In a sea of internet sensations filled with viral hits, indie-pop artist and producer Lauv has been like a shark—constantly moving forward. 

The singer/songwriter's work hits you in a whole spectrum of relatable feels. Last year's I met you when I was 18 EP will have you swooning over lyrics like, "To be young and in love in New York City/ To not know who I am but still know that I'm good long as you're here with me," while "Enemies" takes you through the awkward post-breakup space when you just want to be civil: "Why do we, we have to be/ Enemies, enemies?/ Forget all the scars/ All that they are memories."

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With more than two billion streams, a growing following of one million on Instagram and more than four hundred thousand on Twitter, the singer known as @lauvsongs has also landed on Billboard's Next Big Sound and Emerging Artist charts.

The best part? It's all on his terms.

At 25 years old, Lauv has found a way to be his own boss in the complex music industry. Through the use of AWAL streaming service for global distribution, he has been able to control how his music is shared. Being independedent may not necesarilly have been his plan in the beginning, but sometimes when one door closes, another one opens. And that's certainly the case for Lauv.

"I always felt like I was trying to prove something to these label people, and I felt very intimidated," he told the Recording Academy. "I think once stuff started to happen for me and really once I put out, 'I Like Me Better,' I was like, wait a second. The tables are flipped. It's now possible for me to do this without the people that made me feel intimidated."

The Los Angeles-based artist, who originally wanted to work for other artists while studying at NYU and who has also penned songs for the likes of Charli XCX and Demi Lovato, is working on his forthcoming debut album. This time around, he's writing about more than just love. One of the topics he tackles is his own journey with mental health, something he is very open and honest about on social media. 

Lauv recently spoke to the Recording Academy about his mental health journey, his latest single "f***, i'm lonely," navigating the industry as an indepependent artist and more.

You went to NYU. What did you major in?

Yes. Music technology.

What did you learn majoring in that?

Basically, it's just all audio engineering stuff, learning proper miking techniques, music theory, and music history, ear training, some production classes, music for film classes, learning how to build a synth, really building stuff.

So how did you get into singing and songwriting?

I wasn't playing music when I was a little kid. I always played the piano and then I played viola and then guitar. And when I was 13, that's the first time I tried to write a song. And then I just fell in love. My voice sucked. I was really bad at singing. I remember I played in some bands and my friend's dad was like, "You guys need to get a new singer." But then I just stuck with it and kept writing songs and probably wrote, at this point, I've written thousands of songs.

How did you develop the voice you have now?

I did some vocal training, but I think it was about me ... I used to try to force my voice to be something that wasn't right. I wanted to sing, I wanted to belt super loud and like I was wrecking my voice. I think like once I started singing more in my head voice in Falsetto, I discovered a whole new side of my abilities and that's where I ended up finding my style.

I want to get back to music education a little bit because I feel like a lot of young people get into a major and then end up in working in a field that isn't related to it. Has your major helped you in any way with your singing and your songwriting?

Yeah, no, I think so. Just getting the experience of some of the more specific things like the music theory and the ear training and also just getting the opportunity to be studying something and honing all the technical parts as I was trying to find my own creative voice, I think it was a really good combination.

You've done songwriting for artists like Charlie XCX. How do you decide when a song is for you and when you're going to give it to somebody else?

That's a good question. I think it's just when I make a song and it and it feels like a song that I need to sing, meaning it's really truly about my life, then those are the songs that I just don't want to give away. But sometimes, because I can't really control the creative process, sometimes there's a song that I love but it doesn't feel like a song that I need to sing, if that makes sense. Yeah, that's the difference for me.

What are the different skills that you use, say, for producing versus songwriting?

Oh, that's a good question. No one's really ever asked me that. I guess production has just been all my years nerding out on my computer. The thing is for me, I would say I'm more of a songwriter than I am a producer. Even though I produce most of my own stuff, I feel like I always focus on the song; the lyrics and the melody and the chords, and the production really for me is just trying to support and not get in the way of the song. That's the way I think about it because it's so easy for producers to make something amazing, but it gets in the way of the song.

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You own your own music. It took Tom Petty a huge battle to get his rights back. Going into music, were you always aware that you wanted to own your own music?

No. My whole dream was to get signed to a record label. It was always that when I was a kid.

