“It Feels Full Circle!” CLASH Meets Paige Cavell

Over the years, Paige Cavell’s voice has been everywhere in dance music. Collabing with a range of the genre’s heavy hitters, the vocalists’ powerful toplines have turned heads no matter what track they appear on.

But with the new year ahead, and her new single ‘Owe It All To You’ freshly released, we sat down with Cavell to chat about her love for the club community, evolving into genres, and what awaits her next.

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How are you?

I’m excited! I’ve got a little show tonight, and the release is on Friday. This is my first proper solo show, and we’re performing around the corner from Chelsea football stadiums – I’ve been a fan since I was a baby, so it feels full circle, I’m just super-hyped. The whole performance is super stripped back – we just wanted to show another version of the tracks, and I think there’s something really beautiful about an acoustic set, so I’m looking forward to it.

How does it feel to have the record out?

You know what, I’d say it’s probably been a year since I wrote it which is surreal. I remember in the session, I was in a really shit mood – we just got some bad news about a family member’s health, and it really got to me. I didn’t want to go into the room feeling so low but it’s actually where the title came from – just before it began I scribbled down ‘I owe it all to you.’ Even though I felt awful, I wanted to try and write something with meaning to it, and it ended up coming out really naturally.

It’s a really meaningful song, which I’ll always aim for. I tell everyone I write with, I will never release a song that doesn’t have a meaning. What I write needs to come from somewhere with me, especially as I’m a singer, and you can hear emotion in the voice so easily.

How did you get started with music? 

From a young age I was into jazz and soul, so that’s where it began. All the classics like Amy Winehouse, James Brown, Prince… it’s through them how I learnt about music. But obviously you grow up and you find new genres and you grow.

Career-wise I started in the pop space – I started with a label just singing, and when that didn’t feel right I got more into writing. Then after a few years I got sent a brief for a drum and bass topline. This was in the depths of lockdown, and it was a very rough time, as it was for everyone. But as soon as I got the brief I recorded an idea down and sent it over. Not long after I got a message from a DJ who wanted to release this, and it went from there.

What was transitioning from pop to electronic music like? 

Really fun! I love it immediately. I think even with my previous pop stuff there definitely were some dance tendencies bubbling underneath the surface and once I really started getting into it I realised how music the scene resonated with me. I struggled a bit when I was young with anxiety and going out, but I’ve always found the dance scene really welcoming. It’s such a community, no one judges anyone. I think I really fell in love with that side of it because everyone can be themselves and be so free.

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How do you find the collaboration element of your work?

When I was doing pop stuff, I was in a space of very much working on my own. You don’t really collaborate as much in that genre. But soon after I started going into my first dance session, which was actually what ended up being ‘Tears’, my collab with John Summit. I just loved having people to bounce off. Especially working with John, he’s always been so welcoming and so collaborative. He makes sure everyone he works with just feels so heard and so respected, it’s super special. This industry’s hard, and I think if you can collaborate and lift each other up the better.

Has there been a particular collaboration that you’ve done which has stood out to you?

I think for me it would have to be the John Summit collab – it started my whole journey into the dance space, so I owe a lot to that record in many, many ways, it’s a personal highlight. I’d just come out with a really rough breakup and I was in a pretty dark place when writing – to go from that space to performing the track The Forum and the Grammy Museum with him, it just means so much on so many levels.

Out of everyone I’ve collabed with, John and I have the closest relationship. It developed through touring – we’ve got that really good bond. The reaction to that track has been amazing too –  we went to Amsterdam and while we were there  loads of people were coming up to us and explained how the song  got them through a dark part of their lives. It meant a lot to me because it helped me through my darkest point, like I’m so pleased that it resonated in that way. It’s why I do this, to connect with people it’s just the most special feeling.

The sharing of music is the most special part –  once we let it go it becomes part of whoever listens. I hope when people hear the single they picture one person in their lives they care for. Whether it’s a friend or family, have a person in mind that makes them smile. We don’t express that emotion enough because we’re so busy so I think that was my way of showing my family how amazing I think they are, and how much I love them.

Finally, what are your plans for 2025?

Music wise, I’m definitely gonna be releasing some solo stuff. That was really important for me because as much as I adore collaborating, I really wanna stand on my own as an artist. Other than that I just want a lot of fun. I’m very like a protective person with my emotions and I’m really trying to let some of that go. I’m going on an Ibiza trip again to see my family. Just have a lot of fun!

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‘Owe It All To You’ is out now.

Words: Lily Blakeney-Edwards
Photo Credit: Holly Whitaker

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