A new chapter, a new creative vision. JP Cooper is stepping into independence with six billion streams behind him, a wealth of experience under his belt and, by his own admission, a desire to enter the most creative stage of his life. Joining him in that next chapter is creative director Kyle, whose work with HAUS OF THRILLS has seen him blur the boundaries between art, culture and immersive experience.

We caught up with JP and Kyle Wilkinson to ask about creative freedom, the changing relationship between artists and the music industry, and the importance of building a world around a song. From JP’s reflections on success, collaboration and his Manchester roots to Kyle’s approach to visual storytelling, the pair share their thoughts on creativity, independence and what comes next.

Kyle questions:

You’ve worked across art, culture and immersive experiences through HAUS OF THRILLS. What have you learned from those worlds that you’re bringing into music for the first time?

“Art, culture and music have always shared a natural connection. For the last few years, I’ve been working closely with multiple creative studios and the move into music feels like a really natural progression for HAUS OF THRILLS.

“The approach into music remains synonymous with HAUS OF THRILLS’ art, rooted in bold ideas, storytelling and creating a world that audiences can genuinely engage with. For me, it’s about looking beyond an individual piece of art or a single song, it’s about telling a wider visual story and creating a world around the music that people can connect with and become part of. That’s something I’ve always explored through HAUS OF THRILLS, and I’m excited to bring that same thinking into music.”

This is your first role as a Creative Director for a musician. What drew you to working in music, and why did JP Cooper feel like the right artist to make that move with?

“Music has always been something I’ve felt closely connected to, particularly the way it can tell honest stories and create a strong emotional connection. Musicians are something I've always looked up to and as soon as I was introduced to JP, the connection and mutual understanding was instant.

“He has a real authenticity to what he does, and this new independent chapter gives us the freedom to explore that creatively. The aim isn’t to reinvent who JP is, but to build on what already makes him unique and create something that feels true to where he is now.”

What do you think visual direction can add to a piece of music that the music alone can’t communicate?

“Visuals can give people another way into a song. Music can make you feel something and visual direction can build on that emotion, give it context and create a world for people to step into and really resonate with. It’s about extending the artistic elements of music, adding another dimension to what you hear and making sure the visual story feels like a natural extension of the music, rather than something separate from it.”

JP questions:

You've just left a major label to go independent. In the past, signing a major label deal was the ultimate dream for many musicians. Do you think times are changing in terms of how artists can release music independently?

“It has never been easier to create and release music. I grew up in a time when everybody thought that the record deal was the beginning of your career and in a lot of ways for me, it was. I didn't have a huge network around me and I didn't have the funds myself to put into my projects so I had built a creative network, but I did not have anyone to help me with the promotion of my music. I think It is definitely a big deal for artists when they sign a record deal - It  all of a sudden feels like they finally have a real job. I think this is a stigma that I know a lot of my friends shared back in the day. Family friends asking, “how's the music going?” Half of the time feeling like you were never really taken seriously.

“Times are definitely changing. I think there are many, many different ways of reaching your audience. The bar has been raised because there are so many people making art and making great art. The important thing is your own connection. “

You’ve mentioned that being independent gives you more freedom. Can you expand on what that looks like for you creatively and as an artist?

“The thing that changes is you. At a label you consistently need to convince a team that you are worth their time because these days people at record labels are stretched and are working on multiple different releases. There's a lot of people releasing music now and making great music. So you need to work collaboratively and you have to understand that major record labels can do certain things very well, but there's no point in giving them work that doesn't really align with what they do.

“I think a big thing for me was most record labels are taking huge cuts out of your profits. I was in a 80-20 deal with them and that was after I'd paid back what I'd spent on the record.

“I’m a dad of three and I’ve got a wife and a family to support, so I have overheads. For me, creating music that I can actually live off changes the pressure I feel. It can affect the kind of music you make.

“I’m still yet to release anything as an independent artist, but there’s something really reassuring about knowing that, even if it doesn’t reach the masses, it finds the right people. If I can keep the lights on and fund the next project, then that’s enough for me. And really, that’s all I care about.”

You have a catalogue with over six billion streams, which is a huge achievement. How does it feel to reflect on that success?

