Warning: the first bit of this piece is going to be extremely informal. I will be addressing Cade Hoppe by his first name for the time being. 

This year started with me getting emailed a pitch to cover Cade’s song “Hurts” that was set to come out a few weeks later. I had never heard of him before, so I listened to his songs “Loverly High” and “Click Boom Run” and immediately emailed back “Send me that kids song. I need it now.” 

I wrote a piece up on “Hurts,” which I liked immensely, then interviewed Cade over Zoom on St. Patrick’s Day ahead of the release of another song called “Morphine,” which I also like immensely. He and I quickly formed a rapport that was different from any other artist I’ve interviewed, and now, just a few months later, he is a great friend. 

He sent me his new EP, Everything That’s Wrong With You, a month ahead of its release. Upon hearing one of the songs, called “Heart Safe,” I, in what is a very uncommon instance as a writer, texted him immediately saying, “CALL ME RIGHT NOW LOL,” and he did. I raved about the song, which I will dive into later in this piece, and he laughed, graciously thanked me, and told me some of the inner workings. 

So, I mean, maybe me writing about Cade’s music could be considered a conflict of interest, but I think it’s all a testament to the magic of a good song and the connection it can form. Cade, buddy, you did good. 

Warning: the informal section of this piece has concluded. 

The five-track project includes the aforementioned “Hurts” and “Morphine,” as well as three new songs that are some of Hoppe’s best to date. He secured a viral TikTok by teasing the projects opening track “Everything That’s Wrong With You,” jokingly saying it was the product of a bot listening to 1000 hours of Taylor Swift music and spitting out a song in return. The song, which, yes, contains elements of Swift’s style of songwriting and vocal harmony structure, could also pass for a more mellow Jack Antonoff-produced track (Bleachers or other). Antonoff and Swift are, essentially, one-and-the-same at this point, and Hoppe’s admiration for both artists is well-documented, so it’s no surprise, really, but he nailed it. He delivers short and sweet verses that lead right into a chorus so smooth and singable that you’ll almost be able to sing it word for word by the second go around. The line, “Is my happiness your one weakness? Why do you just live to watch my death?” is a brutal yet accurate depiction of how one half of a pair is capable of adding so much frustration and manipulation to a failing relationship, but Hoppe isn’t about to take it lying down. His warm, low vocals make him sound innocent, or like he won’t fight back, but then he unleashes the burn that is the songs tag line; “Maybe everything you think is wrong with me, is everything that’s wrong with you.” 

Musical elements, such as swirling harmonies, synths, and vocal layers in the chorus, all creep their way in as the song progresses. They all lead to the bridge (highlighted by some background vocal trills worthy of an “OHHHHHH s***”) which sees Hoppe truly come to terms with the toxicity of the situation, as he sings, “It’s taken me forever to realize that nothing is gonna change your stubborn mind.” It is a win for Hoppe as an opening track, and in his pursuit of happiness. 

The next track, “Heart Safe,” the best on the project, tells the story of Hoppe shielding his new love from an ex who had wronged her; “How dare you make her cry. It’s a privilege just to love her.” His protective instincts kick in, as he stands up to the ex-guy and demands that he set her free, because he’s going to treat her right; “I know you loved her first, but you loved her worst in the end. I’ll keep her heart safe.” He changes the lyric in the last chorus to; “… I’ll love her right till the end. I’ll keep her heart safe till then.” Similar to the final moments of “On My Own” from Les Misérables, as Eponine grapples with her unreciprocated love for Marius, Hoppe repeats that line three times, each with a different intention. He, seemingly, directs the first, as a definitive statement, at the ex-guy, the second, with all the tenderness he can muster, towards his love, and the third, to himself, like he’s signing his life to it. The dreamy, ballad-like production of the track by Harper James, one half of NYC-based indie pop duo Eighty Ninety, helps create such palpable, believable emotion. 

“Hurts” and “Morphine,” two songs that showcase Hoppe’s inner demons surrounding religion, growing up, mental health, etc., are included on the project, as is another new track called “Don’t Watch Me.” “Hurts” talks about pain caused by loss of love, while “Morphine” is more so pain caused by everything else. It’s a strange choice for a closer, but it is a track that, more than any other, showcases Hoppe’s willingness to allow the listener into his own vulnerable mind. 

You can stream the EP Everything That’s Wrong With You here, and you can follow Cade Hoppe via the links below.

Website / Instagram / Twitter / TikTok / Facebook / Spotify