Music

Cavetown talks new projects, musical evolution and war on trans people

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Cavetown: Transgender & Asexual Spectrum Artist

Sense and Sensitivity
Cavetown talks new projects, musical evolution and war on trans people
By Lawrence Ferber

As YouTube, social media, and self-released music platform Bandcamp grew in popularity, musicians could create music and garner followings from their own bedrooms: hence “bedroom pop” was born, and so was the career of UK-born, 23-year-old singer/songwriter/producer Robin Skinner (he/they), aka Cavetown.

Currently embarked on a dense, largely sold out U.S. tour through late spring with international dates to follow, the openly transgender Cavetown — who also falls somewhere on the aromantic and asexual spectrum — recently followed up his 2021 EP, “Man’s Best Friend,” with the single “Fall In Love With A Girl.” The song is a collaboration with Filipino-British next gen guitar hero beabadoobee, about “someone who’s struggling with their sexuality and how that affects their happiness,” Skinner explained in a press release. “This person is scared to take the leap to make themselves happy and tries to make things work in a hetero relationship. When they finally take the step to be in a same-sex relationship, they realize how happy it makes them and that it’s OK to trust yourself.”

Cavetown’s journey began at age 14, when Skinner uploaded his first original song, “Haunted Lullaby,” to YouTube, which, seemingly on brand for bedroom pop, boasts a ukulele (he’s swiveled more to guitars lately, plus gorgeous, richly melodic hooks and well-produced harmonies on even his most lilting tracks). A 2015 self-titled, self-released full length album scored acclaim and a quickly growing audience — which, today, includes eight million monthly Spotify listeners, over two million YouTube subscribers, and more than a billion global streams. At the same time, Skinner also kept busy dropping covers of songs by Twenty One Pilots, Elvis Presley, Ed Sheeran and Justin Bieber between subsequent singles, EP and LP releases (most can be found on Cavetown’s Bandcamp), including his 2020 major label debut on Sire Records, “Sleepyhead.”

Taking a break from tour rehearsals, Skinner fielded email questions about his new single, his musical evolution, touring, insect wars, other awesome non-binary/trans bedroom pop artists and the GOP’s war against trans people.

To get it out of the way, where did the stage name Cavetown come from?

I wish I had an interesting answer, but I came up with it when I was like 12 or 13, just because it sounded cool! I’m very grateful that it still sounds cool to me and didn’t end up being something cringey.

Was there an opportunity to do something new on “Fall In Love With A Girl” that you haven’t before?

Working with beabadoobee was something new, which I was super stoked to get to do! Her voice works so well in the song, and I had a great time recording with her and mixing her vocals, as well as [musician] Jacob Bugden’s synths and drums. I pretty much just work in Logic and haven’t really explored any cool plugins or hardware, so it was sick to watch Jacob do his thing with the synths he brought. There’s so much unique stuff you can do with external hardware, but finding where to start seems so overwhelming.

You don’t shy away from being vulnerable and intimate in your lyrics. For example, in 2020, you told Billboard, “I write songs about things that I find hard to talk about in person with people.” Which song from your most recent EP, “Man’s Best Friend,” is the most personal for you?

“Sharpener” is definitely the most personal and one that I’m really proud of. Sonically, I started by taking inspiration from one of my really old songs, “I Promise I’m Trying” [from the EP Nervous Friends: Pt. 1], which has maintained a special place in my heart since I wrote it in 2015. They both come from a similar subject matter of struggling with your mental health and looking for a way to ask for help while also finding it hard to leave behind the coping mechanisms you’ve relied on for a while.

How would you describe your musical evolution since 2015?

It’s hard for me to identify how my songwriting has changed, but my production has definitely improved a lot, and I just hope that it continues to do so.

Have you recorded some songs over the years that you’re saving for a future release, or, like Prince and Paddy McAloon of Prefab Sprout, will keep in a vault forever?

No full songs that I can think of, but I have a ton of half-finished project files that I forgot about or got bored of. They’re great to keep for inspiration when I’m feeling stuck. Quite a few of my songs, like “Guilty” and “Boys Will Be Bugs,” came from unfinished projects that I originally got stuck with or thought I would be scrapping.

And what other projects are in the works that you can say something about?

