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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The 2024 Paris Olympics came to life today as the Parade of Nations glided along the Seine River for the opening ceremony. The opening spectacular featured musical performances from Lady Gaga, Celine Dion, and more. Earlier in the week, some of music’s biggest names were also spotted in the city for the Olympics, including Olympics special correspondent Snoop Dogg, BTS' Jin, Pharrell Williams, Tyla, Rosalía, and Ariana Grande.

Read More: When The GRAMMYs & Olympics Align: 7 Times Music's Biggest Night Met Global Sports Glory

Below, see a full breakdown of some of the special musical moments from the 2024 Paris Olympics opening ceremony.

In a grand entrance, Lady Gaga emerged behind a heart-shaped plume of feathers on the golden steps of Square Barye, captivating the audience with her cover of the French classic "Mon truc en plumes." Accompanied by cabaret-style background dancers, she flawlessly belted out the song, executed impressive choreography, and even played the piano.

Lady Gaga’s connection to the song is notable, as Zizi Jeanmarie, the original artist, starred in Cole Porter’s musical "Anything Goes," which was Lady Gaga’s debut jazz release.

"Although I am not a French artist, I have always felt a very special connection with French people and singing French music — I wanted nothing more than to create a performance that would warm the heart of France, celebrate French art and music, and on such a momentous occasion remind everyone of one of the most magical cities on earth — Paris," Lady Gaga shared on Instagram.

Celine Dion 

Closing out the ceremony with her first performance in four years since being diagnosed with stiff-person syndrome, Celine Dion delivered a stunning rendition of Edith Piaf’s everlasting classic, "L’Hymne à l’amour" from the Eiffel Tower. Her impressive vocals made it seem as though she had never left.

This performance marked Dion’s return to the Olympic stage; she previously performed "The Power of the Dream" with the Atlanta Symphony Orchestra and composer David Foster for the 1996 Olympics.

Axelle Saint-Cirel 

Performing the National Anthem is no small feat, yet French mezzo-soprano Axelle Saint-Cirel knocked it out of the park.

Dressed in a French-flag-inspired Dior gown, she delivered a stunning rendition of "La Marseillaise" from the roof of the Grand Palais, infusing the patriotic anthem with her own contemporary twist.

With the stirring lyrics, "To arms, citizens! Form your battalions. Let’s march, let’s march," Saint-Cirel brought the spirit of patriotism resonated powerfully throughout the city. 

Gojira 

Making history as the first metal band to perform at the Olympics Opening Ceremony is just one way Gojira made their mark at the event.

The French band took the stage at the Conciergerie, a historic site that once housed French kings during medieval times and later became a prison during the French Revolution, famously detaining Marie Antoinette – Creating a monumental moment as the first metal band to perform at the ceremony, but also stirring the pot as they used the chance to nod toward politics. 

Performing a revamped version of "Ah! Ça Ira," an anthem that grew popular during the French Revolution, the artists aren’t new to using their songs as a vehicle for political messages. The GRAMMY-nominated group are outspoken about issues concerning the environment, particularly with their song, "Amazonia," which called out the climate crisis in the Amazon Rainforest. Using music to spread awareness about political issues is about as metal as it gets. 

Aya Nakamura

Currently France’s most-streamed musician, Aya Nakamura went for gold in a striking metallic outfit as she took the stage alongside members of the French Republican Guard. As there were showstopping, blazing fireworks going off behind her, she performed two of her own hit songs, "Pookie" and "Djadja," then followed with renditions of Charles Aznavour’s "For Me Formidable" and "La Bohème." 

Although there was backlash regarding Nakamura’s suitability for performing at the ceremony, French President Emmanuel Macron dismissed the criticism. "She speaks to a good number of our fellow citizens and I think she is absolutely in her rightful place in an opening or closing ceremony," Macron told the Guardian.

Since Ice Spice first caught our attention two summers ago, she's been nothing short of a rap sensation. From viral hits like her breakout "Munch (Feelin' U)," to co-signs from Drake and Cardi B, to a Best New Artist nomination at the 2024 GRAMMYs, the Bronx native continues to build on her momentum — and now, she adds a debut album to her feats.

Poised to be one of the hottest drops of the summer, Y2K! expands on Ice Spice's nonchalant flow and showcases her versatility across 10 unabashedly fierce tracks. She dabbles in Jersey club on "Did It First," throws fiery lines on lead single "Think U the S— (Fart)," and follows the album's nostalgic title with an interpolation of an early '00s Sean Paul hit on "Gimmie a Light."

Y2K! also adds more star-studded features to Ice Spice's catalog, with Travis Scott, Gunna and Central Cee featuring on "Oh Shh...," "B— I'm Packin'," and "Did It First," respectively. At the helm is producer RiotUSA, Ice Spice's longtime friend-turned-collaborator who has had a hand in producing most of the rapper's music — proving that she's found her stride.

