Beauty + Fashion
Ashley Joy Parker
The Unexpected Pop Star: elijah woods Talks New Music, Nostalgia & Galvanizing A Global Fanbase
- By: Ashley Joy Parker
- August 28, 2024
“I started writing songs and became the most true version of myself……”
By his own admission, multi-platinum artist elijah woods never intended to be a singer, let alone a pop star.
Mixing tracks since he was a kid, the Toronto-based musician initially found his sonic passion behind the scenes, honing his skills as a songwriter, producer, and recording engineer. However, just a few years ago, his journey took an unexpected turn when he began singing his own songs and stepping onto the stage as a live performer. This shift not only revealed new layers to elijah’s artistry but catapulted him into the spotlight. With unwavering authenticity and an inimitable commitment to his craft, elijah has emerged as one of music’s most exciting solo artists.
Audiences were first introduced to elijah in 2018 when he and his then-music partner appeared on the first season of the Canadian reality music competition series The Launch. Impressing the show’s celebrity mentors, including OneRepublic’s Ryan Tedder, the duo were crowned the winners and went on to release the multi-platinum single “Ain’t Easy.” After a four-year tenure with Big Machine Records, ” elijah was ready to take the reins and continue his artistic path on his own.
Now known for his wildly catchy melodies, vivid lyrics, and signature crisp, accessible production style, elijah has tapped into a distinct sound and swagger that is uniquely fresh yet ever evocative. In addition to being a sought-after collaborator—working with rising artists such as Jessia, 12AM, and Jutes—elijah has released three EPs, plus a steady stream of singles as an independent artist, including the viral hit “24/7, 365” and the hauntingly beautiful, “losing a friend.”
This summer, elijah dropped his latest single, “2 thousand 10.” Blending nostalgic pop soundscapes with early aughts rock undertones, “2 thousand 10” is a relatable anthem about longing for the magical simplicity of being a kid. Lyrically and sonically, the song captures the essence of youthful freedom.
“The song’s energetic undertone gives its pace and relatability to anyone who has ever wanted to relive their best childhood memories,” says elijah. “We had so much fun writing this song; I think that feeling is reflected in the final version.”
“2 thousand 10” comes hot on the heels of elijah’s sold-out Asia tour, which saw him headline shows in major markets like Hong Kong, Tokyo, and Singapore, open for Niall Horan in Jakarta, and perform at the Seoul Jazz Festival alongside acts like Lauv, Jeremy Zucker, and JP Saxe. Next, he’ll take the stage at Sommo Festival in his home country of Canada, sharing a lineup with the likes of Noah Khan, Maren Morris, The Beaches, and more.
Even on the cusp of worldwide stardom, elijah remains grounded, grateful, and eager to keep evolving. He’s currently putting the finishing touches on his highly-anticipated debut album—set to drop later this year—which he teases as his most fun yet personal project to date.
Loop recently caught up with the multi-talented artist, where he opened up about his unexpected journey from teen house DJ roots to pop music performer, plus his favorite nightlife cities, what inspired him to go blond, the hilarious way he deals with confused Lord Of The Rings fans and more. Check out our exclusive interview with elijah woods below.
Tell us your origin story as an artist. How does a little kid from Canada start mixing music?
As a kid, I was learning to use recording equipment pretty passively. My dad had bought an 8-track recorder with a digital workstation. We also had a drum kit, so I would record the drums, record my dad playing guitar, and then mix the sounds together. I had no idea what I was doing, but I knew it was fun. My dad also taught me to play the guitar at a young age. This all led me to start DJing at age 14. I grew up in a really small town and would DJ high school dances but turn them into raves. I would play the hardest EDM music I could find. People would also hire me for their private high-school parties. I’d rent a bunch of speakers and set up in bushes, playing rare deep cuts of Zedd or Avicii, all progressive house music. People ate it up, and it was so much fun. Then I thought I should remix this stuff and make it my own, which got me into production. As soon as I touched Ableton (the software I use to produce music), I was addicted. I went to college for physiotherapy and played basketball for six months before I dropped out. I knew I needed to be doing music. I never looked back from there. I got a gig ghost-producing music for DJs like Afrojack and a bunch of Swedish DJs. That eventually led me to pop music. I only started singing five years ago.
How has your signature sound evolved from your EDM DJ days?
