We Speak Music

Cabo Don Releases ‘Outsiders’ Featuring Trey Detroit

Published

3 years ago

October 9, 2023

Hailing from Texas, multi-talented instrumentalist and artist Cabo Don is well-versed in the art of juggling unique talents. Having walked the same halls as the likes of J Cole following his stint at St John’s University, the classically trained pianist and violinist has since been embarking on a never-ending mission to create pop excellence. Following the expansion of his ever-growing discography and head-bobbing release ‘Stay The Night’, Cabo Don now returns with ‘Outsiders’ – an irresistibly upbeat offering featuring R&B maestro Trey Detroit.

Under his current nom de plume Cabo Don, Don has shown a natural affinity for collaboration. Demonstrating the organic value and depth that joining forces brings, Don has worked with the likes of JVZEL; an artist who boasts a star-studded repertoire with credits such as Baby Keem, Far East Movement, Kendrick Lamar, and Rihanna.

By fusing the perfect melodic and upbeat pop flares with hip hop and R&B tones and seamlessly integrating them, Cabo Don’s latest offering lends itself to an aestival experience that envelopes its listener in a romantic, reflective moment.

Open to all avenues of creative exploration, Cabo Don’s latest offering showcases a new-found self-awareness and an evolved approach as he consistently works to deliver his learning in the form of song. Crafting a refreshingly different sound that is also consistent with the stylistic trends of today’s pop soundscapes, ‘Outsiders’ sees the artist double down on layered, school hip-hop production as he navigates his life experiences,

As his collaborator Trey Detroit croons over an energetic beat, he strikes the perfect balance of sophisticated cadence and recite-worthy hooks resulting in a cleverly complex track in wonderfully simple clothing. As Cabo Don continues to interlink classic, evergreen styles with pleasing, unexpected flips, his signature unruffled and unhurried production technique is one that resonates with every popular music lover.

With a repertoire that delivers instantly recognisable tones for fans, reminiscent of the likes of KYLE, Maroon 5, and Dram; you can expect non-stop pop hits from Cabo Don.

Reflecting on his latest offering, Cabo Don shared: “This track is for all the people who wish their situationship would turn into something more real. Really soon.”

We Speak Music

Mané’s ‘The Goddess in the Room’ Turns Self-Discovery Into Sonic World-Building

Published

5 hours ago

June 2, 2026

Philomena Marie

There is a remarkable sense of intention running through The Goddess in the Room, the latest project from Swiss artist Mané. Blending alternative electronic pop with ritualistic percussion and spiritual symbolism, the album presents itself as both a personal statement and a carefully constructed narrative. Across its nine tracks, Mané explores identity, healing, queerness, and empowerment with impressive clarity of vision.

The opening track, “The GODDESS in the Room,” functions as both invitation and thesis statement. It introduces listeners to a world where intuition and self-trust become guiding principles, while establishing the atmospheric production style that shapes much of the record. The song’s spacious arrangement creates room for reflection, a quality that becomes one of the album’s defining characteristics.

That introspection deepens on “perles de sang” and “sappho.” The former grapples with inherited pain and bodily experience, while the latter offers a moving celebration of queer identity. Throughout these songs, Mané avoids reducing complex themes to slogans, instead allowing emotional nuance to emerge through carefully crafted songwriting and evocative imagery.

Musically, the album reaches some of its most intriguing moments on “)O(” and “moonstones.” Both tracks highlight Mané’s growing confidence as a sonic architect, blending electronic textures with organic rhythmic elements inspired by shamanic practice. The resulting sound feels immersive and transportive without losing its emotional immediacy.

Meanwhile, “j’serai tjr là” and “chocolate con sangre” provide some of the record’s most vulnerable moments. Here, Mané strips back some of the conceptual grandeur to focus on connection, memory, and emotional endurance. These songs reveal an artist equally capable of intimate storytelling and ambitious world-building.

The penultimate track, “Witches,” injects a surge of collective energy into the album’s narrative. Drawing on themes of resistance and feminine power, it stands as one of the project’s most direct statements while retaining its atmospheric sophistication. It is both politically resonant and emotionally charged.

By the time “ALIGNED” closes the record, the journey feels complete. Not because all questions have been answered, but because the search itself has become meaningful. The Goddess in the Room succeeds through its commitment to authenticity and vision, establishing Mané as an artist unafraid to follow her own path, wherever it may lead.

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