For over five decades, John Oates has been a driving force in popular music, initially as one half of the legendary duo Hall & Oates, and now as a dynamic solo artist. Responsible for a string of chart-topping hits throughout the 1980s, including iconic tracks like “Rich Girl,” “I Can’t Go For That (No Can Do),” “Private Eyes,” and “Maneater,” John Oates‘ musical journey is a testament to his enduring talent and adaptability. While Hall & Oates captivated audiences until recently, John Oates acknowledges that this chapter has naturally evolved, paving the way for an exciting and fulfilling solo career that allows him to explore his diverse musical passions.
Inducted into both the Rock and Roll Hall of Fame and the American Songwriters Hall of Fame, John Oates has garnered numerous accolades and Grammy nominations throughout his illustrious career. Today, he embraces a newfound creative freedom, crafting music that resonates deeply with his artistic vision, unburdened by external pressures. In 2023, John Oates embraced the digital age, releasing a series of singles online, showcasing his forward-thinking approach to music distribution. These standalone tracks, including the soulful “Pushin’ A Rock,” the introspective “Disconnected,” the blues-infused “Too Late To Break Your Fall,” and inventive covers like a reggae rendition of “Maneater,” alongside interpretations of Louis Armstrong’s “What a Wonderful World” and Timmy Thomas’s “Why Can’t We Live Together,” demonstrate his eclectic musical palette.
Beyond the studio, John Oates actively engages with fans through his vibrant Instagram account, offering glimpses into his recording sessions, collaborations with fellow musicians, and heartwarming moments with family, including his centenarian father. As the year progresses, John Oates is connecting directly with audiences through a series of intimate, sold-out performances across the United States. In candid conversations, John Oates provides insights into the essence of his solo shows, his current relationship with Daryl Hall, his move to Nashville, and his future musical endeavors, revealing a multifaceted artist who continues to evolve and inspire.
The Intimate Experience of a John Oates Solo Performance
John Oates‘ solo shows in 2023 are a deliberate departure from large-scale stadium concerts, offering audiences a raw and authentic musical experience. Stripping away the artifice often associated with arena performances, John Oates emphasizes genuine musicality and connection. “There’s no bells and whistles. There’s no Wizard of Oz behind the curtain,” John Oates explains. “What you see is what you get.” Armed with his acoustic guitar and vocals, John Oates creates an intimate atmosphere, accompanied by a percussionist, a long-time collaborator from the 1990s, and a cellist from Nashville, whose intuitive playing adds a unique dimension to the sound.
John Oates Performing Live
The essence of a John Oates solo show is a “musical time trip,” as he describes it. Beginning with songs from his childhood, learned from his mother, John Oates takes the audience on a journey through his musical influences and evolution. He emphasizes the rich history of music predating rock and roll, sharing stories and anecdotes that contextualize the songs he performs. “I think the unique thing about the show, and what I try to put across, is that I’m old enough to remember music before rock and roll,” John Oates reflects. “I don’t think that pop music started with rock and roll. It started way, way before that. And I talk a little bit about that.”
The setlist is a carefully curated blend of songs that have shaped John Oates as a musician, alongside his new original compositions. Naturally, acknowledging his legacy, John Oates includes some Hall & Oates hits, but firmly clarifies, “By no means is it a Hall and Oates show without Daryl by any stretch of the imagination. I want to make that very clear to people.” However, he notes that audience reception to his solo work has been overwhelmingly positive. “People come say, ‘I didn’t know what to expect, but I like what you do more than if felt like you had to play a hit here and there.’”
John Oates has discovered the power of storytelling in enhancing the audience’s appreciation of his music. By sharing the backstories and context of his songs, both new and old, he creates a deeper connection with listeners. “I found that by setting up the song with a backstory and putting the song into some sort of context, people hear the song as though they know it,” he observes. “It’s really an amazing thing. They hear a brand new song and even though they’ve never heard it before, because of the way I set it up, it appears familiar.” This approach allows John Oates to seamlessly integrate his new material into the setlist, avoiding the common pitfall of new songs alienating audiences at classic rock concerts. He feels a “professional responsibility” to acknowledge the hits that fans expect, particularly in a Hall & Oates setting, but his solo shows offer a different paradigm, a space for personal musical expression. “I think after 50 years, I’ve kind of earned that right,” John Oates states, highlighting his desire to explore different musical avenues after decades in the industry.
A Musical History Unveiled: From Early Singles to YouTube Discoveries
The accessibility of John Oates‘ early musical endeavors through platforms like YouTube provides a unique opportunity for fans to trace his artistic development. Before the formation of Hall & Oates, John Oates recorded and released singles with his early band, The Masters. These tracks, once obscure and confined to regional airplay, are now readily available, offering a fascinating glimpse into John Oates‘ formative years. “The first single (‘I Need Your Love’ by The Masters) was released locally in Philadelphia and never went beyond Philadelphia,” John Oates recounts. “It did get played on Philadelphia radio and, in fact, that’s how I met Daryl Hall.”
