CASE STUDY 01

After Daniel Caesar released his soul-baring debut album, Freudian, tracing his decision to leave home and the church at 17, he became one of R&B’s most promising poets, able to distil spiritual complexities into deceptively simple love songs. Then, he got lost in his own head. “I got pretty depressed,” he tells Apple Music, citing artistic pressure, social media and the isolation of fame as factors. “For a while, I didn’t want to leave my house.” The thing that ultimately freed him from his creative rut was finding comfort in his own mortality. “Everything dies, everything changes—I had to embrace that,” he says. “To not be so scared of failure.” CASE STUDY 01, his existential follow-up, is denser, headier and riskier, confronting ideas like good and evil, life and death, loneliness and God. “I’m drawn to touchy subjects,” he says. “They’re my favourite.” He found he kept circling back to themes of death and spirituality. “I’d been reading a lot about Judaism and Kabbalah and meditation. And I was raised religious, so it’s like my operating system,” he says. “But I also needed to free myself from that—to live.” Once he’d regained some creative confidence, he drafted a fantasy line-up of artists to work with on the new music—Pharrell, Brandy, John Mayer. “These are my heroes,” he says. “People who I never thought I’d ever collaborate with, until the opportunity came up and it was like, ‘Is this really real?’” Even more surprising, perhaps, was the degree to which the studio sessions felt like true artistic exchanges. “There were obviously things I admired about these artists,” he says, “but I realised there were also things they admired about me.” Pharrell was drawn to Caesar’s palette of influences—a mix of gospel, R&B, rock and soul—while Caesar hoped he’d absorb some of Pharrell’s signature playfulness. “I take myself very seriously,” he says, “and there’s something so childlike and fun about his music.” Similarly, Mayer, his all-time favourite artist, was inte