So how did you get here? How did you decide, "I'm going to do this independent thing"?

Well, basically ... That's a really good question. The funny thing is before I started releasing music in 2015, I didn't really have that much traction. In that time, I met with some labels and people were always ... I always felt like I was trying to prove something to these label people, and I felt very intimidated. I think once stuff started to happen for me and really once I put out "I Like Me Better," I was like, wait a second. The tables are flipped. It's now possible for me to do this without the people that made me feel intimidated, to be honest. I could do this with my management that I love and build a team around me that feels like people that I genuinely feel connected to on. I have nothing against major labels. I think for a lot of artists that makes a lot of sense. But for me, I just have this weird complex where I feel intimidated by stuff like that for some reason.

So has it been a process where you're learning as you go about the business? Have you nerded out on books or how have you navigated it all?

I rarely read, sadly. Yeah, I think I've definitely been learning along the way, mostly conversations with my team and my attorney and stuff like that. We talk a lot. I definitely stay out of the details of the business because I just don't really have the bandwidth. I'm trying to focus on just making the album and so on and so forth. But as I go along the way, I'm definitely gleaning stuff.

So you released your own music, and I've noticed that you like to release some songs on Instagram. How come?

Yes. Because to be honest, I have so many songs. I can't even tell you how many songs I have. Right now, I'm trying to figure out which ones are going to be on the album. There's all this release strategy about when's the best time to put out songs and so on and so forth, timing. I'm always just like, f**k it. I want to give people music so if I have an idea. I just leak it and then that's it.

Tierra Whack released a mini album on IG. Do you think you'd ever do something like that?

That's f**king sick. I actually didn't know that. That would be sick. I would love to do something like that. I'm pretty sure my managers would kill me.

Do you feel like social media has been your greatest tool as an artist?

I think it's been probably. I think along with Spotify and Apple Music and just streaming in general. Social media has definitely been the best way for me to build an actual connection with my fans and not just be songs but be a real thing.

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How did you find out about AWAL and why did you decide to use it?

I'm trying to remember how I originally found out about them. I think it's just something that came up through these people I knew in the industry as they were transitioning from just doing the AWAL deals to doing the more high profile full services deals. Around that time, I think someone on my team had worked with them in the past and said they were amazing. Then I met with them and then loved it.

How helpful has it been to you?

Really helpful. Yeah. No, it's been super helpful. They've been super amazing. I actually have a team there that puts in a lot of work around the world. So it's really cool that I get to do it in a way were I control everything and I own everything, but I have a team that's actually working really hard.

What is the most challenging thing about being an independent artist today?

I think honestly just getting people to take it seriously sometimes. I think sometimes people ... obviously there's Chance The Rapper, and he's a legend, but I think a lot of people ... there's all these associations between artists; these people in the public or these people are on whatever, whatever it might be. I know there's a lot of events to bring artists together and stuff. And I always feel like I'm on the outside looking in a little bit.

What about the greatest thing about being an independent artist?

Oh, the greatest thing? Getting to do whatever I want and yeah, owning my masters, for sure.

Your single "Sad Forever" continues the conversation you started in "Drugs And The Internet" about your journey with mental health and medication. How did you decide to seek medication?

That's a really good question. Honestly, I was super resistant towards it. One time when I was in college, I went through depression and they tried to prescribe me some meds and I never took them. I think I always felt like I was better than that or something. I had this idea in my head that started to change the way I thought. But after talking to my family, because there's some mental health stuff in my family, and also talking to my therapist and psychiatrist, I felt like I was at such a low point that I just didn't really have any other options because I was having such bad obsessive thoughts that I couldn't get out of and that I couldn't live my normal life. So I felt like I had no other option. Once I gave them a shot, it all clicked to me how important it was for me to be open to it. Some of the mental health stuff is really illogical. It's not just think more positively because sometimes chemically, you're lacking chemicals you need, so you really can't think positively. Everything feels negative no matter how positive it is. So I think for some people it's important to be open to medication, not for everybody, but for some people.

How are you doing now?

It's been good. Well, let's see. I won't bore you with too many details, but there's been some trial and error trying to find the right medication, but I'm currently, especially on a mood stabilizer. That's helped me not swing really high and then swing really low. I'm still always figuring it out and trying to get the dosage right and get to a place where I feel like my normal is a real good place, that I'm not sitting really low where I'm not sitting very high, but I'm just sitting at a normal place.