It’s ever-evolving. That’s the story of me. I get bored of doing the same thing easily. Music is the one thing that I think you can’t “get good” at. Sure, there are music legends—like all my idols such as Fleetwood Mac and Post Malone, artists who are absolute masters of their craft—but you can never perfect anything or become so good that you stop making good stuff. That’s what’s so enticing about music. It’s like this drug that you can’t get enough of. I’ve been chasing that feeling for a long time. For a while, it was with dance music, then it was producing for other artists, and then I started writing songs and became the most true version of myself. I needed to sing my songs because nobody else wanted to. Other artists thought they were too personal. So, it was only by default that I evolved into a singer. I never grew up singing, but I’ve fallen face-first into it. It feels right, which is so funny because I never saw this coming.
Walk us through your songwriting process. Are you a lyrics-first artist, or do you usually begin by arranging a track?
Concept first, then melody, and then I fill in the lyrics. Most of the time, it starts with the guitar or the piano, and I figure out what’s there before deciding what’s worth arranging and producing. When I first started out, I made thousands of instrumentals that would never see the light of day because there were no songs there. They were just kind of cool vibes. Now, I’m the opposite. I don’t produce anything without vocals.
I’ve been so lucky to work with some of my idols, and I’ve learned a lot from watching them. It’s all about the song. For example, Ryan Tedder once said, “If the song’s not there, why are we working on it? Why are we trying to polish something that isn’t there?” I love that approach; we can polish this idea or know this vibe is as far as we can go. If you have an incredible initial idea, sometimes you only need an acoustic guitar or a piano to complete it. I admit that with my latest project, I threw that out the window for two or three really free-flowing songs that were less thought-out lyrically, emotionally, and arrangement-wise. I’m at a point with my songwriting where I can loosen up the reins a little, which is fun, but it’s still very much song first.
Now that you are involved in every aspect of your music—from writing to producing to arranging to singing—does that change how you hear the finished product?
I battle with that a lot. Coming from a dance music background, I always strive for perfection. I want everything to sound like a big manufactured Swedish pop song when, in reality, some of the best music isn’t so polished. It’s just real. As an artist, finding a sound and sticking to it is tough because I want to be all over the place, but the producer in me always wants to button it up.
But just that I get to make music every day is insane. I’ve been lucky enough to build a business and a brand that I’m proud of, and the fact that people are along for the ride is something I will never take for granted. There are so many talented artists, so many more talented artists than me, that it just doesn’t work out for. For whatever reason, it doesn’t relate, and it doesn’t connect, or it doesn’t translate. And for me, I’ve just hit this stride where people are seeing me for who I am, and that’s so rare. I’m very, very, very grateful.
Your new single, “2 thousand 10,” is super fun and loaded with nostalgia. What made you look back on that specific time period?
That era was my formative years of music, which stuck with me. I grew up on Paramore, blink 182, Limp Bizkit, Eminem, and all these artists who were more outcasts than some bigger pop acts. That describes me as a teenager, and I found a lot of solace in their rebellious spirit. A reintroduction to that music has helped me discover my own identity as an artist. Until this point, it’s been a journey to find myself as a singer and songwriter. Now, I have proof of concept, so let’s see how far I can push this and how realistic I can make it for myself.
You wrote “2 thousand 10” with a dope group of songwriters. How was the collaborative process?
“2 thousand 10” was one of the first sessions I did with Jack LaFrantz, who recently wrote “Beautiful Things” with Benson Boone. He’s an incredible writer and a wicked human. I also wrote it with his wife, Meg LaFrantz, Andrew Goldstein, who has worked with blink 182 and Anna Grande, and TMS, who did “Someone You Loved” by Lewis Capaldi. They are all legends. I was super intimidated to go into those sessions. I still don’t think of myself as a singer; I just like to make songs. We ended up having the best time. We wrote “2 thousand 10” in roughly seven minutes. First came the melody, and then I sang the chorus. We were on a roll with the “10” rhyme scheme, and I thought, “What if we just make it a nostalgic pop song?”
I’ve had a chaotic year, from losing one of my closest friends to career changes to moving and getting married. As we get older, everything gets magnified and becomes more complicated. Thinking back to 2010, at that age, everything seemed so prolific, when in reality, most things weren’t that serious. My life was very much still ahead of me. When I was writing “2 thousand 10,” I was reminiscing about the simplicity of life at that time.
While “2 thousand 10” is a nod to a more simplistic time, how does your upcoming album compare to your first E.P. in overall complexity?
