Shadows of Presence on the Internet: A Look into SAULT and Cindy Lee
Updated: Nov 20
Recently, I’ve been reflecting on the state of humanity as mirrored by the internet, particularly wondering: is our visibility dictated by it? With the ability to access each other’s lives at our fingertips, it’s intriguing how we question the validity of someone’s existence when they are offline.
The internet undeniably permeates our lives. For many musicians, the demands of algorithms can be daunting, as they juggle follower counts and the pressure to craft the next viral post. If you’re not online, you risk being forgotten. Yet, for some, it turns creativity into content with every post that keeps people watching.
There’s no one-size-fits-all answer to navigating social media. Musicians are finding their way as they go. Some lean in, blending marketing strategies and PR stunts with their releases, keeping up with the pressure to produce bite-sized moments that could pivot their careers. Of course, some have succeeded organically, even if they don’t conform to typical marketing tactics. It’s undeniable that such videos can drive engagement—and visibility—if luck is on your side.
It is a complicated and challenging dynamic for how paradoxical it can be. Musicians now operate in a landscape where “making it” could mean navigating social media marketing as carefully as making the album itself. Social media, by design, rewards this —do you conform to platform rules and stay visible, or prioritize their ‘real life’ and risk becoming lost in the vast impersonal digital ocean?
We often discuss authenticity and the importance of real-life connections over chasing views. It reminded me of SAULT and Cindy Lee’s approaches. While it does not necessarily involve such calculated tactics, their artistic bravado is strong enough to challenge the prevailing belief that visibility must come at the expense of creative integrity.
The enigmatic music collective that is SAULT, spearheaded by producer Dean Josiah Cover (known as Inflo), has constructed its identity around mystery and artistic exploration. With a whopping 11 albums released in just four years—including a staggering five on a single day—their commitment to anonymity has allowed fans to engage with their music without a face.
And it's human nature to want to know who is behind the music —especially when you get access to the faces of people online, whom you may never see in real life, we're all just curious like that. The lack of physicality could have contributed to an even more spectacular live debut performance just last year, like a surprise that fans have been edging for. One thing’s for sure is that it created FOMO for everyone who missed out on the three-hour show. SAULT is a prime example of existing online, more specifically so on streaming platforms for us to listen to, but the impact of their live show would not have happened, if not for their already remarkable music that one cannot turn a deaf ear to.
On the other hand, there’s Cindy Lee, the drag persona of Patrick Flegel and former vocalist of the post-punk band Women. Adopting an unorthodox approach to music distribution today, they challenge the norms of today’s streaming culture by requiring fans to PayPal them directly for their latest album, Diamond Jubilee, or listen to it on YouTube for two hours, earning revenue from views.
By eschewing social media and traditional marketing, Cindy Lee relies on organic fan support, allowing their music to exist free from commercial pressures. This choice underscores a fundamental truth: ultimately, it is the music that unites us.
While I could also discuss how Charli XCX’s Brat exemplifies an internet-driven success—authentic yet undeniably turned commercial (spearheaded by her fans)—it's clear that artists like SAULT and Cindy Lee may operate without such calculated strategies. They remind us that despite the complexities of existing online, real connection can thrive.
Despite it all, it’s easy to be cynical about the internet but realistically, as long as you maintain control over your online presence, it can’t control you —and if you don't have one, you are still very much valid. For musicians, their music will still be put out into the world and it shouldn't be a competition of who goes the most viral.
Perhaps the question is to reflect on how we consume music in this day and age and ask ourselves what matters.