Coolest Person in the Room: Malcolm Todd

Popularity is relative, especially in the digital age. For our series, Coolest Person in the Room, we pinpoint all the people whose energy is contagious regardless of their following count or celebrity.

Four years ago, you came to one of my college radio station’s house shows and asked to play a set. We said no. In 2026 you would get mobbed at any college radio party. How has the quick come up felt?

I remember this. As far as recognition goes, it’s only started to feel substantial this year. I’ve really gotten popular in 2026, and I really do feel famous now. Obviously, fame is relevant. You’re famous to who you’re famous to. To most people, I’m not famous. But the come up has been kind of nice. I could go out and get recognized and then move on with my day. Now, there’s more eyes. Like in Erewhon, I feel more watched. Everyone is still so nice. I like when people tell me how they feel, like that they like my music. Because you don’t always have the chance to do that face to face.

What aspect of your artistry, or in handling the fame that comes from it, do you think you’ve had the most growth with?

The thing I’ve learned the most is perspective. And being able to block out noise. I didn’t come into it thinking I’d have to learn it, but then those challenges come up. It’s a true skill I had to learn in order to keep making music I enjoy. I also always want to be a more confident singer. I’m a producer and writer before I’m a singer.

You sound pretty good. On “Breathe” you have a lyric “I probably shouldn’t do it, but I’ll do it for the song,” is that honest? Do you make choices in order to write about them?

Absolutely. I don’t go into things to write about them. But in the moment, when making decisions, more cautious choices aren’t as appealing. Like fuck it. I’ll take a leap of faith, even if things get more hairy. At the end of the day, I can write a song about an experience, so I might as well do it.

I love that. What is the incubation period between these experiences and writing about them?

No one’s ever asked me that. There was one time I was so heartbroken and went to my writing partner and mentor. I wanted him to come over, but he saw me, and was like “This is too real. You’re too sad right now’, and he was right. Sometimes you need to process things. Especially if it’s something that’s really getting to you. You need to live in it for a few days.

On “Lonely Song” you talk about being scared to turn 22, but knowing how to be 21. What’s your advice to me and other 21 year olds?

I would say, "Haha, that’s so funny because I’m only a year older." Honestly, enjoy that year because it’s the first year you’re legal. That was my favorite part about being 21, was how fresh it was. They couldn’t stop me at the door, that was so special. And embrace the unknown.

I’m gonna use that. Thank you. I’m only 21 for a few more months.

When's your birthday?

September.

What day?

The 9th. Do you want to come to my birthday party? It’s going to be a reading. Everyone has to bring something they wrote.

I'm fifteenth, we’re both virgos. I can write anything?

I’d ask you not to do a song because that’s your comfort zone.

That’s so Just Kids. I just read that. It was so good.

Boys your age don’t normally read, and when they do I feel like it’s always nonfiction self-help books. How do you feel about 22-year-old boy culture when it comes to sportsbetting and looksmaxxing?

Look, we’re all humans and we’re all trying to fulfill ourselves. If looksmaxxing fulfills you and you don’t get into other people’s way, I can’t stop you. Obviously, it’s not healthy. We’re behind on the fucked up body dysmorphia women deal with. It’s insane, the standards people are deciding for beauty. I’m sure it’s fun for them, but there’s consequences. I just pray for them and be the best I can be.

On the same note, you’re innately different from everyone else our age because you’re a rising star, you’re about to tour the world, you’re the Coolest Person in the Room. Do you feel pressure with all that?

I go in and out of it. I feel a pressure to perform, obviously. It’s my job. I’ve set myself up the past few years to not feel so much pressure. I’ve been authentic the whole build. So now, I can just be myself. It’s the key to success.

Back to the album, you say on “Lonely Song” that you feel worried about losing your “sparkle”. What’s a quality or interest you have that you consider your “sparkle”?

I think my sparkle is the charm people are picking up on. It’s who I am. There’s things people couldn’t know about me, like funny things. I shoot pool left handed but throw a ball right-handed. That kind of thing. There’s nothing too exciting honestly.

The album Do That Again is very sexual. It could be described as “baby-making music”. Do you listen to music with these girls you’re talking about on the album? If so, do you let them have aux or control it yourself?

That’s a great question. I don’t often have music on in the act. Music isn’t usually on. I know some people really like having it. I get really distracted by it, maybe that’s the musician in me. Music makes me want to go out and experience things, which is funny, because I do make horny music.

Love it. You sample on “Lonely Song” and were famously sampled on “E85” by Don Toliver. How do you feel about sample culture and drawing inspiration from other musicians?

Sampling is so funny. It’s a slippery slope. You need to get things cleared. That’s my relationship with directly sampling things. It can also be really hard with the labels involved. As far as inspirations go, music is an ever-feeding circle of artists inspiring artists. Sometimes, when I get too obsessed with a song, I’ll make it by accident. I’ll sing melodies of songs that already exist. I have to stop myself from hyperfixating.

What are some non-musical inspirations you had for Do That Again?

I was in New York, reading Meet me in the Bathroom by Lizzy Goodman. It’s about 2000s indie sleaze scene stuff. Walking around New York while reading it was so cool. I was in the East Village and I saw Julian Casablancas walking. I was kind of a rockstar making this album. I was a bit reckless, and leaning into that was super fun.

I also love Michael Jordan and Dennis Rodman, when it comes to style inspirations.

I want to ask about your sister, Audrey Hobert. You popped off before she began her music career. How has it affected your musicianship and siblinghood?

Imagine getting to watch your favorite artist grow up. Everything she says, every fiber of her is in that music. It’s such a privilege to be inspired by her so closely. For our relationship, we’ve been able to lean on each other and support each other on tour. It’s been really good.

How do you see Do That Again as a part of the broader discography you’re building? How do you think you’ll look back on it?

It’s like 21 going into 22. Finding the most success and most pressure I’ve felt for the first time. I feel I was honest and rough around the edges. The mixtape was four years ago. 18 to 22 is such a learning experience, whereas 30 to 34 won’t have that many changes. I also see this album as a middle ground between being super young and starting to feel evolved. I think I’ll get more mature in the future, but I’m nowhere near as green as I was for Sweet Boy.

Is there any advice you’d give any past version of yourself?

I’d go to the 18 year-old version of myself who was deciding not to go to college, and tell him to trust his insisincts. I feel very guided on my journey right now. I’d tell him he was going to do great, and be on my way. I’m really enjoying how it’s going.

story: Andie Kirby
photography: Diego Villagra Motta
videography: Peter Demas

styling: Angelina Cantú
grooming: Ryann Carter
lighting designer: Peter Demas

styling assistants: Sal Lee & Inaya Buhdwani
photo assistant: Diego Urbina
video assistant: Shane Reynolds

chief creative officer: Brian Calle
fashion director & producer: Angelina Cantú
sr. editor: Joan Summers