“It's really hard to grasp that each one of those numbers is somebody listening to it. And don't get me wrong, people may have listened to them many, many times, but it's a moment that somebody shared with that song, especially the people that keep coming back to the songs and share it with friends.

“The only time that you really truly can even begin to understand how special that is, is when you do shows and you see people crying on the front row or hugging their best friend or their dad or their mom. Seeing something in their eyes, that light, that magic, that's when it's like, wow, this is a gift that I get to do this.

“Numbers are great, but it’s about the depth behind those numbers and how far they go, and how they touch the core of people. There are some people who may have listened to those songs passively, but there are people who have listened very deeply, and for whom the music has become part of their story. Whenever I’m reminded of that, whether it’s through tears at a show or a conversation backstage, it’s a really beautiful thing.”

Coming from Manchester, how do you feel about the local music scene and the artists emerging from the city?

“I’m not currently living in Manchester, but when I grew up there, it was an incredible place to be an artist.

“There were rehearsal spaces, independent venues and the competition was healthy. There were so many people making music and everyone wanted to be in the best band. For me, there was an amazing culture of art and of music. Manchester was a melting pot of that. I was so lucky to be able to sing in a rock band whilst also singing in a gospel choir, working on tracks with dance artists and lots of different things. I was surrounded by amazing talent. Then you had universities and music colleges on our doorstep, so I was lucky enough to meet people from them and work out string arrangements with them — all while I was working in a bar.

“In terms of the talent that’s coming out of Manchester now, my ear isn’t quite as close to the ground these days. Again, being a father and a husband, it’s hard to actually get out and see music. But I know there are great, great artists coming out of there.”

Earlier this year, you collaborated with Gabrielle. How did that collaboration come about?

“I’d written a song for my last album, Just a Few Folk. It was kind of a breakup song and strangely enough, I really felt like there was a strong chance that this was going to be the end of my major-label journey.

“I thought it would be nice to do something on the album with an artist who was a voice from my childhood. I can remember Gabrielle on the radio. So we reached out. I had already met Gabrielle briefly at a festival in Switzerland, and she had been very complimentary.

“I just thought she had a very understated voice but she could tell a story beautifully and honestly. I reached out and she said yes, which was amazing. I look forward to more doors opening for me to create and collaborate with more people who I have crazy respect for.”

Now that you’re independent, can we expect any changes in your sound or explore any different musical styles?

“I think now that I’m independent, I can — well, first of all, I can do what I want. Now I can dip into different pools of talent, different sounds and different things. I can get excited by something. I can go down a rabbit hole. I can come out with something. And this is what creatives do. Our brains are like pinball machines, and I have to catch something while there’s excitement there.

“Yes, certain things might not work out the way that I first expected them to, but I trust the team that I’m building. I really want to keep this excitement because if you’re excited about your work, amazing, amazing things happen.”

Are you currently working on any new material, and what can fans expect from your upcoming releases?

“Yes, I’m working on a lot of new material. I’m obsessed with this. I’m constantly thinking about making stuff, and my brain lights up.

“The first thing that I want to do is go back and revisit some old music that I didn’t really feel got the time of day. I think it’s really, really important that I go back to that place and reconcile with myself.

“But at the same time, I’m creating new music. I’ve started a little side project under a different name that is still under wraps. Sonically, it’s completely different, and that’s just a different outlet that I want to explore.

“Now that I have a few albums under my belt, I understand how to turn those ideas into projects. I have lots of open tabs on my desktop that I’m just dropping ideas into.

I feel like I’m about to enter the most creative stage of my life.”

Have you got any upcoming shows, appearances, or live plans you can tell us about?

“I have nothing for now. I wanted to take this year to build — to figure out the best way that I can communicate with the people who love what I do and the best way that I can deliver my best work. I wanted to take a step back and really look at who I am, what my values are and what lights me up, and basically get my ducks in a row.

“Next year, I’m planning on coming with new energy and creating more live experiences than just your typical show. I’m trying to think of ways that we can create more connection and change up this idea of what a live show looks like, because I’ve been doing the same thing for many, many years.

“I’m lucky enough to have met some amazing people who are helping me with that. So this year is about building. Next year is about sharing.”

You’ve already collaborated with a lot of incredible artists. Is there anyone else you’d love to work with in the future?

“Right now, I’m really focusing on me and the things that light me up. If there are things that align, or artists who come into my world and add more light to that room, then I am open to it.

