Jay Hofman Reinvents the Past With Electrifying New Single “Alibi”

Manchester-based singer-songwriter Jay Hofman is breathing new life into his past with “Alibi,” the energetic second single from his forthcoming fifth album, Magnum Opus. Reworking his 2015 track “Juicy” alongside producer CASA J, Hofman transforms the original into a vibrant blend of electropop and reggaeton built around spontaneity, connection, and living in the moment. As Magnum Opus looks set to bridge more than 15 years of his catalog through new material, remixes, and reimagined releases, “Alibi” offers an early glimpse into a project rooted in reinvention without erasing where it all began.

“Alibi” began its life as “Juicy” more than a decade ago. What made you revisit that particular song, and what did you hear in it now that you may not have heard in 2015?

2026 marks 15 years since I’ve started publishing my songs and to celebrate that ‘act of resilience’, I’ve thought it would be cool to do some sort of ’The Best Of JH’ but the idea of just creating a soundtrack and re-releasing a bunch of singles just didn’t feel right.

Especially, that having re-listened the old albums, I have picked up hundred things I would have done differently now. I like the trend of other artists reintroducing their older hits by promoting them in a new, remixed way. PNAU’s remix of ‘Cold Heart’ by Elton John & Dua Lipa, DJ Sickick brought back Madonna’s ‘Frozen’ and one of my favourite Polish artists Anita Lipnicka launched an album called ‘OdNowa’ that features remixes and re-works of all of her greatest hits.

I thought it would be cool to do something like that with my older songs, and that is how the idea for ‘Magnum Opus’ arrived. ‘Juicy’ was one of the songs I have immediately put on the track list as I really like the clubby / 80s dance sound of the original song that blended indie influences with electronic dance music that I was exposed to in London clubs back in 2015.

The original track featured a rap verse from Nate Tha Pharaoh, whom I really wanted to invite back on ‘Alibi’ but couldn't track him down. If you guys know what’s going on with him, please hit me up! I remember performing ‘Juicy’ at London’s ExCeL Center once, and it is just such a fun song to perform, so I would love to bring this back in future live shows in a more modern version.

I may reverse your question and tell you what it is that you can’t hear on ‘Alibi’ that you could have on ‘Juicy’. It’s the chorus. It was simply too naughty. I’m a dad now (wink, wink…)

CASA J completely reframes the original through electropop and reggaeton influences. How did that collaboration challenge or change your own relationship with the song?

The original version of ‘Juicy’ was produced and mastered by Sean Redmond of Ethos Music, whom I will always consider the Godfather of my music. He is this great British rockman, at least in my head, and perhaps that is why he always knew how to give the super niche indie sound to most of my productions. CASA J is more about a chill vibe, reggaeton, and Hispanic influences. You can hear it on the remix for my 2023 single ‘I Can’t Sing’.

Alibi remix starts somewhat similar to ‘Juicy’ but just before it is supposed to hit the first chorus the vibe shifts to Afrobeats and more Ibiza-styled dance track. I love how the production brings back the original beat towards the end of this remix. It’s worth mentioning CASA J is involved in 'Magnum Opus, Vol. 1' left, right, and center. 

You’ve described Magnum Opus as a reflection on more than 15 years of your musical journey. How do you decide which parts of your past deserve to be reinvented and which should be left untouched?

Oh, it’s a mix of how I feel performing the songs and what they actually are about. The second single from my debut album ‘Avant Garde’ is called ‘Janusz,’ and it is me thanking my Grandad for everything he did for me when I was growing up. My second album, ’ The Modern Vintage ’, has a track called ’Someone New’ about a meh relationship. My 2024 album ‘Commentarium de Paradiso’ has a song called ‘Earthen’ that is a letter to my unborn (just yet then) son.

Those are songs that I think should remain outside of the dance floor as they have much deeper meaning. Magnum Opus will, of course, have songs that are rich in mind-moving compositions such as ’Thy Lullaby’, ‘L.A.’ or ‘Guilty ’til Proven Innocent,' but the reworked versions of those really do work and don’t take away from their lyrical sphere. 

“Salida” and “Alibi” explore very different moods while sharing a sense of freedom. What are these first two singles revealing about the bigger world you’re building around Magnum Opus?

You think so? You need to tell me more about your take! I kind of think they go together. ’Salida’ is a great opener to Magnum Opus as a standalone new track (rather than a remix, but there will also be a remix for this gem). It talks about appreciating new options in life and effortlessly leaving behind whatever it is that just simply doesn’t serve us in a positive way, just to give space to new, exciting, and building experiences. It’s a good thing.

In the spirit of that, Hakuna Matata, Alibi, in its new version, focuses on the hedonistic feeling of being ok in the moment. No matter what happens next, what’s right now is ok. It’s playful and alluring.

The next single scheduled for September is ’(Show Me) Summer Fire,’ and its new version takes you to a live show vibe. It’s super indie and focuses on bass and live instruments mixed with nice filters added on top of the original vocals. Every remix on the album explores different genres within a very rich scope of dance and alternative music. It results in very eclectic material, but I hope as a whole it will take the listeners to a true world of wonder. 

With an art film planned alongside the album, how important has visual storytelling become to this era of your work, and what can listeners expect from the project beyond the music itself?

I’ve neglected the visuals for my music for a very long time, but over the course of my musical adventure, I have experimented with various forms of supporting my music with visual stories. My very first music video was shot in Camden, London. It was promoting my first ever official single called ‘Easy To Say’. From the moment I saw the final effect, it was pretty obvious to me that my acting career was over.

The video brings me so many warm memories, but gosh, it is cringe to watch! In later years, I’ve had fun with playing with green screens for ‘Janusz’, putting together footage from ’The Modern Vintage Show’ in favour of music video for ‘Lightbulbs’, running around Los Angeles with iPhone asking my friends Greg & Misty to film ’Spirits’, posting a competition for locked down artists during Covid who submitted their take on my song ‘Delekta’ and taking a similar approach to ‘I Can’t Sing’.

I was gutted we could not make a video for my most streamed thus far single ‘Good Kind (To Me)’ that I have recorded with Chris Hughes of Oscillate Recordings. The song features rap lines from Voilah aka Anamelia, and I think we could do something discotheque-ish for it. Perhaps we could revisit this for the remix… Collaborating with other aspiring artists was always fun. In my live shows, I would often invite other singers, dancers, poets, body painters, musicians, art makers, speakers fashion designers, models and creators.

This new film will be a reach-out to many past collaborators as well as some new art connections. There will be elements of spoken word on the motifs behind the songs’ lyrics on the new album, involving confessions, AI contribution, and a touch of various formats of art. Guess you’ll have to wait and see :)