José González's story is rare in modern pop – a heartening case of the artist resisting the vicissitudes of musical fashion to carve out a unique, intimate style that is all his own, then defiantly following his muse all the way to the top of the charts.

An established star in Scandinavia, José’s critically adored album Veneer is currently bedded down in the UK Top Ten while his single ‘Heartbeats’ continues to trouble the sharp end of the singles chart – and it’s a similar story across Europe. It’s uplifting then, in an age of spin, hype and wall-to-wall hyperbole, to note that José’s music has required no lavish production (he records on basic equipment, at home) no exotic packaging or gimlet-eyed marketing strategies, to make it cherished by thousands. For once even the Sun got it right: ”In a world of musical clones, the Argentinean Swede is a thrillingly original new talent”. In purist rock connoisseur heaven, it should always be thus, but, let’s face it, when did the last genuine solo troubadour (as opposed to drippy acoustic balladeer) go so swiftly from critical acclaim and cult adoration to international stardom, while still retaining every inch of credibility? Even Bob Dylan had a few problems with the latter! Ultimately, José’s success restores faith in the power of the song and the lone vigil of the singer-songwriter, laying himself bare for our empathetic pleasure. That José is still in his mid-20s makes his achievement to date doubly impressive - and his future one of appetising prospects. Relying simply on his own masterfully eloquent classical guitar and a voice that marries mature assuredness with poignant delicacy, José has been creating his inimitable sonic world since the late ‘90s, though his recording career didn’t begin in earnest until 2003. His achingly emotional melodies and thought-provoking lyrics - all sung in perfect, crystalline English - combine in a manner at once familiar (think Nick Drake, Tim Buckley, Will Oldham) and subtly exotic (shades of Brazilian Tropicalia - early Silvio Rodríguez, Cuban Nueva Trova). His songs are so timeless - you feel like they’ve always been around - yet there’s a clean freshness to José’s music that makes repeated listening an endlessly revivifying delight.

Born in Gothenburg, Sweden, in 1978, José was bought up in a house that teemed with all kinds of music. His Argentine-born father’s natural taste for Latin American music was only rivalled by a penchant for American and UK pop classics – and the eclecticism rubbed off on his young son. After these fledgling dalliances, José followed his own path, initially playing bass in Black Flag-inspired rock combo Back Against The Wall, before flirting with hardcore in Gothenburg’s Renascence and dipping into indie rock with the unlikely sounding Only If You Call Me Jonathan… But these rites of passage only led him back to the voice and six-string, and, after a series of lessons in classical guitar, the beginnings of a very personal style. Vocally, José admits to the influence of some appropriately intimate-toned forebears: Eliot Smith, Geoff Farina and Songs:Ohia’s Jason Molina among them. He’s also happy to point out the positive effect on his music instilled by listening to such disparate artists as Cat Power, Tortoise and Joy Division. After these tasteful and diverse influences had done their work, José’s rise was meteoric. After untrammelled Scandinavian success in 2004, José signed to London-based indie Peacefrog, releasing his UK debut, the EP Crosses, in February ’05. Press hosannas and some jaw-dropping, heartstring-tugging UK shows set off the proverbial buzz and by the time the debut album Veneer was released in April, word had spread like wildfire. With the press salivating, radio went into meltdown, with more plays on BBC Radio 1 than a play-listed record! Sessions were recorded for everybody from XFM’s John Kennedy to Radio 4’s Loose Ends and there was also a rapturous live session for Radio 1’s Zane Lowe that culminated in a wondrously singular reading of Massive Attack’s ‘Teardrop’.