For UMI, there's comfort in spontaneity. When you take a look at her typical creative process, it's not an exact science — and that's precisely the point. In between those moments where the neo-soul/R&B singer/songwriter felt inscrutable or moments where she wished there'd been an easy Google answer for how to be happy, she found herself in nature. No plan, no schedule, no pressure — just reveling in the resilience of the wind. 

This confidence is intrinsic, almost woven into her DNA. Born Tierra Umi Wilson to a Black father and Japanese mother, UMI's stage name translates to ocean in Japanese; she's much like her moniker, imperceptibly strong as a wave, beguiling and powerful like the sea. Even as her artistry has metamorphosed — from independently releasing her viral song "Remember Me" in 2018, to partnering with Keep Cool/RCA Records for her projects from 2020-2022, back to being an independent artist —  the nucleus of her music has always been sitting with her emotions in nature. 

UMI's first independently released EP, talking to the wind (due Jan. 19), is a sprawling, sparkling and cinematic experience that translates life's delicately vulnerable moments into angelic, earthly croons. Lead single "happy im" is UMI at her most gloriously honest, detailing changes in her team, pondering attachment styles, and finally embracing both fear and joy. "I was afraid so I ran from you," she sings with curious clarity over a dreamy beat. "Why don't I not think too hard about love?

The release of talking to the wind is a celebratory look at throwing caution to the wind and trusting herself. Born from mood boards, raw and unedited music videos, and last-minute song overhauls, the EP is UMI at her most carefree. "I didn't really know my path, but just one step at a time it was revealed to me," she tells GRAMMY.com. "The whole project has taught me faith in the process." 

After finishing a meal with her mother in the home she purchased for her family, UMI chatted with GRAMMY.com to discuss finding the peace of mind to create talking to the wind, her organic collaboration with BTS' V, and healing she's doing with fans-turned-friends. 

This interview has been edited for clarity.

This is your first project released independently — congratulations! How did you come to the decision to release talking to the wind independently?

When I first started making music up until my EP Introspection, I was dropping all those independently. It's something that I feel like is a foundation to me. And when I was at the label, I think that I just kind of got the label experience of being asked to be someone that I'm not. 

That just was so counter to who I am as an artist, and also feeling like I was labeled difficult for having a strong opinion and knowing who I am. I think that coming face-to-face with that, I just realized in order for me to have the most authentic expression of my music, it was important for me to go back to being independent again. So that I could reestablish, for myself, who I am, come back to my joy, and then from there, kind of decide what my next steps are. 

I learned all the lessons I needed to, but the world is in completely different places. It's way more about authenticity as you feel, than it is about fitting some kind of mold that already existed. 

The music video for "happy im" is a really celebratory look at a queer relationship. What kind of creative decisions went into that? 

I'm an intentions-first kind of gal. So I sit and brainstorm a lot before I even start to create, especially visually. I have this binder in my closet — I scrapbooked a whole binder of what each song felt like to me. What type of visuals do I want? What do I want people to feel? What do I want people to leave feeling with? And once you figure that out, everything comes together. 

With "happy i'm," I want people to take a look into my relationship, and I want people to see what healthy love looks like. And then I was like, What's an intimate way to film? [Kodak] Super 8 [cameras] and film are really intimate, and I'm not going to color it either. I'm not trying to make it something it's not, so let me just show people the raw footage. 

I have a whole PowerPoint of what each song means to me, when I want to come out, how I want to communicate it on social media. Then I scrapbook it and I get a bunch of references. So it's a very all-in process for me. 

My hope is when people listen, if they have a question or something on their heart, by the time they finish listening to the project, some inspiration of clarity comes through them. Which is a meditative experience to me. 

In the past, you've talked about your ancestors really speaking to you when you write songs. "happy i'm" features Japanese lyrics —  how did you decide which lines to write in Japanese? Were there specific emotions you could only express in Japanese? 

That's such a beautiful question. It's interesting, because when I first wrote the song, it was all in English. And that was it for a couple months. And I was like, I don't feel like it's expressing everything that I need to. My whole heart isn't in the song right now. So then, I decided maybe I need another language to explain myself all the way. 

And the thing I love about Japanese is it takes a lot longer, in a way, to say something in the space of one sentence in English. You could say five different things, but because of how Japanese is one syllable, one letter versus it being one word — you can really take your time expressing something. 

That whole verse is really about the feeling of expressing gratitude and also the vulnerability of getting things off your chest — and how once you get things off your chest, it makes space for more love. I feel because I was using Japanese, I was able to say it so patiently and poetically, in a way I couldn't in English. I definitely feel my ancestors, and my family, and my culture moving through me when I mix languages. 

There's a line in "show me out" I thought was very poignant: "of all the places I go to I choose you." Are you ever afraid to put that much vulnerability on a track?

