JayWood – the nom de plume of Jeremy Haywood-Smith – is embracing new pastures having moved his music-making from Winnipeg, Manitoba to Montreal, and his new album Leo Negro chimes with a different tone as it looks to reconnect the self and grapple with one’s identity. Marking a moment of meaningful change where controlled chaos takes the lead, it philosophises on what it truly means to be an experimentalist building a multi-faceted world where genre is infinite through sounds braver, more playful, and truthful than he’s dared deliver before. Despite its astute sampling with layers of twists and turns, Leo Negro doesn’t showboat but roars in the presence of vulnerability as it considers one’s abso-lutes as a way of navigating the identity crisis. “Always looking for attention, I admit it, I can’t help it, I’m a Leo,” he reasons between vintage hip-hop scrubs Pistachios,’ recalling a childhood need to be the centre of attention then stepping out of the spotlight as a grown-up. “Leos are confident and sure about themselves, but this record isn’t that; so really, when translated, the title inspires‘black confidence.’ It’s an uncomfortable, weird, and surreal term which bends the truth and embodies everything within.”

Experimenting in both life and music, Leo Negro and its first cut, ‘Big Tings’ (feat.California, art-pop duo Tune-Yards) couldn’t be further from 2023’s Grow On EPand the previous year’s slick LP Slingshot. Moving with flow akin to D’Angelo with Toro Y Moi textures, its twinkling intro of whirling synth and playful approach circles back to Jeremy’s adolescence when he’d reverse, slow down, and speed up his favourite songs through the media player on his computer. Encouraged by his musical squad Will Grierson, Arthur Antony, Brett Ticzon, and enlisting his stylist and thrifter friends to capture the Leo Negro aesthetic, Jay-Wood’s big ‘in’ for 2025 is collaboration, with the tight-knit crew of likeminded musical colleagues captured in session photo grins beaming from his Instagram grid.