It’s got its own layered depth. I’m excited about people’s reactions to it, but I’m not romantic about it. Of course, I want people to love it, but effectively, I made this music for me because I had to. All of it came out of me. My life experiences led me here. Like the most recent chapter of my life, I think this project is more mature and self-aware. That comes with the seasons of your life. I hate when artists are like, “Oh yeah, that album of mine sucked,” or “I don’t even relate to that anymore.” Of course, you don’t; you were a different person then. I can’t shit on any of the music I have made or released or talk about how great this album is because it’s just another season, another chapter of my life. I try to give myself permission to lean into that as a creative. I’m speaking like it’s some significant departure, but it’s not. They’re just really fun pop songs, but also very personal.
You really understand and lean into the power of social media, not only for cultivating a special relationship with your fans but also for introducing yourself as an artist to people who may come across your pages. How do you approach your online presence?
It changes all the time. You never know if something you post the night before will do well until the morning. But my intent is to show up and show up consistently. Although I’ve grown to love it, I never thought I’d be a live performing artist. My solo journey started online. It was Covid, and I was home with nothing else to do, so I figured I’d share some of my music on social media, and if people connect with it, great. I never expected what it would turn into. Now, I go through phases where I am so invested and dialed into the social media trends, ensuring that my content fits that format and I’m responding to every single comment. Then I go through these periods where I can’t even look at it that way. I’m fortunate to have a supportive team who say, “It’s cool if you want to take your foot off the gas for a moment; the ship doesn’t have to stop. We can keep this going as if you need time to write an album or tour or whatever.” But the important thing with social media is to be consistent, always show up and treat it like a job.
How have you navigated the transition from studio artist to live performer?
With gratitude. I love touring. It’s added this whole new dimension to my music. Going to these shows, seeing people’s faces as they sing my songs, and hearing what the music means to them is crazy. People have brought me gifts and cards with messages like, “Thank you so much; your song saved my life,” or, “My sister and I sing your song every time to remember our lost brother.” I can’t believe people care, and I’m so grateful for it. I can’t wait to give more because I want to show you how appreciative I am of that.
If someone says, “I’m going to my first elijah woods show tonight,” what can they expect?
I’ve always been hyper-focused on making sure that if you’re coming to a show, I’m personally saying hi and meeting people after. Obviously, as my shows get bigger, that’s becoming more difficult, but I still want everyone who comes out to share these songs and feel seen and appreciated for showing up. It’s been really cool to watch this sense of community grow and feel the acceptance, love, and positivity. In this next chapter, I’m excited to invest more in the live production and make sure every show is a larger-than-life experience. I want to elevate it every time. I’m just making stuff up, but maybe I’m learning how to do some choreo, or I’m hitting an unexpected high note. I never want you to see the same show twice.
You recently wrapped up a sold-out tour in Asia. How did it feel to be halfway around the world and be met with that kind of enthusiasm?
It was wild. I can’t believe my music can translate and transcend language and borders and find its way into places like China, which is its own secular world. I got news the other day that “2 thousand 10” is number 21 on the Chinese streaming services, which have something like 800 million users. I don’t even know how to comprehend things like that.
My biggest takeaway from the Asia tour is that we may have cultural differences, but our shared value of music is something to be remarked on. It’s wild to see how different human beings are, but it’s wilder to see how united we can all be when we like the same thing. Watching two people, like me and a girl from the Philippines, who seemingly have nothing in common but are suddenly connected through a song and emotions is so cool. This is what I love: bringing so many people together. I’m just astonished it can be with something I wrote.
You opened for Niall Horn in Jakarta. You two have similar career trajectories, having done reality competition shows as part of a group before navigating the industry as solo artists. Did you two connect over your parallel experiences?
I think we’re both very earnest. We’re not just machines perpetually turning out music in hopes of getting a reaction. I remember asking him, “Dude, how do you do this?” He responded, “Get ready. You’re going to be on the road forever, and you’re not going to know what city you’re in, but the important thing is to keep good people around, soak it all up, and really enjoy it.”
He’s a lovely human. I hadn’t met him before the tour, and I remember doing my soundcheck in this huge amphitheater that fit 12,000 people. It was totally empty, and I was facing the band, singing my songs. I remember turning around and seeing just one person in the stands. It was Nial, sitting in the third row, just jamming to my music. He came up afterward and said, “You sound so great. I’m so happy to have you here.” It was a full circle moment for me because, on January 1 of this year, I randomly wrote in my journal that I would open for one of the members of One Direction. At the time, I didn’t know what that meant. It was just a random life goal. On February 15, I got the call to join him. I’m a huge proponent of manifestation, just asking for the things you want and then putting them into action.
