Niagara, ON’s Nick Braun Fuses Folk-Rock Soul and Indie Grit on New EP Johnny and Its Stirring Title Track
With a mix of raw storytelling, rich instrumentation, and a sound that bridges folk-rock and indie grit, Niagara, ON’s Nick Braun unveils his new EP, Johnny, led by the standout title track. The five-song collection explores ambition, isolation, and the search for meaning through the lens of a fictional character navigating the ups and downs of life as an artist.
At the heart of it all is “Johnny,” a song that embodies the tension between nostalgia and the pursuit of something greater. The character reflects on where his friends have gone, “blames it all on time,” and questions whether the life he’s built is truly what he wanted. Over layered acoustic guitars and a driving rhythm section, Braun’s vocals carry both longing and defiance, channeling influences like Wilco, Jason Isbell, and Neil Young as the track builds into an anthemic chorus.
“This record was the first time I wrote music from a storytelling perspective,” Braun explains. “Writing about personal experience, especially difficult experiences, can weigh heavy on the mind. It can be easier—and actually fun—to share those ideas through the lens of a fictional character, and that’s where Johnny came along.”
Though Johnny is fictional, his story is deeply personal for Braun. Nearly ten years ago, Braun experienced a period of psychosis—an intense chapter of his life that coincided with the beginning of his journey into songwriting and making his own recordings.
“I’ve played music since well before that incident,” he notes, “but my creative nature and overactive imagination came with a dark side, and making music has been the best way to grapple with it. Music brings complexity into moments of clarity and enjoyment. This EP was an effort to capture that clarity and enjoyment, share some personal experiences and unique ideas, and continue to come into my own as a music producer.”
Braun, a Niagara-based multi-instrumentalist and producer, crafted Johnny entirely on his own, recording each instrument from his home studio. Though rooted in folk rock, the production is layered with rocking guitar riffs, shimmering synths, and punchy drums—a sound that sits comfortably alongside Dawes, Kurt Vile, and My Morning Jacket.
Beyond “Johnny,” the EP is a journey through self-discovery and reinvention. “The Wrestler” examines internal battles, likening them to a fighter in the ring—“wrestle with yourself like a heavyweight champion with nothing to lose.” Meanwhile, “September Song” slows things down with a meditative, atmospheric tone, urging listeners to embrace change: “Be the voice inside me too, be the changing seasons.”
The EP closes with “Like a River,” a track that echoes the fluidity of life and love. Braun’s evocative lyrics—“My heart is like a river, my stomach is a well, my mind is like a tree that in the river fell”—deliver a profound sense of movement and transformation, tying together the album’s themes of growth and self-exploration.
To celebrate the release of Johnny, Braun will perform two live shows in the Niagara region. On April 11 at Niagara Artists Centre (St. Catharines, ON), he’ll perform stripped-back versions of his songs as a duo with Jordan Alexander on bass, sharing the stage with Arih SK, The Crooked Crow, and Substitute. He’ll follow that up with a full-band show on May 10 at Camp Cataract (Niagara Falls), supporting The Howling Gales.
Braun’s folk-rock storytelling, dynamic instrumentation, and introspective lyricism make Johnny an essential listen for fans of alternative folk and indie rock. With a raw and personal approach to songwriting, Braun shows that sometimes, the most honest truths are best told through a fictional lens—and a great guitar hook.
Hi Nick! Good to meet you! Care to introduce yourself to the readers?
Yeah! I’m from Niagara, been doing all sorts of music in the region for a while now.. Playing in various bands on drums and keys, studied drums and percussion at Brock University and Mohawk College, and I make records and do my own production, and play all the parts. I listen to and play anything from jazz to classical, heavy rock, folk music, or acoustic stuff. My records are just a great outlet. I fill my spare time with picking up instruments and setting up mics. It’s nonstop, just one idea after another.
What did writing through the lens of “Johnny” unlock for you emotionally that writing from your own perspective didn’t?
The first words that came out when I was crafting this song was “Johnny’s going…” all of a sudden the narrative of the song had this character, it had scenes in my mind, and made it easy to build a personality stemming from my own. There is a slightly humorous or fun energy I feel when I’m talking about Johnny. If I were saying these things without a character, “I feel this way. I did this. I’m doing that.” It would still be cool, but would lose this vibe and energy that the song has when we have our friend Johnny to imagine.
How did your experience with psychosis shape the way you approach creativity and storytelling now?
Psychosis is intense. It definitely made me feel music, like strumming a chord or playing some piano in an elevated way. So when I first was writing songs and recovering, it felt like I was on this mission, and everything felt so intense and urgent. Now I’m doing much better, and I want to try new things and have a happier, healthier process, and be open to all sorts of styles and emotions. I want to push myself to write intelligent music, incorporating that jazz background and my drumming chops and all that. The trauma of psychosis and that whole journey definitely feels like I have one foot in the door to the other side or something like that, and the music just kind of makes itself, so I try to stay open to ideas as they come. These days, I have a better sense of control, so I’m looking to the future to keep evolving as a musician and mature lyrically and musically.
What was it like playing every instrument yourself on this record? Did it feel more freeing or more vulnerable—or maybe both?
There’s definitely a freedom to experiment and work at my own pace. Collaborating is very rewarding and important and a healthy way to do music, but when I have an idea coming through, I don’t hesitate, I just start crafting a recording. I play all these instruments, so I don’t have to wait around. I think it’s vulnerable, maybe in just sharing lots of music, kind of saying yeah.. I have lots of energy and creativity.. Maybe it’s cool, maybe it’s weird sometimes, but I’m just immersed in it.
You draw from artists like Neil Young and Jason Isbell—what is it about their storytelling or sound that resonates with you?
Out of a sea of songs and albums in the world, I am quick to dismiss lots of ideas out there that just don’t do it for me. I need something that ignites a spark in me and that I can connect with on a deeper level, whether it be the production, the playing, or the sense that this person knows something that draws me in or makes me feel understood. It’s like a channel or a frequency that I want to be on, and I find other artists on there too, like Neil or Jason for sure.