Max Jury is an American singer-songwriter from Des Moines, Iowa, now based in Raleigh, North Carolina. Over the last decade, he has quietly built a body of work that shows how songwriting can evolve while staying true to a voice that is unmistakably his own.
He first came to wider attention in 2016 with the single “Numb”. The song resonated with listeners around the world and was later featured in the film Me Before You. His self-titled debut album followed, placing him in the company of young songwriters whose work found equal footing in both folk and soul traditions.
In 2019, he released his second album, Modern World, produced by Grammy-nominated Robin Hannibal. It showed an artist more willing to stretch his sound, still husky in vocals and intimate in tone, but with a stronger pop sensibility and smoother production. Two years later came The Shade and the Grass (2021), an EP that leaned into atmospheric ballads and reflective songwriting, marking a bridge between the early work and the more expansive sound of his third album. Together, these releases sketched out the foundations of his craft and set the stage for a fuller realisation of his craft.
That realisation came in 2023 with Avenues. Written and shaped in the early months of the pandemic, often in the solitude of a home studio, the album has the ease of something lived in. Its lead single, “Peace of Mind”, was produced by Dan Rothman of London Grammar, and the record as a whole carries a warmth and introspection that feel like both a new beginning and a reflection. Avenues blends soulful indie pop with hints of Americana and classic singer-songwriter influences, landing somewhere between folk-tinged storytelling and the melodic directness of 70s soft rock. For me, it stands as his most complete and most honest work to date, because every song feels unguarded, like he let the music carry exactly what he was living through.
In 2024 he released the EP Don’t Look For The Rain. The title track came with a video shot by his wife, Yasmin Cowan, whose simple iPhone footage gave the song an added sense of closeness. It was a reminder that Jury’s music often works best when it feels personal and unadorned.
In 2025, he has been especially prolific, releasing a string of singles with wowflower, the project of producer Kyle Torr-Brown, later gathered under the title Nothing Else. These songs have taken his voice into new spaces, blending with beat-driven and ambient textures. One of the tracks also featured bassist Joshua Crumbly, known for his work with Bob Dylan, Kamasi Washington, and Leon Bridges, adding another layer of musical texture.
Across these records and releases, one thread is clear: Max Jury writes songs that hold space for vulnerability. His music has shifted from early folk soul roots toward a more pop-oriented sound, yet it always returns to the essentials of atmospheric harmonies, a grounded vocal presence, and lyrics that read like letters you might have written yourself.
All of this brings us to my conversation with Max about his journey so far, where he reflects on how music entered his life, how his sound has evolved, and what continues to drive him forward.
How did music first enter your life, and when did you realise it was what you wanted to pursue?
Music has been in my life for as long as I can remember. My grandpa was a trumpet player. I think I started taking it more seriously as a teenager, though. My childhood dream was to play in the NBA, but I broke my ankle and knee when I was 14 or so and had to take a year off. During that year, I started writing songs and never really looked back.
From your 2016 debut to your more recent, collaborative EPs, how do you feel your sound and songwriting have evolved?
I’ve definitely bounced around quite a bit stylistically since that first record came out. I’m just not the kind of person who likes to do things twice -- I have to keep it fresh for my own sanity. Collaborating with different artists (or writers and producers) is a really helpful way for me to stay productive and keep growing as an artist. I’ve learned to be more patient with my solo records. I don’t like to rush them, and working on other projects in the meantime helps me stay in a creative headspace.
Are you currently working with a label or releasing music independently? In India, the indie scene can be pretty unforgiving, do you face similar challenges in putting your work out?
It’s hard out there for everybody. I am an independent artist, but have the help of a small team and a great distribution company, so I consider myself lucky.
Can you walk me through your creative process? How do your songs usually take shape?
I let the songs come to me nowadays. I used to be much more concerned about constantly looking for inspiration, but I’m not sure if it helped. I sit down at my desk and give myself a few hours to create. If something cool happens, great -- if not, that’s fine, too. One thing I do that’s worth noting is I’m always reworking things and keep a very good track of older demos. When I make an album, I don’t sit down and write 10 new songs and call it a day. I’ve been known to use songs that I wrote five or ten years ago that finally feel like they make sense in the context of a body of work.
You toured with Rufus Wainwright and Lana Del Rey early in your career. How did that experience shape your path as an artist?
I had the pleasure of supporting both Rufus and Lana Del Rey on tour at a very young age, and I think the most important thing I learned is really just how dedicated you have to be to operate at their level. Rufus was such an exceptional performer and that pushed me to do better and work harder.
In a world driven by algorithms, what has worked for you when it comes to connecting with your audience? Do you still count on organic discovery?
It’s not easy. I’ve thought about it quite a bit and I think a lot of artists are really frustrated about some of the turns the music industry has taken. Including me! The best I can do is stay true to myself, put out what I hope is quality art, and let people discover it.
What inspires you to keep making music, and what does success mean to you at this stage?
I’m in it for the long haul. Music is my life’s passion - always has been and always will be. I’m a fan first. I listen to so much music, it’s practically all I do. I still get as excited about finding new things I like as I did 15 years ago. And I still really enjoy both being in the studio and being on the road. At this stage, I'm honestly just happy to be here. It sounds cheesy, and it is cheesy, but being able to wake up and make records is a blessing.
With new music coming out steadily, what’s next? Do you plan to take these songs on tour?
I’m finishing up my next solo record as we speak! A few vocals next week and then on to the mix. I would love nothing more than to go on tour. We’ll see!
Written by Manisha Maity | Instagram | Facebook | X | Email
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