In "Sad Forever" there's a lyric that says, "Sometimes I just want to give up." Is that related to you personally?

Yeah, yeah. I'm just thankful to not be there right now. I've definitely felt that way and that's definitely just a story about my life, but I'm just thankful that I'm in a better place now.

What gives you hope?

God, what gives me hope? I think my friends, my family, my dog, and just knowing that ... I can actually have a real impact on other people's lives and not just make the music that they can party to, but make something that can help them get through something. I know that my favorite music always did that for me. I think just the thought of being able to do that for somebody is really special.

Is that why you've been so open with your journey?

Yes. I'm the type of person where I feel I have to be an open book or else I feel really weird. I don't know why.

Tell me about your latest single

Yes. Yeah. The song is called "F**k, I'm Lonely," and basically ... Well, actually it's the least deep song I put out. It's just a fun one because I'm so used to making songs that are so ... Obviously "Drugs And The Internet" and "Sad Forever" are one thing. It's basically about missing somebody. It's pretty straightforward. I did it with Anne Marie, who is an amazing artist and a massive pleasure to work with. 

You're also working on an album. Can we get any more details on that?

So it's called How I'm Feeling and basically all the songs that I've put out so far, like "Drugs and the Internet" and "Sad Forever" and "F**k, I'm Lonely" are all part of the album. Basically, I'm still working on it, but I want to keep writing some songs until the album's done and then I'll drop the rest of the album. And basically I'd say how it's different than my first project, which I mentioned was when I was 18, it's moreso just about everything in my life. It's not just about me in a relationship. I have songs about that my parents and my best friends and my dog and my favorite bar, literally everything.

You're starting a tour in October. Do you think the album will be out by then?

That would be amazing. But, I don't know.

11 Breakout Acts You May Have Missed At Lollapalooza 2019

Did you know that among all GRAMMY U members, songwriting and performance are some of the most sought after fields of study? This playlist dedicates a space to hear what these members are creating today!

The GRAMMY U Mixtape, now available for your listening pleasure, highlights the creations and fresh ideas that members are bringing to this industry directly on the Recording Academy's Spotify, Apple Music, and Amazon Music pages. Our goal is to celebrate GRAMMY U members, as well as the time and effort they put into making original music — from the songwriting process to the final production of the track.

Each month, we accept submissions and feature 15 to 25 songs that match each month’s theme. This month, we’ve crafted the perfect mix of pop, indie, and jazz-inspired tunes to jam to as the sun comes out and spring takes full bloom. Highlighting our Nashville Songwriter Showcase Finalists, alongside lively songs from our members, we're confident you'll discover a new track to freshen up your current rotation. So, what’s stopping you? Press play on GRAMMY U’s Mixtape and listen now on Spotify, Apple Music and Amazon Music.

Want to be featured on the next playlist? Submit your songs today! We are currently accepting submissions for songs of all genres for consideration for our summer playlist. Whether you write pop, rock, hip-hop, jazz, or classical, we want to hear from you. Music must be written and/or produced by the member (an original song) and you must be able to submit a Spotify, Apple Music and/or Amazon Music link to the song. Artists must be a GRAMMY U member to submit.

About GRAMMY U:

GRAMMY U is a program that connects aspiring professionals and creatives ages 18-29 with the music industry's brightest and most talented minds. We provide a community for emerging professionals and creatives in addition to various opportunities and tools necessary to start a career in music. Throughout the program year, events and initiatives touch on all facets of the industry, including business, technology, and the creative process.

As part of the Recording Academy's mission to ensure the recorded arts remain a thriving part of our shared cultural heritage, GRAMMY U establishes the necessary foundation for music’s next generation to flourish.

Not a member, but want to submit to our playlist? Apply for GRAMMY U Membership here.

Former GRAMMY U Reps Heather Howard and Sophie Griffiths contributed to this article.

15 Must-Hear Albums In May 2024: Dua Lipa, Billie Eilish, Sia, Zayn & More

On April 20th, GRAMMY U members and industry professionals gathered at the Times Center in New York City for the 2024 GRAMMY U Conference presented by Amazon Music. 

