German-born, Ireland-based alternative artist Damien Cain returns with 'Caleb', a deeply personal reimagining of one of the most emotionally significant songs from his album 'Standarte'.
Released ahead of Pride Month, the piano-led pop-rock ballad features UK vocalist Jamie Wiltshire in a powerful male/male duet that explores memory, loss, and the challenge of letting go. Reworked by producer Jay Dixie into a more radio-friendly form while preserving its emotional depth, the track balances cinematic production with intimate storytelling.
So with the new single available to stream now, we sat down with him to find out more about his origins and what has been inspiring him most over the years.
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What was the first instrument you fell in love with?
The piano. My great-aunt used to play when I visited her as a little boy, and I think that was the first time I understood that music could create a whole atmosphere in a room. She also introduced me to some rather unusual colours very early on — operetta, Franz Lehár, Der Zarewitsch — things that were probably not on every child’s playlist, but somehow stayed with me.
What kind of music did you love when you were younger?
I was drawn to anything that felt intense, dramatic or slightly outside the mainstream: gothic rock, metal, wave and independent music. Records by Fields of the Nephilim, The Mission, New Model Army and Bad Religion were constantly around me, but also artists like Fischer-Z, The Men They Couldn’t Hang, Queensrÿche or Dream Theater. Looking back, I think I always loved music that had a strong identity, songs that felt like they came from outsiders, romantics, rebels or people who simply did not fit neatly into one box.
What was the first album you remember owning?
Far Beyond These Castle Walls by Chris de Burgh. What can I say? I am answering honestly! There is always a temptation to make your first album sound cooler in retrospect, but I think early musical memories are supposed to be a little unfiltered. And actually, there is a sense of storytelling and romantic drama in his music that probably connects more to my own taste than I would have admitted when I was younger.
What is the one song you wished you could have written yourself?
“The Kill” by Thirty Seconds to Mars. For me, it is the ultimate emo anthem, although by now it probably stands more as a general rock classic. That musical and lyrical struggle with yourself is just brilliant. When I first heard the song, my own musical focus was somewhere completely different, but Jared Leto’s vocal power, the songwriting and, later on, the video, really pulled me back towards some of my musical roots. It reminded me how powerful a rock song can be when it is dramatic, vulnerable and completely unafraid of being emotional.
Do you have any habits or rituals you go through when trying to write new music?
I do not really have a strict writing ritual. Most of the time, inspiration hits me first and then I write. It might be something I see while travelling, a random fragment of conversation, or often a memory that suddenly comes back with surprising force. I rarely sit down and say, “Now I am going to write a song.” The idea has to come to me first. That is how I keep the process honest: the song needs to feel as if it has a reason to exist before I start shaping it.
Who are your favourite artists you have found yourself listening to at the moment?
I only follow the charts half-heartedly, and some of my favourite bands have been surprisingly quiet recently. But one song that really touched me is “Younger You” by Miley Cyrus and Lainey Wilson, especially the duet version. I love the simplicity of that country song in an era where so much music feels overproduced. The lyrics, the voices and the emotional restraint are a wonderful combination. And the final line — “When you’re standing on the stars, just don’t forget who you are” — feels like something that can be applied to almost everything happening in the world right now. Also, for some reason, I have always had a soft spot for duets.
If you could open a show for anyone in the world, who would it be?
Rammstein. Not because I think my music would be a perfect musical match (it probably would not), but because I would love to experience that atmosphere from the stage just once. The scale, the theatricality, the intensity of their live show… I think that would be unforgettable.
What do you find is the most rewarding part about being a musician?
The most rewarding part is when a song reaches someone in a way you could not have planned. With Standarte, and now especially with “Caleb”, I feel that connection very strongly. “Caleb” is a queer love song, but I never wanted it to feel like a slogan. I wanted it to feel human first, meaning romantic, painful, hopeful, a little larger than life. When people recognise something of themselves in that, whether it is their own love story, their own loneliness or their own resilience, that is the part that makes everything worthwhile.
And what is the most frustrating part?
The most frustrating part is probably the amount of noise around music now. Algorithms, attention spans, constant content, the feeling that every song also has to become a marketing campaign, it can be exhausting. Sometimes it feels as if the actual song is only one small part of the whole machine. But I try not to become too cynical about it. A real song still matters. It just has to fight a little harder to be heard.
And what is the best piece of advice you have received as a musician?
Do not chase trends and take your own truth seriously. That sounds simple, but it is probably the hardest thing to do, especially when the industry constantly tells you to be newer, younger, faster, louder or more convenient. I think the best music happens when you stop trying to fit into the moment and start being honest about what only you can bring to it.
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Damien Cain's new single 'Caleb' is out now. Watch the new video in the player below.