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CALIFORNIA SOCIOLOGY FORUM VOL. 7 

Music Review: Cavetown’s ‘Guilty’ Through a Sociological 
Lens 

Tenille Blackburn 
Department of Sociology 

California State University, Los Angeles 
 
As a moving piece with emotive lyrics and imaginative 
storytelling, “Guilty,” by indie/alternative singer-songwriter 
Cavetown (2021), paints an image of loyalty and pain through the 
metaphor of a dog's relationship with their owner, given the album 
name Man's Best Friend. Beyond the metaphor, the lyrics of this 
song have a multitude of different interpretations, and as a result, 
it resonates with many on various levels while remaining 
sociologically sound. There are layers to this song as it covers a 
range of themes involving mental health, fear of isolation, identity 
management, and humans’ need for connection in society.  

Robin Skinner, the face and artist of Cavetown, writes 
about touching and anecdotal human experiences in his songs and 
uses them as a platform for self-reflection. Through his work, one 
may find that there’s more to love and emotions in one’s everyday 
life, and the complexity of emotions and identity are creatively 
expressed through his music. From start to finish, “Guilty” 
captures the struggles involved with identity, social disconnect, 
and relationships in a sociologically significant manner. The 
narrator introduces their predicament as no longer feeling 
connected to a person or situation but continuing as they are 
because they do not want to avoid isolation.  

 
“I don't think that this feels like love,  

but I don't wanna let go.  
Maybe if I just do what you want,  

then you'll leave me alone.” 
To preface: Skinner is a transgender artist who falls on the 
aromantic and asexual spectrum. An interpretation of this verse is 
that it may be a reference to aromanticism, although it may also 
apply to other orientations. In such a case, many individuals on 
these spectrums may feel like they need to live up to their partner’s 
wants or needs to maintain relationships. While this can be done 
in a way that is comfortable and consensual, it may also induce 



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CALIFORNIA SOCIOLOGY FORUM VOL. 7 

feelings of guilt or discomfort for those who may feel like they 
have to make a sacrifice for another. Beyond a lens of romantic or 
sexual orientation, this idea of putting others’ needs before one’s 
own, and the repressed feelings associated, may be a common 
experience in unhealthy relationships. The decision to remain in a 
connection where one isn’t happy is related to the concept of 
moral isolation, or the fear of social isolation, by classical 
sociologist Fromm.  

Fromm (1941) states that rules of society exist and are set 
for each individual before they are born, and they must learn to 
accept the conditions in which they live. This may be more 
challenging for individuals who find greater difficulty in 
navigating the conditions they live in due to their background, 
status, and identities (i.e., minorities and marginalized 
individuals). In Skinner’s and the narrator’s situation, maintaining 
relationships may be difficult while being on the aromantic-
asexual spectrum or historically by having an identity that deviates 
from what is dominantly deemed ‘normal’ in society. However, 
the song narrator still strives to maintain a sense of connection in 
a relationship.  

In order to survive in this world, Fromm (1941) describes 
moral and spiritual aloneness as being as intolerable as being 
physically alone. There is a psycho-sociological emphasis on 
relating to the outside world, being integrated and connected with 
others and ideas. Although the narrator is physically connected 
with someone, the mental and emotional connection may be 
lacking. Fromm (1956:8) touches more upon the topics of 
loneliness, guilt, anxiety, and other mental health difficulties as a 
result of social isolation or separation: 

Being separate means being cut off, without any capacity 
to use my human powers. Hence to be separate means to 
be helpless, unable to grasp the world – things and people 
– actively; it means that the world can invade me without 
my ability to react . . . Beyond that, it arouses shame and 
the feeling of guilt . . . The awareness of humans separate, 
without reunion by love – is the source of shame. It is at 
the same time the source of guilt and anxiety. 

In a similar stance, attribution theories in the sociology of 
emotions describe how certain emotions are experienced not only 



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CALIFORNIA SOCIOLOGY FORUM VOL. 7 

due to the nature of an event or situation, but to what an individual 
attributes an occurrence. It is theorized that an individual may 
experience feelings of guilt or regret when they perceive themself 
to be the cause of an undesirable situation, as pictured in this song, 
in which the narrator may attribute the state of the situation to their 
identity or mental health. Alternatively, individuals may 
experience feelings of anger when the cause is attributed to 
another person, while sadness is experienced when fate is believed 
to be the blame (Bericat 2015; Brody 1999). In this sense, the 
narrator may partly blame their partner for the nature of their 
relationship, potentially arousing feelings of resentment and 
disconnect in the lyric, “maybe . . . you’ll leave me alone.” The 
pre-chorus reinforces Fromm’s theories of isolation and emotions: 

“It feels like you're taking me home,  
but every other day I see another bone. 

I hate your guts, but I'll meet you same time,  
same place tomorrow.” 

 
Goffman’s dramaturgical is another essential theory that comes to 
light in the opening lyrics and is applicable to the overall theme of 
this song. As the world is one’s stage, one’s identity is managed 
differently: frontstage before others and backstage to themselves 
or when a person is alone. It involves the concept of stigma, or 
deeply ‘discrediting’ attributes on the basis of tribal identities 
(e.g., religion), physical disabilities or ‘deformities’ (e.g., 
deafness), and one’s character (e.g., homosexuality and mental 
illness) (Clair 2018; Goffman 1963). Nonetheless, Skinner and the 
narrator are individuals with stigmatized identities who must 
endure impression management to be ‘normal’ in the frontstage of 
society and social interactions to avoid negative experiences. As 
described in “Guilty,” the narrator strives to maintain a connection 
at the expense of oneself, one's identity, wants, and/or needs. The 
chorus follows in a way that directly speaks to Goffman’s 
dramaturgical approach to identity management and the different 
stages one faces.  
 

