Cameron says that he is not just passionate about music and performance, but fixated, driven and obsessed. The world renowned organist is zealous about his profession to the point that he finds his self-expression through the organ not just dramatic, but with a “sense of event… dynamic and lascivious and banal and violent.” The psychlogical pull toward Cameron’s instrument of choice is so powerful that he vividly remembers a moment, as a young child, when he first saw a man in a tuxedo with a pencil mustache behind a silver screen playing a carved, highly ornate one in an encyclopedia. To him, it was “ceremonial and glamorous,” and he has been “dedicated to building a career that re-envisions the organ as the ecstatic experience that it can be, and not a totally forgotten, funereal dead instrument,” pretty much ever since.
Clothing for Cameron, much like the choice of what music to play, has to do with mood, whim and embodying the spectrum of the thespian within him. He describes what he wears as broad and diverse. There is the bad boy rebel in Trash and Vaudeville tartan bondage pants and a Rodarte cobweb sweater with vintage equestrian boots, the modern dandy in a three-piece Drykorn charcoal suit with a chunky purple velvet tie, robin egg blue socks and the romantic warrior in Marine Penvern’s couture cashmere tweed military coat with faceted buttons and arctic fox hat from Moscow. Just as he is drawn to performing different styles of orchestral music on the stage, he can be compelled to wear Preen’s space age sparkles and shine head to toe or in contrast, an elegant Chanel gown. Cameron feels the organ is a metaphor for the breadth of the human experience – it can go from inaudible to deafeningly loud, and as such, Cameron transforms from gent, in Yves St. Laurent velvet slippers to punk, in DIY splattered London underground boots.