A Psycho-Philosophical Literary Profile

By BradQuan Copeland.

So often, I’ll blare music through the cushion of my headphones to insulate myself from the anxieties of society. And so often, since childhood, I’ve been told how problematic such behavior can be for the quality of my hearing. Yet I continue to do it, because I care more about my comfort in the moment than the long-term ramifications of the action.

How foolish are we, perched atop the food chain as intellectual beings, to take for granted the blessings of our senses, treating them as though they’re owed to us rather than gifts to be cherished?

This question emerged during an expedition across the existential consciousness of rising singer-songwriter Jayden Mignot, whose inner ocean rested in a glass-like stillness beneath a luminous sky, stirring within me a hunger for enlightenment through the shared experience of a fellow contemporary.

Deaf until the age of five, Jayden experienced the world in a manner few can truly comprehend. To me, that limitation seems to have planted a seed whose bloom was delayed, but when it finally flowered, it did so with exponential force, cultivating a profound interconnectedness with sensation itself. This spoke to far more than a man merely interested in the sound of music: it spoke to one captivated by the raw vibrance of vibration, pattern, rhythm, emotional resonance, and movement.

I first came across Jayden through Facebook back in early December of 2025. I’d recently begun my endeavor into musical journalism and was looking for new subjects to explore. Browsing through my suggested friends list, I came across a photo of a man bearing a voluminous afro that balanced wildness with intention. A microphone was placed in front of him. His facial expression was joyous and warm, his eyes squinted, and his smile stretched from ear to ear. This was a man deeply immersed in the moment, lost within the creative haze of performance art.

I introduced myself, and to my surprise, I found out that he was the boyfriend of rising pop star Lacey Allen, whom I wrote a piece on a month prior. “Hmm… A visionary couple!” I said to myself with intrigue. I found out that he’s a member of two bands: lead singer and songwriter for Ten Most Wanted, and the baritone guitarist for jazz band Bad Monk, as well as bassist and keyboardist for his church. “I’m a little all over the place,” he said comically. A statement that deeply resonated with me, and was the primary reason for the gap between our first meeting.

It wasn’t until early spring that we finally met in person. Our first encounter was during the brief intermission at his show with Ten Most Wanted, alongside Lacey Allen at the Rivers Casino in Schenectady. They covered quite a few hits, one of which was by James Brown. The way he bounced about to the music and engaged the crowd was spellbinding. Once the first set was complete, I ventured through the electric jungle of the packed casino floor and made my way to the back, where I took a seat in front of a slot machine outside of a restaurant where my severe case of the munchies manipulated me into buying an overpriced slice of pizza.

After letting him know where I was, he met up with me, and we coursed through a brief dialogue that served as a psychological prelude to our future discussion. We explored the tension between performance and authenticity, where he emphasized that music isn’t merely performance, but a vehicle for self-expression, emotional processing, and human connection.

“I can recognize when I’m angry, when I’m sad … but it’s really hard for me to express that. With music, it’s like a natural outlet … it’s the main time where I can sit down and process things and really express myself. The jazz gigs are a lifeline … I realized, ‘Oh, this is what playing music is supposed to be.’ You’re involved now in a creative unit … you retain your sense of identity because you’re tapping into something creative within yourself,” he said before making his way back on stage.

Our next encounter came a few weeks later at the Deer and Dove restaurant in Albany, where he was performing with jazz band Bad Monk. I’d taken two edibles and guzzled a THC lemonade prior, so I was one with the chaos of the space that was loaded with blue shirts, gray blazers, greased hair, and thick glasses frames of the pool democrats who poured in from Manhattan. As they began to depart a little after 5:30 p.m., I dapped up Jayden as he was tuning his guitar right before sound check.

As the politicians left, I took my seat as others began to enter. Within moments, the clacking of ice scraping against the inner steel of the cobbler shaker combined with the hustling of waitresses stimulated my nervous system for the brilliance that was yet to come. Just before 6, the lights dimmed. I ordered a cranberry juice to moisten my cotton mouth as I noticed the silence of the television screens surrounding me. “Filmmakers plan to use AI to recreate Val Kilmer in an upcoming film,” read the subtitles as I popped open my tin can and took another edible.

