Charlie Jeer has always understood the power of atmosphere. Whether through the warm swell of his signature saxophone or the effortless groove that has become synonymous with his music, his songs invite listeners into a world that feels both nostalgic and unmistakably current. Yet beneath the polished production and soaring streaming numbers is an artist driven less by algorithms than by emotion, connection and the search for something real.
His latest single, “SO GOOD,” featuring actress and singer Simone Ashley, arrives as a celebration of uncomplicated joy. Released ahead of his forthcoming EP, Take Away My Problems, the track captures a fleeting moment when life felt lighter, reminding listeners that music can offer a temporary escape from the weight of everyday life. For Jeer, the song represents far more than a summer anthem. It is a reflection of his own outlook, one shaped by gratitude, relentless ambition and the belief that success is measured not by numbers on a screen, but by genuine human connection.
As he prepares to embark on his first headline tour and looks towards releasing his most personal project to date, House of Solo caught up with Charlie Jeer to discuss finding peace through music, collaborating with Simone Ashley, balancing viral success with artistic integrity, and why, no matter how far his career takes him, he is determined never to lose sight of the person behind the artist.
“SO GOOD” arrives at a time when the world can feel particularly chaotic. Why was it important for you to create something centred on uncomplicated joy and positivity?
I think that “SO GOOD”, for me, is a projection of how I felt when I made the record. It was the start of summer and everything in life felt great. I think that I am blessed to have music as a space away from all the things that are usually so complicated in life, and that feeling is something that can only be shared through music.
You have described the song as a return to a time when life felt simpler. What period, sound or personal memory were you drawing from when creating it?
I think the time I was referring to is when it was written. I find that, often, when I have too much to think about, it can be quite overwhelming, but for this song it was two weeks of good times making music, exactly what it’s supposed to be.
What did Simone Ashley bring to “SO GOOD” that you could not have created alone?
I have always been fond of female vocals on my songs, and Simone’s voice just elevated the track. Aside from this, Simone has a presence, dare I say, an aura, that is captivating, warm and quietly powerful, and that, I believe, is felt through the track.
Simone has spoken about being drawn not only to your talent but also to your willingness to dream big. What does dreaming big look like for you at this stage of your career?
With my first tour coming up this October and November, I can’t help but set my aspirations on being able to one day tour stadiums and arenas filled with people who are connected to me through their love of the music that I have poured myself into. I think that one thing I’ve learnt is how easy it is to be seen, but how difficult it is to be understood by the masses. That feeling of being understood is experienced through the common ground of music, and I hope to experience that on a mass scale someday, to give people the fond memories that I have with music.
Was “SO GOOD” originally written as a collaboration, or did Simone’s involvement completely change the direction of the track?
“SO GOOD” was originally written as a solo track. It was only when we finished it that we felt as though it was missing something. Originally, we just wanted a woman’s voice to do backing vocals on the track, but after Simone showed interest and came to the studio, it only felt right to give her voice the space it deserved to shine.
You and Simone debuted the song at Windsor Castle. What was going through your mind before stepping onto that stage?
I think I was too overwhelmed by gratitude and shock to feel anything else. To be in such an incredible place, performing with Simone to a crowd of incredible people who have shaped the world for the better, was a privilege I cannot describe with words.
The teaser from the performance attracted millions of views. Are you still surprised when something you have created reaches that scale so quickly?
I think that, with the way the internet works today, you never really know how people might react when they hear something. All I knew at the time was that it was the best song I had ever made, and that it made me feel “SO GOOD”, so I trusted that would be felt by whoever got to hear it.
Your music is often built around feeling and atmosphere, but you also studied economics. Is there still a part of you that approaches your career analytically or strategically?
I think that economics is truly one of the most versatile and applicable subjects that a person can study to prepare them for the world. It is a subject built on principles that can be applied beyond just money. In that sense, there is definitely a spillover into music, but I think it comes more from a place of understanding which decision is best to make, given all the factors at hand, ceteris paribus.
Before music became your full-time life, you worked as a security guard, modelled and competed as a boxer. What did those experiences teach you about resilience and self-belief?
It’s fair to say that those experiences all contributed to making me who I am today. Security taught me to respect everyone, whether it’s your boss, a waiter or a prince. Modelling taught me that you can’t always make yourself better for a job. Sometimes you’re the right person for the shoot and sometimes you aren’t, and when that is predicated on something as superficial as your appearance, it teaches you to let go of the pressure of the outcome. Boxing taught me that I am stronger than I thought I was, that I have a place I can go when there’s nobody there to help me and I’m backed into a corner, that I am responsible for the outcome, and that the fight is won in the gym.
