Eliza McLamb, Artist Spotlight All Details is our todays topic. Eliza McLamb is a 20-year-old Carrboro, North Carolina-based singer/songwriter, podcaster, and artist. After a few semesters at George Washington University. She decided to take a gap year when the epidemic began. Butr, she stated on “Binchtopia,” the podcast she co-hosts with her friend and roommate, Julia Hava.
That she has no plans to return to college anytime soon given. That she has established a strong presence on major social media and streaming applications. Eliza McLamb now has 80,064 monthly listeners and 20,464 Spotify followers.
McLamb caught my attention on TikTok, where she shares covers, original music. And social commentary to her 313,000 fans. Her YouTube videos have received over 12 million likes. Eliza McLamb‘s music is available for download across the majority of major streaming sites.
While she releases her more personal work on SoundCloud. McLamb’s debut EP, “Memos,” is publish on all platforms in December 2020. McLamb’s tracks often feature her delicate voice over piano or guitar instrumentals. Her angelic voice contrasts with the creative bluntness.
And precise precision of her poems. Which strike to the core of many young Gen Z women’s nostalgic and tragic recollections. Her ability to infuse personal facts from her life into her songs without alienating the audience is critical to her craft. As she addresses her own existential problems, her music makes a lot of 2010 young females feel seen.
“P*rn Star T*ts,” one of Eliza McLamb’s first viral singles, deviates from her regular musical approach. Yet the subjects of the single remain ubiquitous across the rest of her work. It’s one of my favorite tracks from “Memos,” and it’s definitely her most famous.
McLamb talk-sings to the tune of a guitar. And chime melody in “P*rn Star T*ts,” describing a history of being objectified as a young girl. “When I was ten years old, a dude on the internet informed me I had p*rn start t*ts,” the song begins. I had no idea what that meant, but I knew he was having fun with it.”
Throughout the song, she investigates how technology. And The early 2000s social media explosion led to the objectification of young girls. As did her personal experience navigating this environment that informed her she was begging to be objectified.
The song is a story of a girl seeking to find her identity outside of the male gaze. A story that many young girls faced with the advent of social media platforms like Facebook and Instagram.
Hava and McLamb have discussed the “I’m not like other females” problem on “Binchtopia.” This phenomenon is a patriarchal weapon, putting women. And girls against one another to appear the most “cool” and acceptable to the males in their life. Eliza McLamb follows her progress throughout the songs.
From an innocent infant to an object of desire who was “not like other girls.” She pointed out the irony and danger of this path with her candid songs.
“I mean, didn’t I beg for it (sex, objectification) a little bit? / In some odd way I sort of like it, / that voice in my brain saying me / ‘Good girl, it’s working, isn’t it?’/ Isn’t it?” McLamb says at the close of the song. This is a great example of what McLamb is attempting to convey via her music. Snce it addresses one of the most pressing concerns that McLamb.
And many other women have faced at some time in their lives: is this my blame? She explains so how the question of blame is always placed on women, particularly young girls. Who have been taught from infancy to bear responsibility for the way males view them on a daily basis.
In December 2020, McLamb and Hava launched the “Binchtopia” podcast. On Patreon, they provide more episodes and regular emails. As well as book and documentary suggestions. “If Plato and Aristotle had web habits and knew what ‘gaslighting’ was,” McLamb. And Hava characterize their podcast. I couldn’t believe more and suggest giving it a listen.
Hava and Eliza McLamb have amazing chemistry, and the listener is included in the discourse. Furthermore, they use online lingo and stereotyped Cali-girl tones to address feminism, politics. And mental health, making their conversation more relatable and accessible to their audience.
Plus, it’s entertaining to listen to their stories. And rants while knowing that debate-bro. And male arts contrarians would be completely incapable of handling the climate they create for their listeners. I recommend listening to Memos also to the program. You can also see Eliza McLamb’s video clip for “Pontiac” on YouTube.