Sometimes, I could be writing a song about an experience I had with somebody that I'm making the song with, or I can be talking about an experience that I've never told them — but I'm going to put it on the song. I think that's more nerve-wracking to me than writing a song to people I might have not met yet.

I think it's because vulnerability is really connecting. A big part of my intention for making music is for people to remember the invisible thread that connects us all and how we all just live the same lives — just different colors or different hues of the same color. We go through the same things at the same time, in our own ways. So, I think the more vulnerable I can be, the more I can reveal that to people. But it is scary sometimes, especially to the people that I'm closest with.

How did the collaboration with BTS's V for "wherever u r" come about? 

V has been a fan of mine, I've been a fan of V for a long time. He had been sharing my music online with his friends for a while and he would post me on his story and tag me. A couple months ago, he did it and, on a whim, I sent him a message — and closed my eyes and threw my phone across the room. [Laughs.]

He was like, "Yeah, I'm down!" At this point, I did not know he was going to the Army. But after we finished this song and after everything had happened, I've just come to realize why he picked the song. 

The song is all about love, long distance love, and love of all kinds. The idea that you can have love for someone and share love with someone, no matter where they are. No matter what time it is, you could send love to the past, to the future, to someone and they don't even know you sent it. Love can be felt, love is so infinite like that. 

When I first wrote the song, I wrote about my grandma — who lives in Japan. I don't get to see her often and, sometimes, I forget to call her. I just wish I could be wherever she is. But, I know that when I close my eyes and go I love you, Grandma, she can feel it wherever she is. Now that [V's] in the Army, I feel like a lot of his fans are going to be doing that, too.

Has there been any moment, or person, or career move in the last year or so that helped you heal? 

A big moment for me was when I opened for Jhené Aiko at the Oakland Arena [on Dec. 2, 2023]. I had some intense impostor syndrome happen before the show and usually, I'm very calm and confident. But, I used to have really bad stage fright, so I feel like it came back up again. I've also been taking voice lessons again, so I'm relearning my voice. I was throwing a fit, I was so nervous and I was so confused, but also just letting it all come up. 

One thing one of my mentors taught me is fear is false evidence appearing real. I just had to keep checking myself and being like, none of my fears are real. I'm allowed to feel them, but I don't have to get into them. 

In the end, I was writing out all the things that scared me and how they weren't true. I really took the time to really dissolve all my fear. And that was very healing for me, because now, when a fearful thought comes up, I have an example of an experience to be like: that's just false evidence appearing real. It's not real.

Have you had a recent fan interaction where you were like, "Wow, I am actually influencing people with my music"?

Yeah, I have this one fan [who is also a] friend. They've come to so many of my shows and they've been going through their transition right now. I've seen them changing their pronouns. I see them finding a new name for themselves. I see their whole confidence and self shift and expand. When my album [Forest in the City] came out is when they decided they were going to start transitioning — and my album was a big part of them accepting and coming out to their parents. 

Their mom came to the [Jhené Aiko] show and me and their mom — we just had this moment of such pure joy, seeing her child coming to self-acceptance. Then, they came to the next show and the way they dress is changing and their confidence is going up and then their voice is changing. Every time I see them, they're embodying more and more of themselves. 

These people really love, care, and support me, but also, I'm actively witnessing them heal in front of me. The fact that I can encourage someone to choose that over unhappiness is so powerful.

You've done some manifestation sessions with your fans on Instagram. What are you manifesting for 2024?

2024 feels so big. I feel like I went through my "Avatar [the Last Airbender]" initiation training phase, for years, on how to be an artist. I really feel like I mastered the elements of artistry for myself. 

I'm manifesting a Billboard hit. I'm manifesting a GRAMMY nomination. I'm manifesting a world tour. I'm manifesting all of my music reaching a broader audience that far exceeds my expectations. 

What I have to share in my life experience is very unique and important for people to hear. And it doesn't come from ego, it comes from a space of love and a space of inspiration. I just get excited for more people to have access to understanding mental health or understanding manifestation — or just hearing the music. 

I always say my success is my mental health and my peace of mind. My career has helped me do that, and that makes me proud. 

When I look at my career, it hasn't made me more stressed, or hasn't made me feel disconnected from my family, or hasn't made me lose myself at all. It's made me become more clear and grounded — in all those areas. It makes me know that I'm going to have a really long, fulfilling, and fun career.

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Neo-soul singer UMI describes herself as a "multi-dimensional artist" whose ideas often come to her in the spur of the moment — and she "needs to get it out immediately."

Thanks to her favorite musical gear, the Apollo Twin X interface, she can bring her ideas to life on the go.

