compiled by Elmili TK
The elusive musician behind one of the most acclaimed albums of recent years has captivated audiences without any marketing, interviews, or even a presence on streaming services.
Among the many artists who emerged last year, none was more intriguing—or more enigmatic—than Cindy Lee. In March, their album Diamond Jubilee seemingly materialized out of nowhere. A sprawling, two-hour, 32-track odyssey, it paid homage to rock and pop’s formative sounds, blending dreamy, haunting melodies with themes of loss and longing. Yet, unlike conventional releases, Diamond Jubilee wasn’t available on streaming platforms or in any physical format. Instead, listeners had to visit a deliberately outdated, 1990s-style website, where they could download the album via a service called Mega for a suggested donation of $30. Not long after, it found its way onto YouTube.
A Kaleidoscope of Sound
Cindy Lee’s music is a striking fusion of influences—girl groups like The Supremes, folk, psychedelia, glam, rockabilly, doo-wop, and the raw edge of The Velvet Underground—all wrapped in an intimate, lo-fi aesthetic. It’s the project of Patrick Flegel, a Canadian singer-songwriter and former member of the cult indie rock band Women. Their band had earned critical acclaim before dissolving in chaos following an onstage fight. In 2012, Flegel reinvented themselves as Cindy Lee, a persona defined by their signature drag look: a beehive wig, shimmering gold or silver dresses, knee-high boots, and a fur coat.
“In modern drag, the way I do it is so tame, conventional, basic, and traditional,” Flegel said in a rare 2020 interview. “I’m like a 60s closet queen… in the tradition of diva archetypes like Patsy Cline, Tammy Wynette, and Diana Ross.” While the music and the look initially had no direct connection, Flegel explained in another interview that over time, they naturally intertwined. “It wasn’t something I planned—it’s just my life.”
A Cult Phenomenon
Cindy Lee’s earlier albums had flown under the radar, but Diamond Jubilee was different. Without any traditional promotion, the album caught fire through word-of-mouth. Fans raved about it in online forums, particularly on Reddit, where praise was effusive. On YouTube, comment sections were filled with declarations like, “This is one of the best albums I’ve heard in a decade.”
Music critic Steven Hyden noted that the album’s mystique played a huge role in its appeal. “There was a certain air of mystery that made it feel unique,” he said. “It felt like a mixtape of forgotten songs from 40 or 50 years ago—except they were brand new.”
When the album finally became available for purchase on Bandcamp in October, demand was overwhelming. A physical release on vinyl and CD followed, selling out quickly. Aly Gillani, a Bandcamp representative and founder of independent label First Word Records, remarked, “It instantly became one of the biggest-selling items on the site, and it continues to do so.”
Critical Acclaim and a Debate on Modern Music
The music press was equally captivated. Leading site Aquarium Drunkard called Diamond Jubilee “a throwback to a different, weirder, cooler, better era in independent music.” Pitchfork gave it a 9.1—the highest score they had awarded a new album in four years. The Guardian even ranked it the second-best album of 2024, just behind Charli XCX’s Brat.
The contrast between Brat and Diamond Jubilee was striking. Where Brat thrived on a hyper-modern, meme-driven campaign that even caught the attention of U.S. Vice President Kamala Harris, Diamond Jubilee rejected modern marketing norms entirely. Instead, it became a case study in how music can still find an audience without streaming services or viral trends.
For passionate music lovers, part of the album’s appeal lay in the act of discovery. “It speaks to a nostalgia for a time when finding a new album was an experience in itself,” Gillani said. “Rather than jumping from one release to the next, people could sit with this record and really absorb it.”
A Strategy of Mystery
Artists have long experimented with unconventional release strategies. From Beyoncé’s surprise album drop in 2013 to Jack White handing out unmarked vinyl records in plastic bags, alternative approaches can generate intrigue. However, Cindy Lee’s strategy—avoiding nearly all traditional industry pathways—was particularly extreme.
London-based neo-soul collective Sault followed a similarly secretive approach, refusing interviews and once releasing five albums simultaneously for free download. Gillani sees a parallel: “Both Cindy Lee and Sault did things you wouldn’t typically recommend, but the music itself was extraordinary. That’s what made it work.”
The philosophy behind this approach is simple: if music requires effort to access, listeners may value it more deeply. “It creates an emotional connection,” Gillani explained. “By introducing barriers, you take a risk—people might not get through them. But if they do, that connection is amplified.”
Rejecting the Streaming Model
Flegel’s disdain for streaming is no secret. On their website, they once wrote that Spotify CEO Daniel Ek is “A THIEF AND A WAR PIG.” The economics of streaming platforms have been a growing concern for independent artists, especially as physical sales decline. With Spotify reportedly paying just $0.003–$0.005 per stream—divided among multiple rights holders—many musicians see little financial benefit.
“Spotify has become a difficult place for artists who don’t rack up massive streaming numbers,” Hyden said. “There’s this illusion that if an album isn’t on Spotify, it doesn’t exist. But Diamond Jubilee proves that’s not true.”
A Vanishing Act
At the height of their newfound recognition, Cindy Lee seemed to retreat. Their 2024 U.S. tour was cut short, with a cryptic message appearing on their website: “THIS WILL BE CINDY LEE’S LAST AMERICAN TOUR.” Those who attended the few completed shows described spellbinding performances, with Flegel effortlessly wielding their guitar like a master. However, some critics noted a certain discomfort onstage. “I feel like a caged fucking animal,” Flegel reportedly muttered during one performance.
Hyden believes Cindy Lee’s cult status is partially due to Flegel’s aversion to fame. “Patrick’s discomfort with exposure has kept Cindy Lee’s profile underground,” he said. “And maybe that’s where it belongs. We’re not used to thinking that way in the internet age, where everyone is competing for the biggest audience possible. But before the internet, indie artists understood that they weren’t trying to reach the masses—they were engaging with a dedicated niche. Now, everything is on the same playing field, and that can be overwhelming.”
A Rare Phenomenon
Stories like Cindy Lee’s are increasingly rare, though not impossible. “It takes a lot of things falling into place,” Gillani said. But while their exact approach may not be replicable, there are lessons to be learned.
“The biggest takeaway is to be intentional,” Gillani advised. “The industry is full of people telling artists what they ‘have’ to do. But it’s your art—be thoughtful about how you present it. Don’t just follow the standard playbook.”
As for what comes next for Cindy Lee? Nobody knows. At the peak of their success, Flegel has disappeared from view. But Diamond Jubilee continues to find new listeners, and its impact will likely resonate for years to come. “It’s the kind of record people will keep discovering,” Hyden said. “It’s timeless.”