“I’ve always loved collaborating, and I’m excited to collaborate on things that aren’t necessarily just musical as well. My dream collaboration, it’s a question that a lot of people get asked, and I don’t really spend too much time thinking about it these days. I think I’m just so focused on one thing at a time, one song at a time, even though my mind is bouncing all over the place.

“I’m excited for the doors that will open, the opportunities that will happen and the people who are coming into my life.”

You effortlessly bridge the gap between acoustic folk and massive electronic or grime tracks. When you are writing a hook for a collaboration versus writing a solo track for yourself, does your core approach to melody change at all, or is a good song just a good song?

“A lot of the time when we talk about grime or electronic tracks, these have been collaborative tracks. Most of the time, there’s been a reason why I’ve been brought in to do that. When you’re doing that, you have to honour the person you’re working with, honour the space that they live in and try to find somewhere that you can inject a little bit of your DNA into that space.

“That’s the way I look at it. I don’t write completely freely. I’m not completely selfish in that way. I’m trying to serve, and a lot of creative music for me is about being a servant — serving the song, the artist or the listener.

“Sometimes it’s self-serving because it’s something that I just need to get out, and I think with my own songs it is that. When it comes to collaboration, it definitely isn’t.

“When I was writing songs like Perfect Strangers, I didn’t expect that I would be singing that song. But It was a service to Jonas Blue — understanding his market and understanding what he wanted to get out of the song.

“It’s very, very different when I’m on my own and I’m sitting at the piano or the guitar. All I’m serving is my own dopamine. I’m chasing what feels good, or what hurts in the best possible way.

“The two live in very different worlds. Every now and again, there’s this beautiful overlap where everything gets served, and it’s incredible. It’s hard to come by, but I’m excited for more of those moments.”

Are there any newer artists on the scene at the moment that you’re really enjoying or keeping an eye on?

“There are so many. I went to The Great Escape Festival in Brighton this last summer and there was just so much talent. It’s incredible. Humans are amazing. It’s hard to pick any stand out people yet. There are people who have broken through and are having a moment now.

“Obviously, the woman of the hour is Olivia Dean but there’s so much more talent. It blows my mind, and I really hope all of these people can have their moment in the sunshine and get their flowers.

“There’s a girl called Joes — her Instagram is @joesintheriver. She’s put out a few songs I’ve thought are incredible. She’s a really interesting artist. Her performances are really fresh, really honest and funny. She’s somebody who I think could be huge. I’ve reached out to her and hopefully we’re going to do a bit of writing in the future. “

Looking back on your journey so far, what’s been the biggest lesson you’ve learned about the music industry?

 “When we talk about the music industry, my mind goes to the one per cent: the massive record labels, the global companies, the people who take up all the space in the room. But there are beautiful little corners of the industry, and I’m excited to explore that.

“The larger part of the industry, and the part that takes up the most room, is serving people with money at the top — people who invest and people who own a lot of the companies.

“Now, I’m not a politician and I’m not so clued up on a lot of this, but the music industry should be an industry that serves the artist and serves the listener.

“In a lot of ways, it does do that. There are a lot of places where it does. I’ve felt supported at times in my career, and there have also been times when I haven’t felt supported. I’m sure that’s the same for everybody in the industry, and I’m sure it’s similar in many other industries. For me, it’s about asking: How do I separate my creative mind from the music industry when I’m creating?

“That’s the key. The less time you spend around a boardroom table trying to convince somebody that your work is worth listening to, the more freedom there is.”

After everything you’ve achieved so far, what are the goals or ambitions you’re still chasing as an artist?

“My biggest goal right now is to set up the factory. I want to create the least friction between an idea and the realisation of that idea. I want to figure out the best way for me to get the best out of myself.

“I want to be able to get up in the morning, dream up ideas, put the team together, make something amazing, put it out into the world, learn from it and start again. And do that over and over.

“The music is going to do what the music’s going to do. It’s going to reach who it’s going to reach, in the way that it’s meant to reach them.

“For me, the joy is in the process. Right now, my biggest goals and ambitions are about refining that process and letting the outcome be what it is.”

Author: Andrew Braithwaite

Andrew is the founder and chief editor of Music Talkers. He's also a keen music enthusiast and plays the guitar.