Photo: Thomas Falcone
How Clinton Kane's Trauma Became His Truth On 'Maybe Someday It'll All Be OK'
In one year, Clinton Kane lost three family members. But through the grieving, he found solace in songs that became his debut album — and suddenly, his pain turned into hope.
In today's viral world, Clinton Kane is considered one of YouTube's many success stories. But in reality, YouTube didn't kick-start his career as a singer/songwriter — a panic attack did.
Kane experienced his first panic attack in September 2018. Though he had been posting covers of songs like the Weeknd's "Call Out My Name" on YouTube earlier that year, he had never really thought about writing and releasing his own music. But in that moment of panic, all he could think to do was pick up a guitar and sing about what he was feeling.
The resulting song was "this is what anxiety feels like," a tender acoustic track that recounted exactly what he was dealing with: "I can't breathe/ I can't sleep/ And what is this feeling I feel inside of me?"
While his musicality wasn't exactly a fluke — the son of a Hillsong Church pastor, Kane learned to play several instruments at church growing up — he hadn't been able to write a song. Yet he finished "this is what anxiety feels like" in 20 minutes, and the song changed his life in more ways than one.
"When I finished the song, it all just went away," Kane remembers. "After that, it was this constant need for me — for all the bottled up feelings in my life, that I experienced throughout my childhood — for four months, every day, I would just write by myself. I just really needed to get my feelings out."
Kane landed a record deal with Columbia Records in 2019. His songs have since amassed millions of streams and hundreds of thousands of followers. Now, four years after Kane first picked up a pen, he's celebrating the release of his debut album.
MAYBE SOMEDAY IT'LL ALL BE OK is a nine-song depiction of what makes Clinton Kane special: heart-on-his-sleeve vulnerability, evocative storytelling, and a dynamic voice to boot. And while his stories are oftentimes gut-wrenching, perhaps what makes Kane's music resonate so intensely is the fact his career was born out of an alarming, yet organic moment.
"I was very confused — still confused to this day," Kane jokes about his unexpected talent discovery. He has the charisma of someone who has been trying to make it in the industry since they were a child, and a surprising sense of humor that is unsurprisingly self-deprecating, yet magnetic.
It's a remarkable thing, really, considering the past year he's experienced. As Kane detailed in an open letter upon announcing the album earlier this month, he lost his mother, father and brother in 2021. "I disappeared and shut down. Who wouldn't?" he wrote. "I needed to put work aside to discover who I was again."
Kane had already been on a self-discovery journey at that point, thanks in part to what is arguably his most autobiographical song to date, "14." The verses outline his life from 14 to 20 in vivid detail, with the chorus conveying his inner struggle: "And I wish I was somebody else/ Just to feel like I'm enough for myself/ And I've been fightin' with who I am inside my head/ And I don't know me anymore."
"That one was definitely daunting," he admits. "It was just too much of a personal feeling that I wanted people to know." He quickly follows up with a classic Clinton quip: "I mean, now they know, so f— me."
Brutal honesty has never been an issue for Kane. ("I've gotten into lots of trouble before with ex girlfriends," he laughs.) And along with being a naturally straightforward person, he's also never been afraid to be emotional. Though he's part of a wave of successful male artists who are hyper-vulnerable — Lewis Capaldi, Dean Lewis, Conan Gray, among others — Kane insists his upbringing debunked notions of toxic masculinity long before it began happening in the mainstream.
"I grew up very open about my feelings — it was okay for me to feel," he recalls. "I grew up with my mom, my dad wasn't in the picture for most of my life. It was more than okay to be emotional. I am very emotional. It's just been a lifestyle for me."
Even so, Kane acknowledges that his relationship with his mother was always a bit strained. He didn't go into too much detail during our chat, but did reveal that MAYBE SOMEDAY IT'LL ALL BE OK tracks "CHICKEN TENDIES" and "I WISH I COULD HATE YOU FOR BREAKING ME AND CALLING IT LOVE" are about their relationship — not a romantic relationship, as the narratives may insinuate. (When I ask if there are any other songs with unexpected meanings, he gives yet another droll response: "Everything else is just about women.")
On top of his family problems, Kane moved to a different country every three years, attending 20 schools throughout his childhood. His biracial background — his mother was Norwegian and his father was Filipino, plus he has a slight Australian accent because of his Perth origins — didn't help with trying to fit in. As he shared in another open letter upon releasing "14," "Since I was 10, I grew up asking myself every single day, 'WHAT THE F— IS WRONG WITH ME?'"
As Kane has continued to write and release music, he has gradually let go of that disparaging feeling. But what ultimately set him free was the expedited growth he experienced after losing three relatives in a row.
"At some point after that, I just realized, why am I going to be ashamed of who I am? Why am I ashamed of the way I look? Why am I ashamed of the way I sound?" he says. "There's a lot of people that love me, and I don't need any more f—ing validation."