At 6:09, a billowy cloud of consciousness fixated on an ant slowly making its way across the vast white marble countertop. I watched it pause for a second in observance of its surroundings before going about its business. Lacey made her way in and took her seat at the bar, waving at me before turning her attention to the band. The clamor of the steadily growing crowd began to settle as the chilled motion of the music began to serenade our ears. As the night progressed, Jayden sank wondrously into flow state, his eyes closed as he drove the guitar with its windows down at full throttle to the Garden of Eden.

By 7, the music took a more romantic turn. Nothing overly sentimental, but I felt as if I were melted into a sofa with a lady friend, our heads leaned against one another as our brains meshed as one. The tunes then flowed into a vintage summery feel, placing me into the fine leather of a ’50s Chevelle where I lay slouched, bathing in the summer sun that gleamed through the window. Soon, the tendons in my knees felt as though they were melting into the dense cooling foam of a Tempur-Pedic mattress. “Whoa!” I said to myself as my eyes slightly widened and my stomach growled.

I ordered lobster dip with a side of truffle fries before taking another edible as intermission came. Catching up briefly with Jayden, I gave him his well-deserved flowers before having to make my way out. I told him we’d link up again soon for a more in-depth interview where I could really explore the inner workings of his psycho-philosophy.

Maybe a month or so later, we linked up at the Moon and River Café in Schenectady, where we coursed through a dialogue that truly unraveled the essence of who the man behind the music is. What I discovered was someone whose life is organized around authenticity rather than achievement.

Earning a full scholarship to RPI for engineering, which would’ve set him up for a fruitful life, he left, dropping down to Schenectady County Community College’s music program, where he’d slowly craft the honest life that was his from the start. At just 23 years of age, he carries himself with a philosophical sophistication that can distinguish the difference between having the right to pursue happiness and the guarantee of success. He never romanticized the artistic life, for he was always rooted in its uncertainty. Yet it was precisely that uncertainty that cultivated a romantic longing for music, one deeply embedded within the marrow of his bones.

“My dad’s 2003 Honda Civic used to crank up reggae and dub, and you could feel it. Even now, I love the feeling of a bass guitar. When it’s vibrating, I’ll put my head against the headstock. You can listen to it like a little amplifier, but you can also feel the vibrations, and it’s just like home,” he said, his voice carrying the warmth of nostalgia.

Perhaps that is why Jayden’s relationship with music has always felt profoundly different. For most of us, music begins with what’s heard. For him, it began with what could be felt. Long before melody became entertainment, vibration became his sanctuary.

Growing up in a household where excellence was perpetually evaluated, he spoke about the differences in how he and his sister internalized it. She went down the road of perfectionism, whereas he became more willing to take risks. The fascination of his adaptability lies in his ability to apply his engineering brain to the memorization, performance, recording, analysis, and integration of every musical idea that captivates him. Through the mastery of structure, freedom is born and improvisation is earned, forging for him a set of principles that extend beyond the confines of music.

Growing up as a biracial child in predominantly white Glens Falls, Jayden was left to assemble much of his own cultural framework, drawing from disparate influences rather than inheriting a singular identity. Falling in eclecticism, he gravitated toward jazz, punk, soul, hip-hop, and experimental sounds to solidify his existence between differing, yet connected, categories of identity. That mindset separates him from binary thinking, allowing him to fall within the balance of systems such as structure and freedom, analysis and feeling, approval and authenticity, and confidence and humility.

He never sounds like someone who’s arrived anywhere, but someone captivated by the endless pursuit of understanding. The motion of his artistic lens works in unison with his approach to life. The understanding I left with was this simple truth: Art exists not to demonstrate mastery, but to honestly express a continually evolving self.

At twenty-three, I was a raging drug addict and alcoholic convinced I had everything figured out despite not knowing a goddamned thing. Whereas this man steps through life with the gratitude of an elder who never succumbed to the prison of what his life should be, but what it is in raw form. His greatest mastery is his refusal to cease being a student of life.