The GRAMMY U team prepared an action-packed and motivating day of panels "Live From New York," focusing on topics from live performances to the business behind Broadway productions. Keynote speaker Ben Platt talked about the transition from a Broadway star to recording his solo studio album, followed by a performance workshop with Billy Porter, and live music production on late night television with Remi Wolf.

Once members arrived, they took advantage of professional development opportunities and mingled with other GRAMMY U members before attending the conference panels. Attendees visited the robust Career Center which included a professional headshot station, resume review station, and a dedicated speed networking hour with industry professionals within the Recording Academy, Amazon Music and more. These collaborations allowed for the next generation of music creatives and professionals to gain first-hand experience with mentors across various business sectors and musical genres.

Below are five impactful takeaways from the 2024 GRAMMY U Conference.

Shed Your Armor To Embrace Vulnerability 

After a two-year performance run on Broadway starring in "Dear Evan Hansen", Ben Platt shifted his priority toward making original music and sharing personal storylines.

In "Live! With Ben Platt," moderated by actor and long-time best friend of Platt's, Beanie Feldstein discussed Platt's bold choice of stepping back from portraying fictional characters on stage, to now releasing original music with his upcoming album Honeymind. 

"The gratification of connecting with your own experiences and seeing people really use the songs in their lives is so infinitely beyond the worries," Platt shared. 

Crossing over from a Broadway stage to pop music, Platt suggested that a key to success is trusting one's vocal technique and individual sound to translate your perspective.  

Beanie Feldstein with keynote speaker Ben Platt at the GRAMMY U Conference | Photo: Rob Kim/Getty Images for The Recording Academy

Consistently Perfect The Fundamentals 

During the performance workshop "Standing in the Spotlight with Billy Porter," GRAMMY, Emmy, and two-time Tony Award-Winner Billy Porter sat down with SiriusXM Program Director Julie James. They discussed the importance of performance critique in helping artists perfect their craft and captivate audiences, as well as strategies for maintaining overall health while on tour.

Porter mentioned that while critiques are important for artists to continue improving their vocal abilities, knowing how to meet personal needs and goals is just as important.

"As you sift through [critiques], you have the right to choose what's right for you and what isn't," Porter said before posing the question, "What notes are good for your vision, and which aren't?"

Left to Right: GRAMMY U Performer Roy Gantz, Billy Porter and moderator Julie James | Photo: Rob Kim/Getty Images for The Recording Academy

This marked the first time GRAMMY U included a performance workshop in its programming, and it provided a fresh perspective from the best in the business. GRAMMY U National Membership Representative Roy Gantz sang "Someone to Watch Over Me," accompanied on piano by Tedd Firth, and received real-time feedback from Billy Porter in front of a live audience. 

"From the minute you hit the stage, to when you get to that mic[rophone], it's about your presence. Keep connecting with us [the audience]," Porter told Gantz.

Porter emphasized the importance of mastering the original melody and musical notations of a song before incorporating riffs and embellishments of popular pieces, and praised Gantz for his advanced technique and interpretation.

"Believe in what you have to offer. In honoring your authenticity, you teach people on the outside how to receive you," Porter advised the audience. 

Stay Vocal, Relationships Are Everything

"On the Screen: Performing On Live TV" featured panelists Yeji Cha-Beach, the Music Associate Producer on NBC's Late Night with Seth Meyers Show, Marnie Stern, former member of the 8G Band on the Seth Meyers Show, and pop recording artist Remi Wolf. Moderated by Siobhan Schanda, the panelists discussed the intricacies of playing on a live TV set including lighting, sound, and design choices. Wolf mentioned her preference for performing with her touring musicians and a live band. 

"Put the music first and try to develop your own style," Wolf said. "The most I've ever felt proud of my work was when I followed my gut." 

Stern remarked that although socializing and navigating the music industry network did not always come naturally, connecting and playing with other musicians was vital to her success as a live TV musician. She described one of the biggest differences between playing on live television and working on her own recording artistry.

"You're selling a commercial product and your job is to entertain," Stern said. "With your own work, your job is to present your feelings and emotions. Everyone is working to further not only the artist but the network." 

Cha-Beach offered guidance for aspiring TV music producers, stating, "Be curious, try as many things as you possibly can. Knowing when to say yes is just as important as knowing when to say no."