Along the way, he found the perfect name for his fans: family. "To see how everyone listens to my music and how my fans care for me," he says, "at the end of the day, I'm just like, 'This feels like family, and that's what it is.'"
The relationship is certainly mutual, as Kane says he receives daily messages about how his music has impacted — and even changed — some of his fans' lives. What started as a simple outlet for him is serving the same purpose for others, letting them know they're not alone in what they're feeling. "That's all I strive for with putting my music out," he says.
And when it comes to MAYBE SOMEDAY IT'LL ALL BE OK, Kane has sonic documentation of the most challenging year of his life. But now, he's able to view it with a more optimistic mindset — just as the title suggests.
"I look at [the album], and I'm like, "Holy s—. I don't understand how a person has gone through all that s— and is still able to function as a normal human being. And in my head I'm like," he pauses, "that's f—ing crazy. Like, whatever happens, whatever comes my way, I'll always be able to figure it out."
Photo (L-R): Ria Mort, Thanos Poulimenos
Global Spin: Katerine Duska And Leon Of Athens Premiere "Babel," A Bilingual Tale Of A Love Lost In Translation
Frequent songwriting partners Katerine Duska and Leon Of Athens grapple with a relationship full of miscommunication in this emotional duet, which they debut with a powerful Global Spin performance.
"Can I love you a little more clearly?" Katerine Duska and Leon of Athens sing in the emotional chorus of their new song, "Babel." "Can we get it right? Can we talk another night away?"
In this episode of Global Spin, the two pop singers — and frequent songwriting partners — effortlessly trade off between Greek and English in a compelling performance. But as beautiful as the bilingual, harmony-driven duet may be, "Babel" chronicles a fraught relationship where, ultimately, the love gets lost in translation.
"Babel" brings the two lovers back to where they started: Frustrated and failing to see eye to eye, but still invested in one another. That narrative pairs with an equally passionate, string-filled sonic backdrop in this song, which Duska and Leon of Athens premiere on Global Spin.
The song's visual component further underscores its message. Duska and Leon of Athens perform the song from a bed, surrounded by candles and rippling water. As they wrestle through their disagreements — both lyrically and physically — the two artists make an attempt to find tenderness, but their best efforts dissolve into frustration and disconnection.
The bilingual duo have co-written several times in the past, and they're no strangers to performing together, either. Their first duet, "ANEMOS," came out in 2019; a year later, the pair released another collaboration, "Communication."
Press play on the video above to get a first look at the latest collaboration between Katerine Duska and Leon of Athens, and keep checking GRAMMY.com every Tuesday for more new episodes of Global Spin.
Photo: Matteo Vincenzo (right)
Herbal Tea & White Sofas: Akon And Teemanay's Favorite Tour Meal Is So Iconic That It Has Its Own Festival
Over plates of Nigerian jollof rice, global superstar Akon and Afrobeats mainstay Teemanay explain the finer points of this staple West African dish — which is also their staple meal on the road.
When it comes to music, R&B giant Akon and rising Afrobeats star Teemanay (aka Young Icon) have a lot in common. Not only are they both from West Africa — Akon's family roots are in Senegal, while Teemanay hails from Nigeria – but the two teamed up on the four-song EP Konvict Kulture Presents Teemanay, which came out on Akon's label earlier this year.
The two acts have similar tastes when it comes to food, too — though they might disagree on the finer points. Jollof rice, a staple throughout West Africa, is a dish that both artists grew up loving, even though they hail from different countries within the region.
"For a meal, if they have jollof rice for me, I will give them an extra 15 minutes of free performance," Teemanay jokes in the newest episode of Herbal Tea & White Sofas.
"So the rice is actually smoked, almost like when you cook barbeque," Akon details, explaining what it is that makes this particular dish so special. "When you look at jollof, it ranks in the top five of those things you just can't forget. It's a part of the meal, every meal."
The dish is so essential that Akon hosts an annual Jollof, Music & Food Festival in Atlanta, which features a lineup of music and food trucks. But the pinnacle of the event is the jollof cook-off, in which recipes from different countries compete to see which region creates the best version of the dish.
"This year, Senegal won. But we kinda expect that, because Senegal is really the creators of jollof rice," Akon proudly explains, as Teemanay shakes his head in disagreement.
"I'm in a very aggressive, fighting mood right now," Teemanay shoots back with a smirk. "Nigerian jollof is the best jollof in the world."
Whichever regional version they prefer, Akon and Teemanay can agree on one thing: There's no better post-show meal or tour bus snack out there than jollof rice.
Press play on the video above to watch the two stars duke it out over their favorite jollof, and keep checking back to GRAMMY.com for more new episodes of Herbal Tea & White Sofas.
Photo: Suriyawut Suriya / EyeEm via Getty Images
9 Organizations Helping Music Makers In Need: MusiCares, The GRAMMY Museum & Others
Are you in a position to donate to musicians in a state of financial or personal crisis on this GivingTuesday? Check out these nine charitable organizations — beneath the Recording Academy umbrella and otherwise.