"Instead of going directly into your computer [to record], you can use something like this," UMI explains in this episode of It Goes to 11. "It helps to enhance the sound of what you're recording and makes the recording process easier."

Before she invested in her Apollo interface, she says she used to buy cheap ones for $50 or $100: "I thought I was getting the best experience, but then, I went to a studio. They had one of these. Ever since then, I've been like, 'This is my baby!'"

As a self-proclaimed "studio gear nerd," UMI exclaims that the Apollo Twin X isn't just a fancy part of her collection — it's changed her process altogether. "I don't have to book studio time anymore," she says. "I can do it all in my house!"

Press play on the video above to learn more about UMI's cherished Apollo Twin X interface, and check back to GRAMMY.com for more new episodes of It Goes to 11.

UMI Is Ready To Manifest Her Way To Stardom With 'Talking To The Wind': "I Learned All The Lessons I Needed To"

Sacramento's Sol Blume Festival has announced it will return for its second year to Cesar Chavez Plaza in Sacramento, Calif. on April 27. This year the festival is headlined by 61st GRAMMY Awards nominee Miguel, joined by Jessie Reyez and a great array of emerging talent.

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Emerging artists at Sol Blume include Snoh Aalegra, Dave B, Jess Connelly, J.I.D, Kiana Ledé, Tobi Lou, Masego, Queen Naija, Parisalexa, Raveena, Ivy Sole, Umi, Summer Walker, and Tierra Whack whose "Mumbo Jumbo" is nominated for Best Music Video at the 61st GRAMMY Awards. Billboard has more detail about artists' backgrounds.

Festival organizers told the Sacramento Bee attendance last year was about 6,000 and said, "Creating and producing this event is an amazing milestone for Sacramento's thriving music community, and we just couldn't be more excited about what the future holds."

Tickets, VIP packages and more information are available at the Sol Blume website. See why Sacramento music fans hope this is the beginning of a long tradition.

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Contemporary music is filled with artists who have transitioned from social media stardom to serious streams and even Music's Biggest Night. Kenia Os is proof of this trajectory: After building a massive following on YouTube, Instagram, and TikTok, she established as one of Mexico's top pop stars. 

Kenia Os' ability to pivot successfully is also apparent in her music. Her 2022 debut album Cambios de Luna leaned into trap and reggaeton, while follow-up K23 fully embraced Latin pop with elements of EDM. Her "Universo K23" netted Kenia Os her first Latin GRAMMY nomination for Best Long Form Music Video. 

On her latest album, Pink Aura, the 24-year-old seamlessly blends her worlds of Latin pop and urbano music. "I feel very comfortable making pop," Kenia Os tells GRAMMY.com.  I also love Latin urban music and reggaeton, especially reggaeton Mexa that's blowing up…I wanted to make music in that style as well." 

Pink Aura sees Kenia pushing pop into new territory — with the help of some friends. Puerto Rican singer Álvaro Díaz is featured on the futuristic, drum 'n' bass-infused "Bobo," while Puerto Rican trans rapper Villano Antillano appears on the euphoric "VIP." Argentina's La Joaqui helps Kenia Os meld reggaeton with cumbia on the freaky bop "Kitty." Reggaeton Mexa, or Mexican reggaeton, artists Yeri Mua and Ghetto Kids join Kenia for the sensual banger "Mamita Rica." Elsewhere, Os also links up with another influencer-turned-singer Bella Poarch for the fierce "F* OFF."

In an interview with GRAMMY.com, Kenia Os opens up about overcoming the stigma against artists coming from social media and the empowering meaning behind her Pink Aura album. 

This interview has been edited for clarity.

How would you describe the experience of making the jump from YouTube and social media to becoming a pop star?

It's been incredible. It's been an adventure that I've been on for three or more years. 

At the start, and even now, it's still been a bit difficult to get respect from the music industry. Since day one when I started making music, I've always taken this very seriously, making great music with good producers and my record label. I feel very confident about this new album that we've put out and I feel fulfilled as an artist.  

As someone who did come from social media, what did your Latin GRAMMY nomination mean to you last year?

That day I cried all day. I couldn't believe it. I was very happy. It made me think about all the effort I’ve put in these past few years, and those times I was tired in the studio and thought about quitting. There were times I told myself, I don’t want to keep doing this because it’s very tiring to prove [to people] the artist that I am. I felt like everything was worth it. The hard work that me and my team have put into this over the years has been worth it.  

An artist that has a similar career trajectory to you concerning social media is Bella Poarch. I can imagine that you probably bonded well with her while collaborating on the song "F* OFF."

Working with Bella was an incredible experience. Sometimes when you do collaborations, there's artists that are very much artists. You know what I mean? They love music, but they don't know a lot about navigating social media or what works in that space. 