Daryl Hall was on a similar trajectory, leading his own group and releasing music that gained traction on Philadelphia radio. This shared experience created a point of connection when John Oates and Daryl Hall eventually met. “He was doing the exact same thing I was doing with his own group,” John Oates explains. “He had made a record that was being played on Philadelphia radio as well so we were aware of each other.” The serendipitous dissolution of their respective bands led them to collaborate, marking the beginning of the iconic partnership that would define their careers.
Embracing Life and Music in Nashville
John Oates‘ relocation to Nashville is not just a geographical shift, but a reflection of a broader life evolution and renewed focus on musical community. His active Instagram presence often portrays a vibrant and fulfilling life, prompting questions about his daily outlook. While he modestly refrains from proclaiming “Damn, it’s good to be John Oates” every morning, John Oates acknowledges the positive changes in his life. After five decades of relentless work with Daryl Hall, characterized by a cycle of writing, recording, and touring, John Oates reached a point where a shift in priorities became necessary. “I spent 50 years, literally 50 years, more than 50 years, believe it or not, working with Daryl Hall,” he reflects. “The early days of our career right through to the end of our career, really, has been nonstop.”
The intensity of their partnership left little room for personal life outside of music. “I had no life outside of what I did with Daryl and I was totally 100% focused on my professional music career,” John Oates explains. However, personal changes, including a divorce and shifts in management, prompted a reassessment. Moving to Colorado marked a turning point, leading to remarriage and a revised perspective on music’s role in his life. “Music became much more in perspective for me,” John Oates says. “It became part of my life and not the all-consuming thing that it was from the very beginning.”
The professional and personal paths of John Oates and Daryl Hall have diverged, signaling the end of their touring partnership. “Daryl and I are pretty much finished touring,” John Oates confirms. “I don’t foresee, and I never say never, but right now I don’t see any tours. And I think we both have grown apart professionally and personally.” This separation is not viewed with negativity, but rather as a natural progression. “I don’t want to sound like doom and gloom, but there’s a reality to being old, to being our age,” John Oates states. “I think Daryl and I feel the exact same way. As our life is winding down, we want to make up for lost time and do the things that we didn’t get a chance to do while we were working together.”
This new chapter in John Oates‘ career is marked by a remarkable acceptance of his solo work by audiences. “What makes me really, really happy is that people have accepted me as an independent musician,” he expresses. “It’s very rare that someone who’s part of a group that was as big as Daryl and I can actually break away and have people accept them.” The sold-out shows on his solo tour, regardless of venue size, underscore the quality and resonance of his current music.
Nashville’s vibrant music scene and community played a significant role in John Oates‘ decision to relocate. His initial visits to Nashville in the late 1990s, during a period of reduced touring with Hall & Oates, sparked a connection. “I started writing songs, started making friends and kept going back,” he recalls. He recognized the importance of immersing himself in the local music community. As an empty nester in the early 2000s, John Oates and his wife spent increasing amounts of time in Nashville, eventually establishing permanent residency. Proximity to family also factored into the decision, making Nashville a geographically convenient and artistically stimulating home base.
The Magic of Guitars and Mississippi John Hurt’s Legacy
John Oates‘ passion for guitars extends beyond their functional role as instruments; he perceives them as having distinct personalities and even “magic.” This deep appreciation is evident in his acquisition of Mississippi John Hurt’s 1963 Newport Folk Festival guitar, now on display at the Musical Instruments Museum in Phoenix, Arizona. “One of my guitars is on display there,” John Oates mentions. “The theme for this particular exhibit is American Roots and Legendary Roots Music Instruments.”
Mississippi John Hurt Guitar
His connection to this particular guitar is deeply personal. It was given to his guitar teacher and later rediscovered and purchased by John Oates. Intriguingly, John Oates played this very guitar on the first two Hall & Oates albums recorded at Atlantic Records, unknowingly channeling the spirit of Mississippi John Hurt into those early recordings. “It’s the actual guitar that I played on the first two Hall and Oates albums at Atlantic Records,” John Oates reveals. “I was playing Mississippi John Hurt’s guitar. So it was kind of bringing my rootsy history along to those recordings.”
Even without playing a guitar, John Oates can discern its potential and character simply by holding it. “Absolutely. Every guitar has a personality, and it could be the same guitar, same model guitar by the same manufacturer side by side and you can pick one up and then you pick up the other one and go, ‘Oh, this is the one,’” he explains. This intuitive sense, honed over years of playing, allows him to quickly assess a guitar’s suitability. His extensive guitar collection reflects a lifelong dedication to the instrument, with his wife ensuring that cherished guitars remain in his possession. Among his prized instruments is a 1958 Fender Stratocaster, a constant companion since 1974, readily recognizable in photos from his Hall & Oates era. While cherishing vintage instruments, John Oates also embraces new acquisitions, demonstrating a continuous engagement with the evolution of guitar craftsmanship.
