It’s been five years since Jon Bryant last released a full-length album, but today, the Vancouver-based singer, songwriter, and multi-instrumentalist returns with “Therapy Notes”—a body of work as intimate and revealing as its title suggests. Released via Nettwerk Music Group, “Therapy Notes” is a raw and introspective collection that channels the emotional depth of a therapy session. Bryant invites listeners to explore the highs and lows of his mental landscape over the past half-decade, from heartbreak and grief to growth and acceptance. With over 100 million global streams and a reputation for emotionally resonant songwriting, Jon continues to push boundaries both sonically and personally.
Throughout his career, Jon has never stayed in one lane. His previous albums have demonstrated a fearless approach to storytelling and genre experimentation, and “Therapy Notes” is no exception. Songs like “Visiting Hours” and “Hibernation” take listeners deep into moments of profound reflection, while collaborations with girlhouse and Bre Kennedy on “I Wanna Die In LA” and “Corner Of The Universe” add new textures and voices to Jon’s sonic journey.
Off the stage, Jon has also carved out a space for himself in film and television, appearing in hit series like Riverdale, Big Sky, and Arrow, and most recently voicing Bitores Mendez in the Resident Evil 4 remake.
With a Canadian headline tour kicking off April 23rd, Jon Bryant is ready to bring the cathartic energy of “Therapy Notes” to the stage. It’s his most personal and powerful work to date, a testament to music as both mirror and medicine. We had the chance to chat with Jon Bryant, who shared the details of his new album and tour, giving us a deeper look into the stories, emotions, and revelations behind “Therapy Notes.”
“Therapy Notes” is such a powerful title. At what point in the creative process did you realize this album was taking on the role of a therapy session for you?
I think I first noticed it when I wrote the best part, which, for what it’s worth, is my unfiltered subconscious thought vomit in song form. I was about halfway through writing the album when it dawned on me that each song acts as a showcase for my mental health over the past 5 years. Each song feels like a confession or exhibit of my intimate thoughts and feelings.
Your sound blends indie rock, pop, and acoustic textures with emotionally raw lyrics. How do you strike that balance between sonic experimentation and lyrical vulnerability?
I write what’s interesting to me. That has definitely changed over the years, but I’ve always sought to maintain an honesty about my work and lyrics. I try to avoid repeating the same thing over and over again because “it worked”. Which may have hurt me in the end, seeing how Lord Algo rewards those who stick to their lanes, so to speak.
“I Wanna Die In LA” and “Corner Of The Universe” both feature guest artists. What drew you to collaborate with girlhouse and Bre Kennedy on these particular songs?
Both of those artists are dear friends, and I was lucky to have them on the tracks. They added so much to the songs as songwriters, but it felt full circle for their beautiful voices to be featured as well.
It’s been five years since your last full-length album. How have your perspectives on songwriting or the music industry shifted during that time?
It’s SUCH a different industry. Lots of pros and some cons. The pro that sticks out the most is how artists can grow a fanbase so easily through a little smart marketing and advertising, and for free. Everyone has a phone, and everyone is looking at it 100 times a day. And the fact that I can just make a video and it blows up and be seen by a myriad of people who would have never heard my music otherwise is bananas. I’ve become such an advocate for TikTok as of late and see it as the future for musicians. I have developed a pretty solid fan base of supporters who are helping me fund my upcoming Canada tour through my Amazon wishlist, giving monetary gifts, and even going to the point of sponsoring other fans who can’t afford a ticket to my shows.
You’ve had success not just as a musician but also as an actor, even voicing a character in Resident Evil 4. Does your acting ever influence your songwriting—or vice versa?
Haha, I think my expression and creativity flow into both art forms, and I suppose some of my music has been influenced by the acting. As actors, we go to some pretty dark places and allow raw emotions and feelings to run free. And it’s encouraged. Lol. As a soft-spoken songwriter, I think acting has helped me become more bold and use my voice in new and interesting ways.
There’s a quiet strength in tracks like “Visiting Hours” and “Hibernation.” Can you share a bit about the emotional landscape behind those songs?
Ya, Visiting Hours was a song that I wrote after finding out some sad news. I was in LA working on new music and doing co-writes. One day, I sat down for dinner, put my phone away, and when I went to check it 20 minutes later, I had received hundreds of messages from so many people on IG telling me to watch a video. It was a doctor telling a story about a friend of his who hosts house concerts and unfortunately has stage 4 terminal cancer. She had a bucket list of artists she would like to have come to play, some of which were Allison Krauss, Bob Dylan, and Ben Folds. Then I scroll down, and my name is in there. So the next day, I get to my session, and we write visiting hours about how all of our connections and relationships in life are composed of hours, days, weeks, months, and years. That time is always decreasing. Years and months turn to weeks turn to days turn to hours, minutes & seconds. It’s a difficult thought to sit in, but I think it’s important as an artist to go to those uncomfortable places. Places where time is our most valuable resource. Long story short, in the end, I did play the house concert, but only 2 days after the woman with cancer had passed. It was a beautiful concert, and I got to play for her husband and two young daughters. Wasn’t a dry eye in the room.
Your music often captures a sense of evolution and self-discovery in real time. When you look back on creating this new record, what aspect of your growth stands out the most to you?
I think the acceptance that I am growing but not changing. The things I wish I could change are not going to change. I’ll always be the same old me, and that’s a good thing. I can work with that. 🙂 And that I’m not young anymore. I’m old, and that’s ok too. 
Photos: Bree Woodill
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