 Left to Right: Siobhan Schanda (moderator), Yeji Cha-Beach, Marnie Stern, Remi Wolf; Close-up photo of Remi Wolf | Photos: Rob Kim/Getty Images for The Recording Academy

A Great Musical Takes Time 

The "Sounds of the Stage" panel conducted a candid conversation about the behind-the-scenes process of composing and writing music for musicals. Kurt Deutsch (Senior Vice President at Warner Music Entertainment and Theatrical Ventures) was joined by David Lai (Co-Founder Park Avenue Artists), Kathy Sommer (Composer, Conductor, Producer), and moderator Thomas Winkler (Head of Publisher, Songwriter, and Society Relations at Amazon Music). 

These panelists conducted a candid conversation about the behind-the-scenes process of composing and writing music for musicals. They focused on how Broadway theater experience translated into the process of recording live studio albums.

"You can't bring it to the stage until the bones are set, until things are solidified," Lai said. It's worth spending the time to use the resources we have to work on your material."

Deutsch described the nuances of recording a pop album versus a cast performance record which has quick turnaround times. Often, they are recorded in a single day-long session due to budgeting costs for the orchestra and cast members involved. 

The main goal of a cast album is to allow audiences to relive the emotional experience they had in the theater setting, and for newcomers to still be able to relate to the show's characters and themes through a sonic medium. 

Left to Right: Thomas Winkler (moderator), David Lai, Kurt Deutsch and Kathy Sommer | Photo: Rob Kim/Getty Images for The Recording Academy

'Content Is Queen': Prioritize Meaningful Storytelling

"Side Stage: The Team Behind the Curtain" featured Erich Bergen (Producer, Actor, Director, 6W Entertainment); Pete Ganbarg (President of A&R, Atlantic Records); Adam Hess (Executive Producer, DR Theatrical Management); Christen James (Tony Award-Nominated Broadway Producer); and Michael Kushner (Founder and Creator of Michael Kushner Photography & Dear Multi-Hyphenate).

Together, these creatives explored the business of Broadway and discussed the roles of producers and managers who bring the shows to life. James spoke about what she's most drawn to when beginning a new theatrical project.

"Meaningful storytelling is key [and] music absolutely makes the difference. Content is queen, the story as well as the music," she said. "Art is supposed to change what you're doing to the point where you're thinking about it, it's influencing you." 

Left to Right: Michael Kushner (moderator), Erich Bergen, Pete Ganbarg, Adam Hess and Christen James | Photo: Rob Kim/Getty Images for The Recording Academy

Presented by Amazon Music and with participating sponsorship from Mastercard, GRAMMY U's 2024 conference "Live From New York" engaged members through an exhilarating two-day summit.

From the Friday showcase with GRAMMY U performers to Saturday's slew of panels covering all things show business, the GRAMMY U Conference in the Big Apple helped inform, connect, and inspire GRAMMY U members across the nation. 

Relive the experience and watch all the panels again here. 

5 Takeaways From GRAMMY U's Masterclass With Andrew McMahon: Be Bold, Build Bonds & Embrace Your Fears

GRAMMY U hosted a two-day conference presented by Amazon Music for GRAMMY U members in New York City on April 19 and 20. The event, spearheaded by GRAMMY U Senior Director Jessie Allen, offered an immersive experience designed to enrich and empower emerging talents within the music industry. 

An emerging artist showcase took place on Friday, April 19, followed by a day-long series of panels and breakout sessions on Saturday, April 20, highlighting the live performance industries of Broadway and television talk shows, featuring GRAMMY, Tony, and Emmy-winning artist and actor Ben Platt as the keynote speaker.

The summit marks the beginning of a new cornerstone collaboration between GRAMMY U and Amazon Music, in which Amazon Music will play an integral role in the growth of GRAMMY U’s year-round programming, development and impact. Mastercard was also a participating sponsor of the conference.

“We were all thrilled to bring the GRAMMY U Conference to the heart of New York City. It’s a testament to the dedication of Jessie Allen, whose leadership has elevated this event year after year,” said Ruby Marchand, Chief Awards Officer of the Recording Academy. “I extend heartfelt gratitude to the Amazon Music Team for supporting GRAMMY U; this marks the genesis of an extraordinary collaboration, and together, we look forward to crafting an array of programs that will empower our GRAMMY U members throughout the year.”