Imagine a world where care and concern is distributed in a holistic circuit, rather than being hoarded away or never employed at all. That's the paradigm that GivingTuesday is reaching toward.
Created in 2012 under the simple precept of being generous and celebrating generosity, GivingTuesday is a practical hub for getting involved in one's community and giving as freely to benefit and nourish others.
Since GivingTuesday has swelled not just from a single day in the calendar year, but a lens through which to view the other 364 days. You can find your local GivingTuesday network here, find ways to participate here, and find ways to join GivingTuesday events here.
Where does the Recording Academy come in? Helping musicians in need isn't something they do on the side, an afterthought while they hand out awards.
No, aiding music people is at the core of the Academy's mission. MusiCares, the Academy's philanthropic arm, has changed innumerable lives for the better.
And through this society of music professionals and its other major components — including Advocacy, the GRAMMY Museum and GRAMMY U — the Academy continues its fight in legislative and educational forms.
If you're willing and able to help musicians in need this GivingTuesday, here's a helpful hub of nine charitable organizations with whom you can do so.
Any list of orgs that aid musicians would be remiss to not include MusiCares.
Through the generosity of donors and volunteer professionals, this organization of committed service members has been able to aid struggling music people in three key areas: mental health and addiction recovery services, health services, and human services.
"Museum" might be right there in the name, but there's a lot more to this precious sector of the Recording Academy.
The GRAMMY Museum in Los Angeles doesn't just put on immersive exhibits that honor the legacies of musical giants; it's a hub for music education.
At press time, more than 20,000 students have visited the Museum, more than 10,000 students have participated in the Museum's Clive Davis theater, and 20,000 students have participated in their GRAMMY Camp weekends.
By now, the evidence is ironclad: Giving incarcerated people access to music and art dramatically increases morale and decreases recidivism.
Give a Beat is keenly aware of this, both on direct-impact and mentorship levels.
The org hosts classes for incarcerated people, in order for them to "find healing, transformation, and empowerment" through its Prison Electronic Music Program, which helps incarcerated folks wade deep into the fields of music production and DJing.
Despite being at the heart of American musical expression, jazz, blues and roots can sometimes feel roped off on the sidelines of the music industry — and its practitioners can slip between society's cracks.
That's where the Jazz Foundation of America comes in. They aid musicians struggling to hang onto their homes, connect physicians and specialists with uninsured artists and help musicians get back on their feet after life-upending natural disasters.
Headquartered in Memphis, the Blues Foundation aims to preserve the history and heritage of the blues — which lies at the heart of all American forms. This goes not only for irreplaceable sites and artifacts, but the living, breathing people who continue to make it.
The Blues Foundation offers educational outreach, providing scholarships to youth performers to attend summer blues camps and workshops.
On top of that, in the early 2000s, they created the HART Fund to offer financial support to musicians in need of medical, dental, and vision care.
And for blues artists who have passed on, the HART Fund diverts money to their families to ensure their loved ones would be guaranteed dignified funerals.
Founded all the way back when World War I broke out, the Musicians Foundation has spent more than a century cutting checks to musicians in times of need.
This includes financial grants to cover basic expenses, like medical and dental treatments, rents and mortgages and utilities. Submitted grant applications are reviewed by their staff and a screening committee. If approved, the money is dispatched rapidly and directly to the debtor to relieve financial pressure as soon as possible.
The Musicians Foundation's philanthropic legacy is enshrined in Century of Giving, a comprehensive analysis of financial aid granted to musicians and their families by the Foundation since 1914.
Based in North Carolina, the Music Maker Foundation tends to the day-to-day needs of American roots artists — helping them negotiate crises so they can "keep roofs over their heads, food on their tables, [and] instruments in their hands."
This relief comes in the forms of basic sustenance, resources performance (like booking venues and providing CDs to sell) and spreading education about their contributions to the American roots canon.
When music people are in danger, this charitable organization sees no barriers of genre, region or nature of crisis.
If you're a musician suffering from physical, mental or financial hardship — whether it be due to a disability, an affliction like cancer, or anything else — Sweet Relief has got your back.
For any and all further information, visit their website.
The Recording Academy's concern and consideration for music people hardly stops at musicians — they're here to support all music people.
They share this operating principle with Music Workers Alliance, which tirelessly labors to ensure music people are treated like they matter — and are fairly remunerated for their efforts.
This takes many forms, like fighting for music workers at the federal, state and city level for access to benefits and fair protections, and ensuring economic justice and fair working conditions.
Music Workers Alliance also fights for economic justice on the digital plane, and aims to provide equal access for people of color and other underrepresented groups in the industry.
Photo: Rachel Kupfer
A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea
James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.
It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.
Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.
Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.
In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.
Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.
There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.
Say She She
Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.
While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."
Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.
Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.
Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.
Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.
L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.
During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.
Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.
Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.