Friday, 07 January 2011 00:00
BY PAUL JOHN CAÑA
SOMETHING amazing happened on the morning of December 22. In the usual cacophony of voices that is the radio program of Mo Twister and his cohorts on radio station Magic 899, a musical guest managed to do the impossible: Silence the group with his music. At one point, co-host Grace Lee was so dumbstruck with the performance she was reduced to tears. The name of the artist who was in front of them? Johnoy Danao.
SOMETHING amazing happened on the morning of December 22. In the usual cacophony of voices that is the radio program of Mo Twister and his cohorts on radio station Magic 899, a musical guest managed to do the impossible: Silence the group with his music. At one point, co-host Grace Lee was so dumbstruck with the performance she was reduced to tears. The name of the artist who was in front of them? Johnoy Danao.
I did not catch the show live but managed to listen to the podcast a few days later. I’ve known Danao for years and was extremely thrilled to hear him sing live on a popular program on national radio. I also found the praise and adoration (bordering on worship) that Mo and his fellow DJ’s lavished on Danao amusing.
Anyone who is a regular in Quezon City’s live music haunts (‘70s Bistro, Conspiracy, Route 196) is no doubt familiar with the singer-songwriter. For those who don’t frequent these spots, though, as well as for folks whose musical diet is made up mostly of artists fed to them by the hype machine, Danao is the consummate troubadour.
The 30-something guitar man started out by playing the songs of folk and rock heroes like James Taylor and Eric Clapton in college at the University of the Philippines in the 90s. Getting together with friends, he co-founded Bridge, a pop-rock band popular with the collegiate and yuppie set for playing the music of contemporary guitar groups like the Dave Matthews Band, The Police, Hootie and The Blowfish and Pearl Jam. Danao and his band mates released three albums as Bridge. Their debut Piece of Paradise, released in 2000 produced the hit single “Stay” which gained airplay on rock radio station NU 107. In 2002, the band was even nominated in the NU Rock Awards for Best New Artist.
The band broke up in 2005 mainly because of scheduling conflicts. But Danao refused to turn his back on the music and continued to remain active in the bar scene—most nights with partner-in-crime and sesyonista ng bayan Kakoy Legaspi. He put his own spin to the songs of artists like Coldplay, U2, Sting, Jack Johnson and The Beatles. In 2010, his big project was to independently produce, record and release a collection of songs that takes him back to his folk roots, but still keeping it relevant for today’s fickle-minded music listeners. The result is the album called Dapithapon.
I think the reason Mo was so blown away is that he hasn’t heard anyone this talented live and up close in quite a while. And I suspect that goes with many of his listeners.
In Dapithapon, Danao strips down music to the barest minimum: Essentially, it’s just him and an acoustic guitar. While that could get droll and tiresome after a few songs, the musician keeps things interesting with his greatest gift: His voice.
For years he has been compared to many of his own idols and influences in music: Dave Matthews, Eddie Vedder, Darius Rucker. While the similarities are justified, somehow, his warm, sometimes gruff, often smooth, always engaging vocals are distinctly his own. He doesn’t belt nor even attempts to reach for those high notes as many singers do, but his delivery is never without emotion, bringing a rich extra layer to songs we’ve heard before but never quite delivered this way.
The album itself, with all-original material, skews towards sappy and saccharine at times, but is never clichéd and shallow. Carrier single “Ulan” bears traces of the Jack Johnson imprint: Perky, sunshiny pop on perpetually positive guitars about spending a rainy day indoors with a significant other. “Ikaw at Ako” goes full-on drama, a ballad about enduring love sure to become the next wedding anthem.
Danao also sings about nationalism and social issues, with a confidence that is neither insulting nor condescending.
Undoubtedly, Johnoy delivers what may yet be the best album you haven’t heard—and if there’s any justice in this world, the Mo Twister guesting should be the beginning of the phenomenal rise of a genuine talent.
Danao’s album Dapithapon is available from the artist himself. Contact him via facebook.com/johnoydanao or through mobile 0928-9336047.
___
E-mail Man on the Side at pjcana@gmail.com .
The 30-something guitar man started out by playing the songs of folk and rock heroes like James Taylor and Eric Clapton in college at the University of the Philippines in the 90s. Getting together with friends, he co-founded Bridge, a pop-rock band popular with the collegiate and yuppie set for playing the music of contemporary guitar groups like the Dave Matthews Band, The Police, Hootie and The Blowfish and Pearl Jam. Danao and his band mates released three albums as Bridge. Their debut Piece of Paradise, released in 2000 produced the hit single “Stay” which gained airplay on rock radio station NU 107. In 2002, the band was even nominated in the NU Rock Awards for Best New Artist.
The band broke up in 2005 mainly because of scheduling conflicts. But Danao refused to turn his back on the music and continued to remain active in the bar scene—most nights with partner-in-crime and sesyonista ng bayan Kakoy Legaspi. He put his own spin to the songs of artists like Coldplay, U2, Sting, Jack Johnson and The Beatles. In 2010, his big project was to independently produce, record and release a collection of songs that takes him back to his folk roots, but still keeping it relevant for today’s fickle-minded music listeners. The result is the album called Dapithapon.
I think the reason Mo was so blown away is that he hasn’t heard anyone this talented live and up close in quite a while. And I suspect that goes with many of his listeners.
In Dapithapon, Danao strips down music to the barest minimum: Essentially, it’s just him and an acoustic guitar. While that could get droll and tiresome after a few songs, the musician keeps things interesting with his greatest gift: His voice.
For years he has been compared to many of his own idols and influences in music: Dave Matthews, Eddie Vedder, Darius Rucker. While the similarities are justified, somehow, his warm, sometimes gruff, often smooth, always engaging vocals are distinctly his own. He doesn’t belt nor even attempts to reach for those high notes as many singers do, but his delivery is never without emotion, bringing a rich extra layer to songs we’ve heard before but never quite delivered this way.
The album itself, with all-original material, skews towards sappy and saccharine at times, but is never clichéd and shallow. Carrier single “Ulan” bears traces of the Jack Johnson imprint: Perky, sunshiny pop on perpetually positive guitars about spending a rainy day indoors with a significant other. “Ikaw at Ako” goes full-on drama, a ballad about enduring love sure to become the next wedding anthem.
Danao also sings about nationalism and social issues, with a confidence that is neither insulting nor condescending.
Undoubtedly, Johnoy delivers what may yet be the best album you haven’t heard—and if there’s any justice in this world, the Mo Twister guesting should be the beginning of the phenomenal rise of a genuine talent.
Danao’s album Dapithapon is available from the artist himself. Contact him via facebook.com/johnoydanao or through mobile 0928-9336047.
___
E-mail Man on the Side at pjcana@gmail.com .