Creative Freedom and Musical Exploration: Singles, ‘Folkesque,’ and Collaborations
Freed from the pressures of record labels and commercial expectations, John Oates now operates with complete creative autonomy. His recent output, including a series of digital singles and the forthcoming album Folkesque, showcases his willingness to experiment and explore diverse musical styles. “I just put out a series of singles,” John Oates explains. “I started last November. I did one almost every month for about seven months. And that was interesting, because it was the first time I’d ever done a purely digital release.” This foray into digital distribution was a deliberate learning experience, allowing him to navigate the contemporary music landscape.
The singles released are intentionally standalone pieces, not conceived as parts of a cohesive album. “Yeah, exactly, that’s exactly right,” John Oates confirms. “I just did songs I like.” This approach allows him to pursue diverse musical ideas without thematic constraints. His cover of “What a Wonderful World,” reimagined as an upbeat Philly R&B song, exemplifies this creative spirit. Inspired by a desire to create positive music during the COVID-19 pandemic, John Oates transformed the classic ballad into an uplifting and unconventional rendition.
His album Arkansas, released prior to Folkesque, delved into folksy and bluesy territories, contrasting with the pop-soul sound often associated with him. This project evolved organically from a studio session focused on Mississippi John Hurt songs. Initially intended as an EP of John Hurt covers, the project expanded into a broader exploration of early American popular music. “I had this weird thought, maybe it came to me in a dream, but I thought to myself, ‘I’ve never heard these songs done with a band,’” John Oates recounts. He assembled an eclectic band and reimagined John Hurt’s solo blues repertoire with full band arrangements. This led to exploring other music from the 1930s jukebox era, encompassing genres from Gene Autry to Jimmie Rodgers, resulting in an album that captured a snapshot of early American musical eclecticism through the lens of Mississippi John Hurt’s influence. The original song “Arkansas” emerged as a way to encapsulate the essence of this musical journey.
John Oates actively seeks collaborations with contemporary artists, demonstrating his ongoing engagement with the evolving music scene. His admiration for artists like Devon Gilfillian and The War and Treaty has led to collaborations and songwriting partnerships. Meeting Devon Gilfillian, a fellow Philadelphia native, sparked an immediate connection based on shared musical sensibilities and hometown roots. Similarly, his appreciation for The War and Treaty’s music has paved the way for future collaborations. He also recently co-wrote a song with AJ Croce, Jim Croce’s son, further expanding his network of musical partnerships. These collaborations reflect John Oates‘ desire to “spread my wings and try things with different people” and to “experiment and get into the musical mindset of other people.”
Touring in a Streamlined Style and Connecting with Audiences
John Oates‘ current tour dates represent a return to a more basic and intimate touring style, a stark contrast to the elaborate productions of stadium tours. “Oh, this is down and dirty,” John Oates describes his current touring setup. “We mostly fly unless it’s close enough to drive. We do rental cars. We fly, we grab an Uber, we do a rental car, go back to the hotel, sleep, get in a plane, go to the next show.” This streamlined approach eliminates the complexities of large-scale touring, focusing on the core elements of performance and audience connection. Without a road manager, equipment trucks, or road crew, John Oates and his small ensemble prioritize musicality and direct engagement with audiences.
Despite his iconic status, John Oates navigates public spaces with relative anonymity. While recognized in locations where his appearances are anticipated, he generally moves unnoticed in airports and public settings. “If I’m going to a place where people know I’m going to be, then I get recognized,” he notes. “If not, it’s not too bad. I’m short. I scoot around. People don’t see me.”
John Oates‘ ongoing musical journey is a testament to his enduring creativity and adaptability. From his iconic status in Hall & Oates to his thriving solo career, he continues to explore new musical avenues, connect with audiences in intimate settings, and inspire generations of musicians and fans alike. His commitment to musical authenticity, combined with a willingness to embrace new technologies and collaborations, ensures that John Oates remains a vital and relevant force in contemporary music.
John Oates 2023 Tour Dates
Nov. 1 – The Toby – Indianapolis, IN
Nov. 3 – SOPAC (South Orange Performing Arts Center) – South Orange, NJ
Nov. 4 – The Toby – Indianapolis, IN
Nov. 6 – Dakota – Minneapolis, MN
Nov. 9 – Lone Tree Arts Center – Lone Tree, CO
Nov. 10 – Musical Instrument Museum – Phoenix, AZ
Dec. 28 – Grand Mesa Arts & Events Center – Cedaredge, CO