“An archaeology excavation on my body,  
and I'm brushing so gently 

They're tryna cover up the bones underneath  



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CALIFORNIA SOCIOLOGY FORUM VOL. 7 

No matter what I do, I feel guilty.” 
The narrator appears to be trying to cover or manage a part of 
themselves to maintain relationships, connections, or their image. 
The “archaeology excavation” may also potentially speak to the 
unhealthy nature of the relationship described at the beginning of 
the song. The less ideal parts of themselves, their thoughts, or their 
feelings may become apparent as time goes on with this person, 
but they try to repress it all while aiming to maintain this 
relationship. Despite the narrator’s efforts, their “guilt” or inner 
feelings still exist. This may also describe a relationship an 
individual has with oneself and other factors involving mental 
health or self-harm, and the guilt associated with self-harming 
behavior. The themes of this song may also be interpreted through 
the lens of depression and body dysphoria for gender and/or 
disordered eating. Such themes may be intentional, given 
Skinner’s experience with transitioning and commonly discussing 
mental health in his work. 
 

“Crossing all my fingers and toes  
that I don't wake up again in a black hole 

She said she would send me back home to the side  
if I wanna die, miserable 

Doctor, I'm not doing too well.  
If this shit was a choice,  

I wouldn't need your help. 
I see the world through the eyes of a dog,  

but I can't see yellow.” 
These lines represent one’s desperation in not wanting to return to 
a mental state that feels heavy or dark. The narrator holds onto an 
unhealthy relationship or behavior to keep themselves from 
returning to this state. It may be interpreted that “she would send 
me back home . . . if I wanna die, miserable” may refer to the 
words of a mental health professional. The “black hole” overall 
represents a setback, which may also be seen in the dysphoric lens 
of the narrator's progress with identity and gender development. 
While mental health may have its issues on its own, a disconnect 
between one’s true identity and how others perceive them may 
also contribute to feelings of stress, discomfort, depression, 
suicidal ideation and more.  



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CALIFORNIA SOCIOLOGY FORUM VOL. 7 

“Man's best friend's on first name terms with God 
I thought I could fake it but almost 

I'm a scarecrow in someone else's garden.” 
In writing how one extends themselves to benefit another, Skinner 
comes full circle, repeating the chorus following this verse. 
Through the narrator, he continues to tell the story of an individual 
living for someone else. The narrator serves a purpose for another 
person. But these actions in themselves don't serve the narrator 
(such themes reminiscent of the first few lines of the song). This 
reinforces the idea of self-sacrifice for another’s happiness; it 
continually emphasizes a fear of isolation. Yet, a scarecrow 
without a field or garden also serves no purpose, which may 
describe codependency in a relationship. As dogs are often 
referred to as ‘man’s best friend,’ the writer may have written this 
line as the word is very similar to ‘God.’ Though, it is possible that 
the narrator of this song would prefer to be bigger and something 
closer to innocent or holy, in contrast to the negative thoughts and 
feelings they experience throughout the song.  

It is desirable to have confidence, take ownership of one’s 
life, and think and feel in a healthy and positive way. However, 
the narrator emphasizes the idea that it's not as easy as it seems, 
nor is it something they can always pretend to be. Identity 
management may be a heavy weight to carry for stigmatized 
individuals or a difficult task to achieve on a daily basis. The 
narrator falls into a comfortable yet unsatisfactory predicament, 
whether that is dealing with depression, dysphoria or an unhealthy 
relationship.  

Without a doubt, Skinner paints a clear, sociological 
picture through carefully thought-out lyricism. As discovered 
through this song and through the lyrics of many others, emotions 
and identity are both complex and interconnected. The conveyed 
messages in his works are profound and reflective, with much 
room for interpretation as they resonate with many individuals 
facing varying circumstances. There is much to be anticipated in 
the sociological, story-telling journey that is Cavetown and their 
discography.  

 
 
 



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CALIFORNIA SOCIOLOGY FORUM VOL. 7 

REFERENCES 
Bericat, Eduardo. 2016. “The Sociology of Emotions: Four Decades of 

Progress.” Current Sociology 64(3):491–513. DOI: 
10.1177/0011392115588355. 

Brody, Leslie. 1999. Gender, Emotion, and the Family. Cambridge, MA: 
Harvard University Press. 

Claire, Matthew. 2018. “Stigma.” Core Concepts in Sociology. 
https://scholar.harvard.edu/files/matthewclair/files/stigma_finaldr
aft.pdf. 

Ferber, Lawrence. 2022. “Sense and Sensitivity: Cavetown Talks New 
Projects, His Musical Evolution and War on Trans People.” Pride 
Source. https://pridesource.com/article/sense-and-sensitivity-
cavetown-talks-new-projects-his-musical-evolution-and-war-on-
trans-people. 

Fromm, Erich. 1941. Escape from Freedom. New York: Farrar & Rinehart. 
Fromm, Erich. 1956. The Art of Loving. New York: Harper & Brothers.  
Goffman, Erving. 1963. “Stigma: Notes on the Management of Spoiled 

Identity” New York: Simon & Schuster.  


	Music Review: Cavetown’s ‘Guilty’ Through a Sociological Lens - Tenille Blackburn