I don’t know if I can share much, but I’m working on dipping my toesies into some film scoring.

There seems to be a proliferation of fantastic non-binary and trans-identified bedroom pop artists lately, including Kali, Khai Dreams and Addision Grace, your opening act on your current tour. What is it about that genre that’s so perfect for you, and did I miss any artists you’d add to that list?

I feel like I just fit so comfortably into bedroom pop as someone who’s always felt so protective over my production. I’ve always produced everything myself from home and plan on keeping it that way forever. And my friend Allie Cuva, aka allie, makes some stunning music, and an artist I played a show with a long time ago called NoSo has some of the most mesmerizing guitar skills I’ve seen in person. Highly recommend.

You performed at Lollapalooza in 2021. How was that experience?

It was cool! Definitely quite nerve-racking, as it felt very foreign to be around so many people after the pandemic, but we managed to stay as isolated as possible. The most memorable moment for me was watching a cicada and a bee falling from a tree while fighting. The cicada was screaming and I witnessed it die on the ground. [sad emoticon]

What separates touring the USA from touring your native UK and other countries?

The crowd is pretty consistent all over the world, which is really nice! Ninety-nine percent of the time everyone is super sweet and respectful, which is really comforting because it feels like I’m just going out into a room full of my buddies no matter where in the world I am. The biggest difference is definitely the travel time. The USA is huge. I’m very privileged to be able to travel in a bus and sleep through most of the long drives.

Any cities you love the most, or can’t wait to visit on this current tour?

I’m really excited to spend more time in San Diego, Seattle and Toronto.

Have you been to Detroit before, and if so, any anecdotes you can share?

I have! I was in Detroit during that polar vortex a few years ago visiting [fellow singer/songwriter/YouTuber] Chloe Moriondo. I’ve never been so cold in my life; it straight up felt like my lungs were gonna freeze. I remember getting into Chloe’s car, and there was a bottle of soap in the cupholder that was frozen solid.

Republicans and GOP leaders are attacking trans people through hateful state bills right now and plan to make this a culture war point for the 2022 election. Are you aware of it, and any thoughts or words of inspiration to share with people who live in those states?

I hate to say that it’s not a surprising thing to see happening. I try not to read too much on stuff like this because I just end up feeling so powerless as an individual, but it’s important to remember how enormous, loving and active our community is. Just keep sticking by your friends and being unapologetically yourself. Things will always be OK in the end, and if they aren’t OK, then it’s not the end.

Lil Nas X: Suicide Prevention Advocate of the Year

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Trevor Project Honors Lil Nas X

The Trevor Project, the world’s largest suicide prevention and crisis intervention organization for lesbian, gay, bisexual, transgender, queer & questioning (LGBTQ) young people, honored Grammy Award-winning artist Lil Nas X with its inaugural Suicide Prevention Advocate of the Year Award. Lil Nas X has demonstrated an ongoing commitment to supporting The Trevor Project’s mission to end suicide among LGBTQ young people with his openness about struggling with his sexuality and suicidal ideation, his continued advocacy around mental health issues, and his unapologetic celebration of his queer identity.

The Trevor Project’s inaugural Suicide Prevention Advocate of the Year Award marks the start of National Suicide Prevention Awareness Month and the crucial work that needs to be done to end suicide among LGBTQ youth. According to The Trevor Project’s National Survey on LGBTQ Youth Mental Health, 42% of LGBTQ youth seriously considered attempting suicide in the past year, including more than half of transgender and nonbinary youth. Due to higher rates of discrimination, rejection, and social isolation, LGBTQ young people are at increased risk for negative mental health outcomes such as anxiety, depression, seriously considering suicide, and more.

In accepting the award, Lil Nas X said: “Thank you so much to The Trevor Project for this award and for all they do for the LGBTQ community. Discrimination around sexuality and gender identity is still very real, and our community deserves to feel supported and totally free to be themselves. I often get messages from fans telling me about their struggles with depression and suicidal thoughts, and it made me realize that this was something bigger than myself. If using my voice and expressing myself in my music can help even one kid out there who feels alone, then it was all worth it.”

Amidst a record-breaking year for anti-LGBTQ legislation and violence against the LGBTQ community, The Trevor Project is highlighting the importance of queer representation in the media, and the powerful message of visibility and hope it sends to LGBTQ young people.

