Biography
Joe May
Joe May, is a songwriter and producer equally inspired and inhibited by humor, heart, and self-awareness, dissecting his journey through life with laughter and quiet vulnerability. His forthcoming studio project, Mild Adversity & Shallow Heartbreaks, is a testament to this craft—a house of mirrors that reflects both the sincerity of its creator and the playful wink of someone who doesn’t take himself too seriously. Rooted in the smooth, sunlit sounds of ‘70s west coast pop and filtered through May’s sharp wit, it’s an album that revels in its detail and intention while never losing sight of the impermanence of it all.
For May, a Brazilian-born, North Carolina-based artist, music is not merely an escape or a statement; it’s a way of processing the messy contradictions of life itself. Inspired by the sonic worlds of smooth rock legends like Wings and Steely Dan, Mild Adversity & Shallow Heartbreaks (MASH) blends warm brass counterpoint, tight arrangements, and a sense of grandeur with his sly humor. “You can be silly AND methodical,” May says. “This project was about letting others in, working everything out as we went, and finding joy even in the goofiest corners of music.”
Collaboration and community serve as the guiding stars of MASH. While Joe wore countless hats on this project—writing, performing, producing, mixing – he intentionally opened the doors of his creative world to others. After his touring band, Pluto Gang, went into hiatus, May found himself grappling with a period of personal upheaval—reshaping his voice against the backdrop of deeper self-discovery and a newfound appreciation for collaboration. “I’ve done the thing where it’s just me in my room making demos,” he says. “It’s so much better when I just let people in.”
Starting over in Charlotte, May began attending open mics and hosting private jam sessions in his home studio, Alta Mira Studios, curating a band made up of like-minded musicians who clicked both musically and socially. “When I saw that everyone in the final ensemble was looking for similar experiences and really enjoying the lighthearted collectivism of this new project, I knew we had something special.”
Designed from the ground up with a collection of analog gear, Alta Mira was the heart of the album's creation. “I built the studio around many of my favorite pieces of classic American and British analog audio gear. If I want it to sound like my favorite classic records, I should use the same tools as them, right?” explains May. “Also, doing my own recording and mixing is just a great match for my control complex – I need to be able to rerecord parts or make mix changes the instant new ideas arise.”
The studio has since become a resource for the local music scene, as May often works with other regional artists to record, mix, and produce their projects. “I love producing other people, and I’m so flattered by how many clients let me into their creative process to hear my suggestions on how to evolve the songs – if I’m being honest, I’d rather be producing full time than on the road nonstop” he adds.
On the stage, Joe’s dynamic live presence transforms his songs into an electric, communal experience. He draws audiences in with his magnetic energy and commanding, yet approachable style. Whether he’s hosting a high-energy dance party with his band or weaving stories between songs, May’s performances are as much about connection as they are about sound.
He has captivated audiences at festivals like Shakori Hills Grassroots Fest, Mental Awakening, and Front Porch Fest, where his performances showcase a balance of ambitious musicianship and infectious playfulness. May’s ability to bring people together has grown, opening for Spafford at The Neighborhood Theatre, and headlining shows at classic venues like the Visulite Theatre—including an album release show on 5/16/25 with The Psycodelics, reflecting his rising prominence within the regional scene.
Collaboration continues to shine through the album’s vibrant arrangements, particularly in its horns. Handled by North Carolina’s own Brad Wilcox—a veteran who’s performed with the likes of Aretha Franklin, The O’Jays, and The Temptations—the horn section is grounded in both precision and soul. “When I heard Brad’s horn arrangements for the first time I knew it had to be him. May says. “The shock, to me, came when he actually responded to my email. He arranged all the horn parts, brought in his crew of long-time collaborators, and we tracked all the parts as a live horn section. He’s become a great mentor throughout the process; I had never recorded or mixed horns before.”
The rhythmic buzz emanating through the streets of Rio de Janeiro flows deep through Joe May's musical DNA, a reflection of his childhood years in Brazil. “I spent my youngest years back in Rio, watching concerts from my dad's shoulders,” May recalls. With a mother ingrained in Brazilian culture and a father heavily influenced by Latin and jazz percussion, Joe’s musical upbringing is steeped in the vibrant melodies and rhythms of his heritage.
This influence is evident in MASH, enriched by the melodic sensibilities and brass textures reminiscent of Brazilian greats like Tim Maia, Ed Motta, and Seu Jorge. “Brazil has had so many great waves of killer pop rock with horns,” he says, pointing to how distinct cultural movements have shaped his sonic palette.
The album cover itself pays homage to Brazilian art, blending references to Tropicalia, the groundbreaking musical movement of the late ‘60s, and the Semana de Arte Moderna de 1922, a seminal gathering of Brazilian modernists. “Being raised on both American and Brazilian music shaped how I hear arrangements and approach production,” May explains.
MASH mulls life’s everyday contradictions with a humanistic touch, channeling the vision of one of his greatest influences, Kurt Vonnegut. “Vonnegut rejected nihilism; in my world, everything matters,” May explains. The first single, Ignoring the Feeling, is a buoyant track that balances optimism with meditations on liberation and choice. May asks how one can “go outside and create your own destiny,” and simultaneously, “Why can’t you love me?”
On its surface, MASH embraces levity, leaning into Joe’s penchant for tongue-in-cheek storytelling; but the deeper you dig, the more you find its foundation rooted in emotional vulnerability and discovery. Tracks like Vitamin D in the Shade shed any protective irony, offering one of the album's most earnest moments, exploring identity and belonging. “I wanna gather the town and then just sit around. That’s okay” May sings, revealing fears of solitude while seeking solace in connection. “I was just scared when I wrote that,” Joe confesses, “There’s no satire in it—just me trying to find some sense of grounding.” It’s an anthem of quiet resilience and self-discovery, sung with the honesty of someone finding their way in real time.
The album’s humor is never far, though. “It’s about laughing at experience,” he notes. “It pokes fun at my first record, but it also makes fun of how seriously I commit to this whole grand vision…
Through it all, Joe May exudes an effortless charm, even in the face of life’s mild adversities and shallow heartbreaks. Therein lies his magic. His music doesn't ask you to leave your troubles behind—it invites you to laugh with them, sit awhile, and find hope within. “I believe our best days are still ahead of us,” he says, a sentiment that not only threads through the album but also defines Joe’s own artistic arc.
- Greg Knight, 2025
Press:
3/3/25 - Grateful Web: JOE MAY UNVEILS FUNK-INFUSED SINGLE, “HALFWAY TO THE EDGE”
2/1/25 - Queen City Music Podcast: E83 - Joe May, Independent Artist
1/16/25 - Grateful Web: JOE MAY UNLEASHES NEW STUDIO SINGLE, “IGNORING THE FEELING”
12/6/23 - MonkeyGoose Magazine: Joe May’s Month of Mondays and Spafford at The Neighborhood Theatre 11.30.23
03/11/23 - Illustrate Magazine: Joe May released remarkable new song 'Light Undetected'
04/19/21 - We Move Through Stormy Weather Podcast: scents & subtle sounds with Joe
11/26/20 - The Sound Podcast: podcast with Joe