Djo is anything but basic
Album Review: Djo’s ‘The Crux’
Review: Joe Keery’s third album is his most experimental, personal and beautifully unique work so far.
Going from TV actor to musician is sometimes a slippery slope, but Joe Keery — known by the alias Djo — proves that anything is possible with a bit of risk. With 12 tracks on his third studio album, The Crux, Keery shows that he has mastered both rhymes and chords.
Keery may have gained fame by playing Steve Harrington on Stranger Things, but his musical alter ego couldn’t be further from “King Steve.” Gone is the high school jock with silky hair who woos the crowd with a smile and mostly cares about his popularity. Here, under his stage name, Keery longs to escape all the popularity and social media as he searches for his true self.
“Lonesome Is a State of Mind” is the perfect opener, telling the story of a repetitive and unfulfilling life. Keery reflects on how times are changing and his life has evolved, yet something is still missing. The track sets a solid narrative for the beginning of the album and stays grounded in alternative rock, beginning with a slow opener that gradually builds up to the chorus.
In “Basic Being Basic,” Keery critiques modern society and social media, yearning for genuine relationships. The song’s tongue-in-cheek lyrics and production reflect influences from LCD Soundsystem and Talking Heads. The follow-up track, “Link,” expresses a desire to escape stifling social norms. With an ’80s rock-inspired synth, it urges listeners to let go and dance freely.
“Potion” then offers a quiet break from the album’s previously production-heavy sound. It sounds more like a ballad, with the singer longing for someone who brings him comfort — a much-needed pause before Keery drops the album’s biggest hit.
If the line, “I wish I could delete ya,” isn’t stuck in your head by now, you’re one of the lucky ones. In the upbeat breakup song “Delete Ya,” Keery takes another jab at social media, exploring how it can damage relationships. Despite the lyrical subject matter, the infectious beat and catchy chorus make it hard to imagine Keery heartbroken — this one’s made for dancing. I’ll probably finish this review still singing that one line.
Once again, Keery refuses to settle into a single sound, continuing to experiment with production on “Egg” and “Fly.” The former is a self-deprecating anthem about body image, featuring snare-heavy production that gives the song an out-of-body feel. The latter leans into early 2000s English pop-rock, channeling heartbreak with a nod to Oasis’s “Don’t Look Back in Anger”: “I followed every winding road / And the path it took me to / No, I don’t look back in anger.”
The song “Charlie’s Garden” stands out as Keery’s most original track. It features a voicemail from Stranger Things co-star Charlie Heaton, who plays an American casting agent telling Keery to show up for work. But it’s not just the playful narrative that makes it shine — the track also evokes a Beatles-esque warmth, reminiscent of “Here Comes the Sun,” with its carefree vibe, focus on friendship and the joy of doing nothing at all.
On “Gap Tooth Smile,” Keery references Queen — “Freddie said it right, ‘cause she’s my killer queen” — while simultaneously channeling David Bowie. The song’s production and subject matter feel refreshing. In a world where Hollywood often presents façades, Keery embraces the imperfections that society may see as flaws and credits them as the very traits that drew him to someone.
“Golden Line” and “Back on You” are emotional closing tracks. The former is a slower ballad, enhanced by female vocals, in which Keery thanks a supportive figure in his life. The latter honors family and friends, featuring the Brooklyn Youth Chorus and his sisters. Both songs reflect that, despite his struggles, Keery is surrounded by a strong support system.
The last track, “Crux,” brings the album full circle. Keery reflects on the idea that suffering is necessary — that vulnerability is essential to truly feel and love. He admits he would probably do it all again. With its eerie, dreamlike production, the song loops listeners back to the album’s introspective beginning.
Djo and co-writer Adam Thein help establish Keery as a legitimate musician, not just an actor dabbling in sound. Drawing from influences like The Beatles, Queen, David Bowie, Oasis, Talking Heads and LCD Soundsystem, this project showcases an intriguing rising artist — and a potential producer in the making. While Steve Harrington is beloved on screen, Djo is carving out a space in your music library.