“The Trevor Project is thrilled to honor Lil Nas X with the Suicide Prevention Advocate of the Year Award,” said Amit Paley, CEO and Executive Director at The Trevor Project. “His vulnerability in his journey to self acceptance and expression has created space for candid conversations around mental health and sexual identity, signaling to LGBTQ youth that they are not alone. The Trevor Project’s research shows that over 80% of LGBTQ youth say that LGBTQ celebrities positively influence how they feel about being LGBTQ, further affirming the cultural impact of Lil Nas X being proud of who he is and an ideal recipient of this inaugural award.”

Following his chart-topping, genre-defying debut “Old Town Road” in 2019, Lil Nas X quickly became a global LGBTQ icon recognized for his fearless effort in changing the status quo around what it means to be queer and Black in the mainstream music industry. Throughout his career, he has been an outspoken and unapologetic advocate for the LGBTQ community, using his platform to shed light on mental health issues many LGBTQ young people face. In February, Lil Nas X shared a series of intimate TikTok videos documenting his life story, including his silent battle with depression, anxiety, and suicidal ideation during his rise to fame. The following month, he penned a heartfelt letter to his 14-year-old self about coming out publicly to mark the release of “MONTERO (Call Me By Your Name).” In the letter he states, “I know we promised to die with the secret, but this will open doors for many other queer people to simply exist.” In May, he released the music video for his single “SUN GOES DOWN,” which depicts Lil Nas X uplifting a younger version of himself in high school when he was contemplating suicide and struggling to come to terms with his sexuality. Through his bold music videos, poignant song lyrics, and candor on social media, Lil Nas X continues to fight for mainstream queer representation and elevate important issues around mental health, igniting change and spotlighting the experiences of LGBTQ young people around the world.

If you or someone you know needs help or support, The Trevor Project’s trained crisis counselors are available 24/7 at 1-866-488-7386, via chat www.TheTrevorProject.org/Help, or by texting START to 678678.

About The Trevor Project

The Trevor Project is the world’s largest suicide prevention and crisis intervention organization for lesbian, gay, bisexual, transgender, queer & questioning (LGBTQ) young people. The Trevor Project offers a suite of 24/7 crisis intervention and suicide prevention programs, including TrevorLifeline, TrevorText, and TrevorChat as well as the world’s largest safe space social networking site for LGBTQ youth, TrevorSpace. Trevor also operates an education program with resources for youth-serving adults and organizations, an advocacy department fighting for pro-LGBTQ legislation and against anti-LGBTQ rhetoric/policy positions, and a research team to discover the most effective means to help young LGBTQ people in crisis and end suicide. If you or someone you know is feeling hopeless or suicidal, our trained crisis counselors are available 24/7 at 1-866-488-7386 via chat www.TheTrevorProject.org/Help, or by texting START to 678-678.

Todrick Hall: Pushing for Black ‘Femuline’ Acceptance

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Todrick Hall

Todrick Hall talks reinvention, industry bias and what drives his advocacy
By Eve Kucharski

Todrick Hall is serving bitch but making it, as he says on his latest record, fashòn. The album’s title, “Femuline,” is exactly as it seems: the blending of feminine and masculine attributes to create a greater, queerer whole. That theme serves as the perfect narrative for an artist who has made a music career out of reimagining classic stories like “The Wizard of Oz” and “Cinderella” through his own creative lens. The difference this time, he says, was that there was no “pre-existing blueprint.”

“It may exist, but I’ve never heard a song talking about how you can be both: you can be a prince, you can be a princess; you can be the bride, you can be the groom. And that was very interesting for me to explore,” Hall says. “But it was uncharted territory as far as I know.”

Full of club-ready bangers that seem tailor-made for Pride season, “Femuline” is Hall’s “open love letter to the LGBTQ community,” he says. An already queer experience is made queerer thanks to both LGBTQ+ and allied icons like Brandy, Tyra Banks, TS Madison, Chaka Khan, and, of course, Hall’s signature Broadway vocals.