Who would you share the lineup with if you played your dream festival?
I’ll put myself first at, like, 2 p.m.; that way, I can vibe out and then go watch the other artists. Then I’d have Kasey Musgraves, followed by Paramore, then Post Malone, and then close out with Harry Styles.
And who would spin the afters?
Probably Diplo. He’s a true DJ. A lot of guys get up there, press play once, twist some knobs, and nothing happens. You can tell when a set is pre-programmed. But he’s actually playing, which is really cool. And maybe Fred Again. That would be a good sunset vibe.
Could you ever see yourself getting back into DJing?
I toy with it all the time, but let’s be honest, I hate staying up late. That lifestyle sucks. It’s funny to say, but I’m built for married life. I’m not the guy who’s going out until 4 a.m. and sleeping until 2 p.m.. I can’t do it anymore. I love getting up in the morning and feeling accomplished during the day. When I was DJing, it was kind of the only thing I could do, so it was a bit one-dimensional for me. And I found it really demanding. I watch the Loud Luxury guys, and they are crushing it, but their schedules, the planes, being around alcohol that much. Your body is just not your own at some point. But if I could have a residency….maybe.
Let’s talk about going out. What do your ideal Friday night plans look like?
There are two versions. My wife and I eat out a lot since we don’t love to cook, so we go on a few dates every week. Other than that, find a great pub with a good group of people, like five to eight friends, have some drinks there, then find a low-key bar after, maybe somewhere with live music. But I’m not a go-out-and-dance guy. You won’t see me at the club buying bottles. I’ve done enough of that.
Which cities have the best nightlife?
Montreal is pretty cool. It’s insane; even the shows there are wild. They are so energetic and so alive. Everyone is just down to have a good time. Even if you’re not dancing, everyone else is. Just don’t go in the winter; it’s freezing cold. I also love the south of France, like Marseille. It’s all very relaxed; you can smoke a cigarette and drink a bottle of wine on a patio, then walk two feet and do the exact same thing at another cute little place. Maybe that’s the bougie version of my ideal Friday night: bottles of rosé in the south of France—either that or finding a cute pub and getting like four pints of Guinness.
You share a very similar name with a particular famous actor. Have you ever encountered any mixups?
Oh yeah. It’s funny because I don’t think we look anything alike. Even height-wise, I’m 6’5”, and I think he’s 5’6″. One time, I was on an airplane wearing a hat and sunglasses, and the flight attendant who checked my passport was super, super nice to me. She later came over with three friends and asked if they could get a picture because they were huge fans of The Lord Of The Rings. I had to awkwardly explain to them that I wasn’t the famous actor Elijah Wood; I was the only marginally famous singer, elijah woods. Then she stopped talking to me and stopped bringing me water. She was so embarrassed. However, we may have still taken a photo after the flight. I can’t remember. I was too frazzled.
There is a lot of talk these days about artists and their “eras.” What era is elijah woods in right now?
This upcoming album sonically sounds like a coming-of-age type of thing. I’ve described it as rom-com pop rock, very early 2000s guitars with big pop melodies and a blend of easy listening. Think “Kiss Me” Sixpence: None the Richer energy or Mazy Star vibes with some of my own stuff thrown in there. It’s very Y2K, but not in the way Tate McRae would be. The way I’ve been describing the emotional state of this project is also how I can sum up this chapter in my life. It’s a quest for maturity and self-awareness, and asking lots of questions: Why am I here? What are the choices I make? What does it mean to be an adult, and what are the responsibilities and anxieties that come with that? I just got married and turned 30 this year, which is crazy. I don’t feel 30, but I also do. I’ve never been happier in my life. It’s the search for that and the positive reinforcement I get from my daily routine and the people around me.
The album starts with an existential crisis, asking what this next chapter means. It resolves by saying, “It’s okay because I’m human, and that’s just growing and learning.” It’s about constantly rediscovering yourself and your own seasons and eras.
You are also newly in your blonde era.
This album is the most fun project I’ve ever done. There are some really fun songs on it, and I think the blonde reflects that. It’s kind of subconscious. I actually haven’t said that aloud before. So I guess the takeaway is blondes do have more fun.
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Beauty + Fashion
Ashley Joy Parker