The emerging artist showcase featured dynamic performances by GRAMMY U members Kayla Erhardt, Kühlname, Serena Laurel, Nicknames, Liv Paris, and Your Future Is Now scholar Jawan Audè. The evening concluded with a captivating performance by New York soft rock sibling ensemble, Infinity Song.

Saturday’s programming kicked off with keynote speaker Ben Platt. In a thought-provoking keynote discussion moderated by actor Beanie Feldstein, Platt delved into his musical journey spanning Broadway, film and television, inspiring attendees with his insights. The day continued with a performance workshop led by GRAMMY, Emmy, and Tony-winner Billy Porter. Moderated by SiriusXM Program Director Julie James, attendees immersed themselves in a captivating session aimed at honing their live performance skills. 

Read more: Inside Ben Platt's 'Honeymind': How Queer Love, Live Performance & More Led To His Most Authentic Album Yet

The conference included a panel featuring “Late Night with Seth Meyers” Music Associate Producer Yeji Cha-Beach, former member of the “Late Night with Seth Meyers” 8G Band, Marnie Stern, and musician Remi Wolf. Titled “On Screen: Performing on Live TV,” the panel covered the challenges and nuances of delivering live musical performances on television, and was moderated by Siobhan Schanda, Co-Executive Producer of “SHERRI.” 

Programming continued with a panel titled “Sounds of the Stage,” moderated by Thomas Winkler, Head of Publisher, Songwriter and Society Relations at Amazon Music, featuring SVP of Warner Music Entertainment and Theatrical Ventures Kurt Deutsch, Co-Founder of Park Avenue Artists David Lai, and composer, conductor and producer Kathy Sommer, where they explored sound production on stage and cast recordings.

Additional panels included “Side Stage: The Team Behind the Curtain,” featuring industry executives moderated by Michael Kushner, founder of Michael Kushner Photography and Dear Multi-Hyphenate, featuring producer, actor and director Erich Bergen, President of A&R of Atlantic Records Pete Ganbarg, Executive Producer of DR Theatrical Management Adam Hess, and Tony-nominated Broadway producer and vocalist Christen James, where they detailed the business of Broadway and how teams bring shows to life every night.

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Ben Platt has never allowed the world to dictate his fate. The GRAMMY, Tony, and Emmy-winner's artistic outpouring has been relentless, and he's still early in his career. 

The 30-year-old actor and singer has performed in Broadway musicals like "Parade" and "Dear Evan Hansen," sold out Madison Square Garden and the Hollywood Bowl as a solo artist, and starred and co-wrote the film Theater Camp. Each project has marked a step into a new direction, but none more so than Honeymind — an album that captures what it's like to chase tender and safe intimacy in partnership, and the ecstasy that follows once found. 

His professional growth between 2021's Reverie and Honeymind is apparent not just thematically, but sonically and in production. This latest album sounds natural and lush, with input from GRAMMY-winning producer Dave Cobb and producer/songwriter/multi-instrumentalist Alex Hope. While  Honeymind shows a version of Platt some listeners may not be accustomed to, he's never sounded more comfortable in his own skin. 

To celebrate the release of Honeymind, Platt will headline a three-week residency in New York City's Palace Theatre and a subsequent nationwide summer tour and serve as the keynote speaker at this year’s GRAMMY U Conference. He spoke with GRAMMY.com about his latest album, upcoming residency, and the beautiful and, at times, tricky trappings of romantic love.

This interview has been edited for clarity. The 2024 GRAMMY U Conference is presented by Amazon Music. Mastercard is also a participating sponsor of the conference.

Honeymind shifts away from the '80s electro-pop of Reverie and your Broadway roots. What made you gravitate towards a more tender, folky sound that exudes warmth and serenity?

The biggest catalyst was that I wanted to go and write Nashville because I admired so many songwriters there. When I started with my first round of writing sessions for this record — which was back in the spring of 2022 — what just very naturally started coming out was this super unadorned, very storytelling-forward type of music. 

When I made my first record [2019], it was very close after I had been on Broadway for a long time, and it was theatrically linked. Then, I experimented with leaning into pop and this Peter Gabriel vibe, but it felt like a landing pad this time. I closed my eyes and went, What's the most natural way to communicate in terms of what is specific to me? This seemed to fit really nicely. 

