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At a moment when the world stood still and her own life shifted irrevocably, Cam stepped into the quiet and found something luminous. All Things Light, her most personal and spiritually resonant album to date, was born out of the dual crucibles of early motherhood and pandemic isolation, a period that stripped away distractions and left only the raw questions: Who am I now? What can I pass on? Inspired by the wide-eyed wonder of her daughter Lucy and the existential teachings of thinkers like Alan Watts, Cam crafted a record that feels more like a spiritual framework than a typical album.
Infused with genre-defying sonic textures, country, folk, left-field pop and shaped in part by a dream team of collaborators including Tyler Johnson, Michael Uzowuru, and Ethan Gruska, All Things Light is an expansive, soul-baring meditation on identity, grief, and radical hope. But at its core, it’s a love letter to Lucy, laced with the kind of insight only lived experience can offer. “Turns Out That I Am God,” the album’s bold centrepiece, doesn’t just signal a new sound; it reveals a new way of being one that embraces the chaos, the divinity, and the messy beauty of becoming.
Cam’s openness in both her music and conversation offers a rare space of emotional safety, whether onstage, on vinyl, or across a screen. With All Things Light, she invites us not only to listen, but to remember. To question. And maybe, to believe in our own light, too.
Cam, All Things Light feels like such a personal and spiritual journey. What was the first song you wrote that made you realise this album was going to be different?
Turns Out That I Am God made me realise this album was following its own path, and that I was going to be weaving together a new spiritual framework for myself and daughter.
“Turns Out That I Am God” is such a bold title. How did the Alan Watts philosophy shape this song, and in turn, shape the album as a whole?
There’s a lecture by Alan Watts, a thought experiment: “What if we’re all God and we’ve just forgotten?” It hit me, heavy and empowering and needed. There’s a line in there about the first time I meditated, “I dreamt myself to the centre of All Things Light. It was weightless and warm. I forgot I knew how to cry”. This song is the centrepiece for the album, and for this season of my life.
You wrote much of this during early motherhood and isolation. What was it like channelling that solitude into something so expansive and visionary?
My world and my mind changed with motherhood. And the pandemic put me in the studio alone right in the middle of that. By myself, with nothing to distract me from the ideas and concepts that were lighting me up, I felt like I needed a new spiritual framework to face the unknown while guiding this new soul through the world
The album has this stunning blend of country, folk, pop, and experimental sounds. How intentional was that fusion, and did it reflect your inner emotional landscape at the time?
I was very intentional about not putting any limits or genre boundaries on this music. I went into East West Studio 3 (where they recorded the Mamas and the Papas, Beach Boys, etc) with my longtime friend and producer Tyler Johnson, and we enjoyed making this album more than any other because we followed what sounded like us.
You’ve collaborated with an incredible list of producers and writers on this record—from Tyler Johnson to Michael Uzowuru. What was something unexpected you learned during those sessions?
I learned how fun this all can be! We had so many incredible people come through on different days, each bringing fantastic pieces of the puzzle- it felt kind of like a sitcom or something.
What do you hope your daughter Lucy takes from these songs years down the line?
There’s an inscription for her inside every vinyl: Here are my songs for the world to hear, but really every word is for you. Maybe one day, when you are feeling lost, the lyrics will suddenly sound new – and you’ll know how lost I felt too. And you’ll be brave when you don’t want to be and stare into the abyss and discover that you are as holy as the chaos you are swimming through. And you’ll remember that you are god too, baby girl.
In that beautiful Facebook video, you talk about crying, laughing, and having fun with your audience, together taking a full emotional roller‑coaster. How do you create that deep space of trust and openness where fans feel safe to ride every high and low with you?”
When I’m open and vulnerable in my music & storytelling, it seems to send out a kind of *bat signal* to other people who feel and experience the world in the same way. So we find each other online and at shows, so we can celebrate and commiserate together
Your contribution to COWBOY CARTER earned you a Grammy and linked you to a new wave of genre-defying music. How do you see your role in the current evolution of country and pop?
I think my job right now is to make art according to my abilities and my dreams, not according to categories designed over a century ago to sell music to racially segregated audiences.
Your visuals, from album art to the music video for “Turns Out That I Am God”, have a powerful poetic style. How closely are you involved in crafting the visual identity of your music?
I’m involved in everything visual alongside my longtime creative partner and manager, Lindsay Marias. We spend years, parallel to the music creation, building and whittling through inspiration boards to narrow in on concepts and aesthetics. Szilveszter Mako & James Mackel have been the most incredible creative partners in manifesting this music into the visual world.
How would you describe your personal fashion style in three words, and has that evolved alongside your music?
Mostly androgynous business attire currently 🙂 showing up for the job of motherhood. I’ve loved meeting feminine expectations less and less as I grow up. I feel more whole this way.
Has motherhood changed the way you dress or present yourself on stage or in public?
In my personal life, I’d say it’s kept me enjoyably humble bc there’s not much time to “get ready” each day. Professionally, I think I’ve gotten even more raw onstage, which in turn makes me feel very seen.
Are there any fashion designers or artists that deeply inspire your look, either past or present?
Those oversized David Byrne jackets are a vibe
What’s one item in your wardrobe that holds sentimental value or feels like a piece of your artistic identity?
I’m really reluctant to get attached to clothes, but there’s a pink velvet Gucci purse that my daughter loves and has told me she wants when she’s older.
There’s a deeply philosophical thread running through your work. Do you find yourself more inspired by books, film, spiritual texts, or lived experience?
All of the above! i just started a Fable account for my reading lists, and I often write as a direct result of films. Also I’m very lucky to have lived thru some wild stories I can pull from (before even getting into music professionally). “Kill the Guru!” draws from I time I literally dated a guru (I do not recommend).
What role does vulnerability play in your songwriting process?
It’s the key to all the good stuff. Anytime I’m uncomfortable, that’s a good sign.
If you could time-travel and play All Things Light for a younger version of yourself, what do you think she’d say?
Oh man, my 20-something self really could have used this. I remember googling “what to do when you feel lost”. I think she’d cry at acts of happiness if she could hear this album.