So far in his career, Hall has been part of multiple Broadway smash hits, secured a spot as a recurring guest judge on “RuPaul’s Drag Race” and amassed a whopping 44 million views on YouTube with his 2019 “Nails, Hair, Hips, Heels” breakthrough single. Considering Hall only made the move to Los Angeles a decade ago, it’s all the more impressive that his hard-won successes have been so consistent and plentiful. Not even the vision board that he created upon his permanent move out West could’ve prepared the Plainview, Texas, native for everything he has accomplished at this point in his career.
“It wouldn’t have included any of these things because I wouldn’t have had the courage and the wisdom and the diversity and the acceptance and the permission from society to be able to put things on there,” Hall says. “As a dreamer, I still even limited my dreams at that time.”

He says that shortly after breaking into the industry he realized that, because of societal stigma and bias, his identity as a Black gay man would only make achieving his goals more difficult than he imagined. Hall recalls a distinct moment on the Broadway stage when another Black performer in “The Color Purple” pulled him aside and told him that he was never going to get away with mediocrity.

“And in every Broadway show that I’ve ever been in, I had to tumble,” he says. “I had to be doing backflips and leaping across the stage, and riffing and singing high, and understudying 8 billion roles while I saw my counterparts that were a different race come in and give, in some cases not even a mediocre performance, but the skill set that was required for them [to succeed] was lower,” Hall says.

In some ways, Hall says he views the high standards society places on him as a compliment, as an expectation to only bring the best quality to his work. Yet he recognizes their deeply problematic nature, racist origins and the consequences those standards have on both himself and fellow Black performers.

“You expect Black women to get up and out-sing everyone on the stage. If she doesn’t sing ‘And I Am Telling You’ or ‘I Will Always Love You,’ then why is she there?” he says. “To me, I think a Black woman should be able to get up and sing ‘Part of Your World’ from ‘The Little Mermaid.’ The reality is that there are a lot of people who are musical-theater performers that, if they can’t deliver a gospel Jennifer Holliday-, Jennifer Hudson-, Beyoncé-esque performance, their opportunities to perform and exist in entertainment are almost nonexistent.”

To Hall, one of the keys to dispelling the stigma that still persists around identity, whether conscious or not, is to push for representation whenever possible – not only of Black entertainers but those who are LGBTQ+ as well.

“Some days I wake up and I’m like, ‘You should be grateful for the things that you have.’ But then there are other days where I’m like, ‘You can count on one hand, without using most of your fingers, the amount of gay men who have come out and been gay when they were popular on the radio,’” he says, lamenting that he’s never heard a man sing a love song to another man on mainstream radio.

He adds that Hollywood’s acceptance of Black queer artists in 2021 isn’t enough: “We’re accepting breadcrumbs when we should get a slice of bread at this point.”
Hall believes that it should be a requirement and not an exception for radio stations to play same-sex love songs as a means of normalizing ideas of LGBTQ+ acceptance. Really, though, he’s out of patience for people who use a handful of examples of Black representation in popular culture as an excuse to say that visibility is equitable.
“People can make the decision to be like, ‘Yeah, there wasn’t a lot.’ Or they can bring up the fact that Oprah existed and be like, ‘That’s enough,’ when that wasn’t enough,” Hall says.

That extends to LGBTQ+ artists, too. He points to Lil Nas X’s “Montero (Call Me By Your Name)” as an example of audacious content created by a talented Black gay artist who’s seeking to break free from societal expectations of what Black queerness should look like.

“He probably knows singing a song that’s just a format that the Jonas Brothers, that Shawn Mendes, that James Arthur, that Ed Sheeran, that Sam Smith have been able to do would not be enough,” he says.

His passion about this topic and advocating for representation in his work comes from a personal place. A place, he says, that was born of being told “no” because of his Black, queer identity. It’s those roots that inspired him to take on advocacy projects outside of music like being the face of Morphe’s “Live With Love” palette whose full proceeds will go to benefit The Trevor Project. But as vocal as he is about causes he cares about, Hall doesn’t feel every artist needs to be required to use their platform for advocacy — it’s just the “cherry on top” if they do.

Looking ahead, it won’t be until 2022 that fans will get to see Hall perform “Femuline” live, seeing as how COVID-19 has thrown things off-kilter for nearly every touring artist’s schedule. But until then, there’s no question about what he needs to do next: “knock down walls and barriers so that the people that come after me are able to just strut without having to stress out [about] the things that I had to worry about that made me believe that I could never accomplish my dreams.”