With Bella, what happened was that we could record TikTok videos and create content for social media. It was very natural and genuine. We shared ideas with each other like, "We'll make TikTok videos this way or you go here and I go there." [Laughs.] It was very genuine how we developed the content for marketing our collaboration. It was very beautiful. It's a very different experience to work with someone who also understands social media.

Tell me about the title of this new album — is there a story behind it?

My fans have asked me, "Kenia, why do you have everything pink? You have said before that you hated the color pink." It's not that I hated pink, but I had always said I didn't want pink in the background of my interviews, in my outfits, or anything. 

The other day I was with my mom, looking at photos from when I was a little girl, and I saw everything in my room was pink. I was thinking about when I started fighting this color. I realized I started to hold back that feminine energy to be able to face the industry, to be the person in charge of my family, and keep up that livelihood. For me, this album was forgiving that feminine energy, embracing it, and healing myself, and above all, letting it shine. 

You’re bridging the gap between Latin urban sounds and pure Latin pop on this album. Was that what you hoped to accomplish with that kind of fusion?

I feel very comfortable making pop. I love pop and it's the genre I enjoy the most. Every time I'm in the studio, I'm writing with my co-writers and producers, and we always make pop. 

I also love Latin urban music and reggaeton, especially reggaeton Mexa that's blowing up. We have artists in that scene who are becoming very big. I feel very proud and I wanted to make music in that style as well because I like going to the clubs and I like to hear myself within that genre. 

You collaborated with one of the top female artists in reggaeton Mexa, Yeri Mua, in "Mamita Rica." How would you describe the experience of working with her?

That was very beautiful. We went to the studio together and there was her whole team. There were her co-writers. 

We were all surprised because you would think that she puts effects on her voice, but no, that's how she really sounds. As we say, she sounds very sexy and makes noises like meowing. [Laughs]. It was very fun! It felt very great to work with her. 

All the reggaeton Mexa that's coming up in Mexico makes me so happy. I believe it was time with Mexico making more noise globally through música mexicana, reggaeton, and pop, and above all, with a sound that's very unique to us. 

You’ve always supported the LGBTQIA+ community throughout your career. On this album, you collaborated with Villano Antillano, who is breaking down barriers for queer artists in Latin music. How did the song "VIP" with Antillano come together?

It's very beautiful to know that I have a lot of fans in the LGBTQIA+ community and that they identify with my music and feel supported by me. It's very important for me to be someone who can speak up for them; it's important for me to support them as well and spread their message through my music, what I say, and with what I do. I stand with them and I'll support them in any way that I can.

Villana is one of my favorite artists. I love everything that she does. When she jumped on this track and we heard it, I almost wanted to cry. The song was perfect for her. When I met her, it was incredible because we connected a lot as friends. We were laughing the whole time while making the music video. We have the same ways of saying things. I love her so much. I loved getting to know her and I got a great friendship out of this collaboration.  

What do you want people to take away from the 'Pink Aura'?

I was telling my girlfriends the other day that this album is perfect for when you're getting ready [for a night out]. When you're in your room getting ready and putting on creams, perfume, and makeup. Then you have a little drink before going out to party. 

This was made so people can enjoy it and connect with it in their room, in their cars, and in the clubs. It was made with a lot of love and the most pink side of myself and feminine energy that I hope resonates with girls and boys too. I want to heal that part of us that we sometimes hide or put to the side in order to face certain situations in life. 

What do you want to accomplish next with your music?

I want to go global. I love my country and I love that my concerts in Mexico are always very full. The people of Mexico love me a lot, but I want to take my music to other countries. I want to be an artist that is internationally known. 

I love pop and I see myself doing pop all my life, but I want to experiment with more genres. I would love to do another reggaeton song and then a corrido tumbado song with guitars. Above all, I want to hold the flag of my country high up wherever I go.

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Aaron Cole may be uncertain about having enough money for the week, or if the people in his life will recover from their illnesses. But deep down, he believes that God will always have their backs, because "there's somethin' about the name Jesus."

In this episode of Positive Vibes Only, Cole delivers a live performance of the song "SBTN," which originally features Kirk Franklin and arrives on Cole's newest album, SORRY, I CHANGED, out April 26 via Provident Label Group. The project also sees appearances from fellow gospel singer DOE.

"I'ma give You Praise/ Your mercy follow me all of my days/ Always gon' love me, despite my ways," the Christian rapper sings. "And I know that/ That I'm blessed/ And I'm highly favored/ Why would I worry?"

"[This album] is not just music, but it's a movement of people that have been through it all, not perfect by any means," Cole said in an Instagram post. "Through it all, you're still standing and molding into the person God is calling you to be."

Press play on the video above to watch Aaron Cole's comforting performance of "SBTN," and check back to GRAMMY.com every Monday for more new episodes of Positive Vibes Only.