Your saxophone has become one of the most recognisable parts of your identity. Do you ever worry about being defined by one instrument?
As humans, we all have the ability to grow beyond any labels that are put on us. I pride myself on not being defined by any one thing, but by letting each thing contribute to who I am. I love the saxophone. I have played it for 12 years, but I am not just a saxophonist, I am an artist.
How are you trying to expand the role of the saxophone within contemporary pop and electronic music?
My tastes are grounded in the likes of John Coltrane, Kenny G and iconic lines in songs like “Careless Whisper.” I always felt musicianship was lost in contemporary music, so if my music gets to be a bridge that encourages someone to explore the many incredible instrumentalists in the world, I’ve done something right as an artist.
You completed Grade 8 saxophone at a young age, but later learned to play with greater instinct and emotion. Did your classical training ever become something you had to unlearn?
I think it’s more something I was able to mould into the style of playing I adopt today. Luckily, I’ve always been good at not following rules too closely, so even when I was studying as a classical saxophonist I was finding time to experiment before I was told to by a different teacher.
You have described your sound using words such as “tasteful”, “elegant” and “individual”. How difficult is it to preserve that identity as more people become involved in your career?
I think that, ultimately, as my ambition is to open my music up to more people and make my own taste in music more accessible, there will always be compromises made to pure taste. Everyone has their own idea of what is right for me to do. All I can do is hear all of these opinions and make up my own mind.
“MY MADONNA” examined the attraction and tension within a toxic relationship, while “SO GOOD” is much lighter and more optimistic. Do those tracks represent the emotional range of your forthcoming EP?
This EP, for me, is both an opportunity to show my emotional range as well as my sonic range. I’ve developed a lot as an artist over the last few years, trying different sounds and songwriting styles, some being more carefree and others being much deeper. What I want to do is present all of that to my audience and use this EP as a sounding board for my album next year.
Your new EP is titled Take Away My Problems. Where did that title come from?
Aside from being a lyric in “Florence”, the title Take Away My Problems is a reflection of what I want people to search for when they go to listen to my music. Music is a space away from the complications of daily life, a place to feel. That’s what I want this project to be. I would say this project is less about the problems themselves and more about the search for a place where those problems are not.
What problems were you trying to escape, understand or transform while making the project?
Not to get too personal, but I often find myself being someone who projects positivity and happiness when that isn’t always the case. I think that it’s when I’m alone that the problems really start to pile up on me and become overwhelming. If I were to be truly honest with myself, I feel things more deeply than I care to show sometimes, but I get to express that through music.
Does music actually take your problems away, or does it simply give you somewhere to confront them?
It’s a fair point. There have been times when writing where I have been too honest and have had to rewrite lyrics for that very reason. Regardless, I think that music can be a space to detach from the everyday, and in that sense it’s a space away from one’s issues.
You have accumulated significant streaming numbers very early in your career. Have those figures changed your understanding of what success means?
I think I have definitely been spoiled with my streaming numbers early in my career, yet I’m still learning every day what success really means for me. Ultimately, the times when I’ve felt most successful haven’t been through numbers on a screen, but through human connection, self-discovery and gratitude.
“MY MADONNA” has been used during the BBC’s FIFA World Cup coverage. What does it feel like to hear your music attached to an event with such a vast global audience?
It’s definitely surreal to have one of my songs played on such a global scale. I can only be grateful that my music gets to be heard and experienced by so many people, and I hope that can continue with my music going forward.
You have now performed at fashion events, international showcases, Formula 1 and Windsor Castle. Which environment has made you feel most outside your comfort zone?
I believe that I belong in every room I get into. My attitude is to not let anything be bigger than myself, and that is definitely how I felt in all of those moments. In retrospect, however, performing at Windsor Castle will always be a surreal memory.
Your early career was heavily shaped by social media. As your profile grows, do you feel a need to create more mystery around yourself as an artist?
I think that authenticity is really important to a younger generation. In this day and age, people want to feel connected to the artists they listen to, and however I can do that for my audience, I will.
What has been the most difficult perception of you to challenge within the music industry?
I don’t know. I only know myself for who I am: a brother, a son and a person trying their best at every hurdle. It can be so easy, with the state of the internet and the modern industry, to see yourself through the eyes of others, so wherever possible I try not to do that.
With so much happening so quickly, what are you determined not to lose as Charlie Jeer becomes a bigger artist?
Charlie Jeer the person.
