Growing up as an impressionable kid in the UK during the 70s and 80s, your music choices were pretty much dictated by the family record collection and the handful of radio stations that all spun the same mainstream hits. Aside from late night ‘niche’ programming, exposure to anything that did not fit the criteria for radio airplay was limited (almost controlled), at least until the arrival of satellite television in the late 80s, and with it, access to a whole new world of music just itching to be explored.
Becoming disillusioned with mainstream music as we shifted into the 90s, the installation of a satellite dish in our household around that time was almost a savior. I fell head over heels for indie pop-rock (c/o MTV) and alternative American bands (c/o VH1), before discovering a whole cornucopia of country, blues, and what would later be coined ‘Americana’ music once CMT Europe landed on our shores circa 1993.
This had very little in common with those old country records in my mom’s vinyl collection – this was (often now referred to as the revival era) fresh and exciting – still country, but for a new generation of listeners. Side note – this channel led to my discovery of Blue Rodeo’s music, which of course steered me towards the musical path I continue to walk today – but it was during those very early days of having access to CMT when a specific sub-genre of country music came calling…
Music often triggers emotional responses when you least expect – so I’m offering no scientific reasoning here – but the impact of guitarist Pete Anderson’s amazing low-end riffs cut deep into my core when first encountering Dwight Yoakam’s “Guitars, Cadillacs” and “Honky Tonk Man” singles. Yoakam’s 1984 debut “Guitars, Cadillacs” album not only remains timeless some forty years later but singlehandedly led me into the world of honky-tonk music – the place where I very quickly found my love for a little Cajun fiddle, a thang for twang, and naturally, my feel for pedal steel – references I have made many times here over the years.
Fast forward to the present day, and the familiar rings of honky-tonk music can still be heard, from ‘spit n sawdust’ bars to music halls/stages across the continent. A new generation of talent are leading the charge, with Texan Charley Crockett certainly having the look, sound, and swagger to uphold those traditions. Honky-tonk music is no less popular with our northern neighbors, and if you’re looking for somebody as charismatic and authentic as Crockett, well, Vancouver’s Johnny 99 is certainly a great place to start – aside from being similarly attired to look as authentic as possible, you’ll find many more similarities in their take on the genre.
If you are not familiar with Johnny 99 – who now resides in Toronto – well, let’s just say that you likely are! Johnny is the musical alter ego of John Sponarski, the lead guitarist in Canadian band City and Colour, whose recognizable riffs appear across many of Dallas Green’s popular hits. This indie-rock guitarist developed a yearning of his own to step under the center stage spotlight, creating his Johnny 99 persona in the process, to share and perform his passion for old-school country music. And following an EP in 2016, and solo album release in 2021, Johnny is eager to seek out the spotlight hovering above those spit n sawdust stages once more.
With “Just For You,” Johnny 99 releases his first single of the year – itself a taste of new music set to appear on his next album (via North Country Collective) – and accompanies this tune with a fabulous music video that we are delighted to premiere here today. Oozing plenty of nostalgia and sentimentality, this is a 2025 tune that could land on any vintage country playlist, regardless of restrictions, thanks to its two-step timelessness and pedal-steel driven charm. “Just Like You is an upbeat song, but it has a darker theme at its core. It’s about finding yourself stuck on the hamster wheel, going from one toxic relationship to the next,” John shares. “You’re thinking you’re learning from your mistakes, but you’re really just repeating them over and over again.”
Filmed and edited by Blake Hannahson on location at The Bell and the Beacon in Toronto’s Parkdale region, this live-off-the-floor performance captures Johnny 99 and his bandmates in their natural environment – up on stage, big smiles across their faces, with great chemistry among the musicians. Do not let your eyes deceive you – that is indeed our pal Kendel Carson up there adding those fabulous fiddle licks, along with GDW fave Georgia Harmer on acoustic guitar too. And for those who have never set foot in this venue, yet feel it to be somewhat familiar, well props to you for recalling the Ivan Rivers video that we posted on our social media page to kick off 2025, which was also shot on location here.
Per John’s official press release, he loves this opportunity to spin tales and narratives set against the backdrop of toe-tapping honky-tonk music: songs that paint pictures of lovable losers, fallen friends, and the broken-hearted, set to the soundtrack of country music from a bygone age. “You’re fully aware of the type of people that are ‘bad for you,’ but they still draw you in,” John adds. “I guess the underlying question the song asks is, when our desires undermine our happiness, why is it so hard to try something new?”
Photo Credit: Artist Website/EPK
The British guy that crossed the ocean and crash landed in central Pennsylvania (to quote Greg Keelor, “And I wonder what am I doing here?”). As the youngest of four siblings, exposure to music from a very early age nurtured my passion and appreciation for many musical genres. Continuing to discover some amazingly diverse and talented musicians based in Canada, I gravitate to live music experiences and remain devoted to spreading the word about such a vibrant music scene.