You worked with renowned producers like Dave Cobb on this album. There are times when the producer’s work stands out most, but Honeymind sounds like you. How did you ensure that all tracks sounded distinctly like you versus a Dave Cobb song?

​​I loved the idea of working with Dave! His specialty is unadorned things that are as essential as they can be. When it comes to my own sound, my priority is always obviously storytelling and songwriting, but certainly, to have the vocal performance be very much the focus. Dave was very amenable to that. 

I went and wrote the songs with my co-writers before starting work with Dave, and I sort of came in with all of his songs completed. He did a beautiful job of preserving the integrity of the songs I’d written. [He wanted] to present them in as organic and straightforward a way as possible, as opposed to trying to sort of put a secondary sound onto it. 

Your previous work has been personal to varying degrees, but your lead single, "Andrew," feels particularly candid.

I wrote that song with Alex Hope, one of my favorite longtime collaborators, and I had a session earlier in the week with someone else who was also wonderful. [This first songwriter] was talking to me about her son, who was 10 or 11, and how he had his best friend, a boy he loved so much. She shared that she had an inclination that more love was going towards this friend and was coming back to him [than] he could even really communicate. 

It reminded me so deeply and immediately of so many different experiences growing up: having straight friends in high school and middle school, who you just love and who aren't doing anything wrong, but just by virtue of chemicals and how we're born, you develop feelings that just can't be reciprocated. [That's] such a special kind of melancholy. It's no one's fault, and I hadn't heard that strain of unrequited love and that particular type of melancholy expressed in a song. 

The next day, I went in with Alex and pitched them a song, and they're queer as well and understood the perspective, so it came out very quickly.

What about queer love do you find most challenging to articulate?

Developing feelings for people that just don't have it in their blood to feel the same way is a uniquely queer experience, [as is] boundarylessness both positively and negatively. It's very particular to queer love in the sense that there are a lot less societal examples, and sort of prerequisites, for what queer relationships look like or shouldn't be. Which is so freeing and wonderful and makes for a really beautiful, honest relationship. Still, it's also a little scary because you're flying blind in a way that is very particular to being a queer person. 

There's an inherent sort of rebellion and statement that you have to be making every day when you're out in the world with your partner as a queer person because there remain so many people who are intolerant, don't understand, and are still fearful and judgmental. It requires an extra bit of courage just to engage in the relationship.

You have a three-week residency at New York City's Palace Theatre, where legends like Elvis Presley, Diana Ross, and Judy Garland performed and will tour afterward.  How are you feeling as you prepare for these concerts?

When I finish the record and sit on it, it exists in limbo; I start to second-guess it, feel like I'm losing my connection to it, or forget. I don't feel like I'm in the same place as I was when I wrote these things because they're so intimate. 

But for me, the whole shebang has always been getting to perform live, and that's just my greatest joy. The songs are the most mine when I'm singing them live. I also love sharing music with people, and hearing in person and online conversations, about how it applies to their lives, how it reminds them of things, and how they use it. The tour is always the part where I'm the most in love with the album, and when the tour ends, I'm ready to let it out into the world and say goodbye for a minute.

Beyond the risk of trying something new in your career, what roles do failure, trial, and error play in your creative process or other parts of your life?

For every song I've written that I love or even come out, there are eight to 10 that I never want to see in the light of day. 

It's hard to find the good things until you throw everything at the wall, and if you're too afraid to fall, then you'll never really try in the first place. And I was privileged because I started working quite young; things went from A to B to C in the sense that they went steadily. As I get older, I learn that a career is more about this longer journey that is not at all linear. Now that I have some hindsight, it's easy to appreciate the down moments and the valleys because that's the only way you recognize when something is going well. I try to be grateful for those moments of failure or misstep when they come because it's an essential part of being an artist — not the funnest part always, but necessary. 

You'll be the keynote speaker at the 2024 GRAMMY U Conference for young professionals. What do you want to share most with conference attendees?

I must share my transparency and experiences and try to help learn by failure and success. I've found, in all facets, that specificity begets universality, and I'm trying to be as specifically honest about my role in how I approached songwriting in my own artistry — whether that's something someone will directly connect to, create a tangential connection to something else, or be an example of something that doesn't work for someone. 

Art is so tailor-made, so it's just about sharing ideas and seeing what sticks.

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