feeling or thought I'm having. Then, I put the lyrics to the melody. For me, it's rarely a finished product right away. A song usually needs to be explored and maybe even played live before it's completely finished. Even when a song is done, I'll play it differently on stage from time to time. In that respect, a song is always a work in progress.
Q: The music business has changed quite a bit in the years that I’ve been covering it. These days, artists can be discovered or build an audience through a variety of nontraditional methods, sites like Sonicbids and MySpace. However I still feel that the most direct, lasting, and purest method is still through live performance. Are there any performances of yours that remain particularly memorable?
A: I agree. Live performance is the most important avenue for connecting to your fans. For me, every show I do has something about it that is special to me.
One that stands out immediately is my recent CD release show at Puck in Doylestown, PA. It was just an experience I really cherished. I had some close friends and family there as well as some great folks coming to check it out. The venue really allows the artist to play to the room rather than at it.
Puck is one of the top sound stages I have ever played and the room has a great vibe. Things really clicked from the onset and I was able to hit an intensity and energy level that was exactly what every performer hopes to get out of playing a show. The audience was so responsive; I felt that I was actually just reciprocating their energy at times. And any time you get an encore call, you've done your job. It was the perfect way to celebrate the release of the album.
I could go on and on about many nights because there are so many that stand out. Honestly, every show I play has something memorable for me. I really do try to approach every show as a different entity. If you come out to see me on any given night, I am going to try to make it the best show I've ever played. It's more important that the show will be memorable for the audience and that's exactly my goal. (interview continues below video)
Here's Jarod Costa performing "No Revolution" / "All Along the Watchtower" live at Philadelphia's North Star Bar on December 2, 2008:
No Revolution/All Along the Watchtower-Live
Q: Along those lines, now that your music is available to the public, I was wondering if you’ve been surprised by how it’s been received. For example, have you ever had someone talk to you after a show about your music, or perhaps write to you and express an interpretation they had, or tell you how it affected them in a way that surprised you?
A: First of all, for me there is nothing better than someone coming up to me after a set, saying hello, telling me what they think, and just hanging out. Live performance is the apex of the creative experience. It's the fruition of the whole songwriting process. Not to say recording isn't important or fulfilling, but playing live gives you the connectivity and excitement that you can't replicate any other way. You can really emote what the song was intended for.
I have had a few interpretations and some feedback that struck a chord with me. Feedback from the record is important as well. I put a lot of time and effort into this album and not just because this is my first album, but because anything I do musically represents the best of me.
Origivation Magazine said the album was "iconic" in a recent issue. That was a huge compliment and an honor. I had someone call a song on the album inspiring and say it touched them profoundly. And I always enjoy listening to someone's interpretation of a song. I believe that interpretation is how people participate in the art of music. It's the experience coming full circle. In that way, it's as necessary as anything else in the songwriting process. It makes the artist and listener connect to create something special together.
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