In a time long before modern nightlife lit up with raves and clubs, prehistoric humans left their mark on the world by etching their stories onto cave walls. Iconic sites like Lascaux in France and Altamira in Spain still show off these early artistic endeavors, reminding us of a time when creativity was carved directly into stone. Figuratively and literally speaking. And it’s estimated that most of these works of art, were thought to be made by women. In a nod to that ancient spirit of exploration, I’m excited to take you on a modern spelunking adventure with Jennifer Akerman’s latest track, “Cave Woman.”
Roughly a year and a half ago, we brought you an exclusive from Final Child, Jennifer’s project that had us hooked with its really awesome vibe with a video directed by MunnyCat. Now, after a brief creative hibernation, she’s emerged with her second single, and the title track from her upcoming album, “Cave Woman.”
This time around, while venturing into new creative territories, she’s managed to keep that familiar sound we’ve come to love. As she put it about this really cool new direction:
I always want to push myself creatively and I knew that for this album I felt a strong urge to collaborate with someone that could take me out of my comfort zone” Enter Matt McJunkins, (A Perfect Circle, Eagles of Death Metal, Beta Machine) who turned the songs upside down and took them to a new place. Ill admit, I may be on unfamiliar territory, but fuck it, I love it.
And I definitely share her sentiment, especially about this song. The track grips you with a futuristic, mechanical breath, a sound that feels like it’s been pulled from the depths of a sci-fi dystopia. But beneath that cold exhale there is something far more visceral in the beat. A primordial vibration, a pulsating thump that ignites something ancient and instinctual when you hear it. It’s a very cool contrast that bridges the gap between the futuristic and the primal, the mechanical and the organic.
As the rhythm intensifies, the energy really ramps up, building a pulse that I can feel in my bones. There’s a hypnotic flow to the main beat, which is almost like the unfiltered energy of tribal drums. Which I feel is what really helps pull you into its orbit with an almost magnetic force, along with that phenomenal vocal work, of course.
Then comes the moment where a nicely executed drum roll transitions into the chorus. Here, the rhythm and beats grow even more intense, bringing in more of that good old prehistoric power. What is also great about this section is the introduction of a gritty, snarling guitar riff, initially lurking in the background. As the beat now becomes more prominent in the foreground. It’s a subtle yet transformative addition, giving the song a newfound edge, like it’s grown sharper teeth, ready to bite down harder. And I mean, this is a song that already packs a lot of bite.
The second verse takes things in another new direction. Jennifer’s new vocal melodies churn the chaos with a serpentine grace. It’s a very cool way to introduce some extra hooks that also act as mini detours, twisting around the instrumentation’s ferocity like vines strangling a machine. Her delivery shifts the song’s primordial feel while carving out pockets of melodic grace. This is a very clever turn, which simultaneously doesn’t let the track’s momentum plateau, as every second hits with electricity. What makes this track so compelling is its ability to balance opposing forces. It’s futuristic yet primal, mechanical yet alive, hypnotic yet ferocious.
I think artists such as Madonna built incredible discographies on those types of contrast and mid-track metamorphosis. ‘Vogue’, for example, comes to mind. Jennifer channels that same spirit here, as those transitional moments really stand out as it moves into the hook. She begins with an intoxicating, euphoric vocal style that’s light and carefree. Then, she drops into a sultry lower register as she sings lines like “I only wanna”. This part injects that elemental energy into the track, just before the hook takes over.
After a few spins, I started picking up on subtle details that initially slipped by. Beyond the main riff and beat lines, there are brief background sounds that appear for a second before fading away. I’m not certain if each of these moments was planned, but they are some pretty cool little additions with a lot of nuances.
One particular instance is a nearly electronic screech that sneaks in for just a second or two before disappearing. That quick sound contributes to a primitive ambience, reinforcing the song’s theme while keeping it lively as a dance track. It’s like catching a glimpse of a rare spark that’s here one moment and gone the next.
The song to me is about an unfiltered night, where the dance floor is not only a spot to bust a move, it’s a stage for personal expression. It taps into this idea of the dance floor as a concealed paradise, a place where people can fully embrace their own identities.
There’s a sense of chaotic exhilaration, this rush of being alive, embracing the moment. The track almost seems to describe the cycle of letting go, falling into the rhythm, and then starting that process all over again. There’s also almost a mystical element to it, the music taps into that feeling of a magical realm where the rules of everyday life are suspended. I think the line about everything you touch turning to gold ties into that, the idea that the mundane can be transformed in this space.
At the same time, this track seems to go beyond just a party anthem. It’s a celebration of self-expression, almost a paean to artistic exploration. The opening line about staying up all night being a waste of time, feels like the kind of judgment artists might throw at their own passion-fueled pursuits, where tangible rewards are out of sight. There’s a certain honesty in that, though. Letting you know that the path itself, the messy, unpredictable detours, is where the hidden treasure lies.
The “cavewoman” persona is unafraid to get her hands dirty in the pursuit of something meaningful. Yet, in her unpolished form, there’s a kind of beauty. It’s the willingness to embrace imperfections, to fall down and rise up again, and to keep pushing forward. The line about “cutting teeth” really reinforces that imagery of struggle and growth. These struggles are shaping this character, helping her evolve, both artistically and personally. I find that these layers help deepen the storytelling, giving the track far even more substance. Above all else, what sticks with me is how the song captures the joy of letting go, of embracing that wild energy the night has to offer. It’s a celebration of living fully in the moment and at the same time, it’s just an amazing dance track with a great beat.
While this track nails the dancefloor vibe with its clever lyrics, what if you’re in the mood for a heavier twist? For those of you ready to headbang, you’re in luck. Exactly one month from today, on March 13, Jennifer’s new project—teaming up with TenTen Twenty—will drop a remix that ups the intensity with a thicker, heavier feel. Keep your eyes and ears peeled for Cave Woman (TenTen Twenty Remmix), a version that will hit with the same force as the original.