As you stream Ice Spice's new album, here are five key takeaways from her much-awaited debut, Y2K!.

Ice Spice is one of the few ladies holding down the New York drill scene on a mainstream level. She's particularly rooted in Bronx drill, a hip-hop subgenre known for its hard-hitting 808s, high-hats and synthesizers — and according to the sounds of Y2K!, it’s seemingly always going to be part of her artistry.

"It's always time to evolve and grow as an artist, so I'm not rushing to jump into another sound or rushing to do something different," Ice Spice told Apple Music of her tried-and-true musical style. 

While Y2K! may not be as drill-driven as her debut EP Like…?, the album further hints that Ice isn't ready to retire the sound anytime soon. The subgenre is the dominant force across the album's 10 tracks, and most evident in "Did It First," "Gimmie a Light" and "BB Belt." Even so, she continues her knack for putting her own flair on drill, bringing elements of trap and electronic music into bops like "Oh Shhh…" and "Think U the S— (Fart)."

Minus a few tunes, all of Ice Spice's songs start off with her signature "Stop playing with 'em, Riot" catchphrase — a direct nod to her right-hand man RiotUSA. Ice and Riot met while attending Purchase College in New York, and they've been making music together since 2021's "Bully Freestyle," which served as Ice's debut single. "As I was growing, she was growing, and we just kept it in-house and are growing together," Riot told Finals in a 2022 interview.

Riot produced every track on Like.. ? as well as "Barbie World," her GRAMMY-nominated Barbie soundtrack hit with Nicki Minaj. Their musical chemistry continues to shine on Y2K!, as Riot had a hand in each of the LP's 10 tracks.

In a surprising move, though, Ice doesn't just lean on Riot this time around. Synthetic, who worked on Lil Uzi Vert's GRAMMY-nominated "Just Wanna Rock," brings his Midas touch to "Think U the S—." Elsewhere, "B— I'm Packin'" is co-produced by Riot, Dj Heroin, and indie-pop duo Ojivolta, who earned a GRAMMY nomination in 2022 for their work on Kanye West's Donda. But even with others in the room, Riot's succinct-yet-boisterous beats paired with Ice's soft-spoken delivery once again prove to be the winning formula.

Named after Ice Spice's birthdate (January 1, 2000), her debut album celebrates all things Y2K, along with the music and colorful aesthetics that defined the exciting era. To drive home the album's throwback theme, Ice tapped iconic photographer David LaChapelle for the cover artwork, which features the emcee posing outside a graffiti-ridden subway station entrance. LaChapelle's vibrant, kitschy photoshoots of Mariah Carey, Lil' Kim, Britney Spears, and the Queen of Y2K Paris Hilton became synonymous with the turn of the millennium.

True to form, Y2K!'s penultimate song and second single "Gimmie a Light" borrows from Sean Paul's "Gimme the Light," which was virtually inescapable in 2002. "We really wanted to have a very authentic Y2K sample in there," Ice Spice said in a recent Apple Music Radio interview with Zane Lowe. Not only does the Sean Paul sample bring the nostalgia, but it displays Ice's willingness to adopt new sounds like dancehall on an otherwise drill-heavy LP.

Taking the Y2K vibes up another notch, album closer "TTYL," a reference to the acronym-based internet slang that ruled the AIM and texting culture of the early aughts. The song itself offers fans a peek insideIce's lavish and exhilarating lifestyle: "Five stars when I'm lunchin'/ Bad b—, so he munchin'/ Shoot a movie at Dunkin'/ I'm a brand, it's nothin.'"

Whether she's flaunting her sex appeal in "B— I'm Packin'" or demanding potential suitors to sign NDAs in "Plenty Sun," Ice exudes confidence from start to finish on Y2K!.

On the fiery standout track "Popa," Ice demonstrates she's in a league of her own: "They ain't want me to win, I was chosen/ That b— talkin' s—, she get poked in/ Tell her drop her pin, we ain't bowlin'/ Make them b—hes sick, I got motion." And just a few songs later, she fully declares it with "BB Belt": "Everybody be knowin' my name (Like)/ Just want the money, I don't want the fame (Like)/ And I'm different, they ain't in my lane."

For Ice, "baddie" status goes beyond one's physical attributes; it's a mindset she sells with her sassy delivery and IDGAF attitude.

In album opener "Phat Butt," Ice boasts about rocking Dolce & Gabbana, popping champagne, and being a four-time GRAMMY nominee: "Never lucky, I been blessed/ Queen said I'm the princess/ Been gettin' them big checks in a big house/ Havin' rich sex," she asserts.

Further down the track list, Ice Spice firmly stands in her place as rap's newest queen. In "BB Belt," she raps, "I get money, b—, I am a millionaire/ Walk in the party, everybody gon' stare/ If I ain't the one, why the f— am I here, hm?"

Between trekking across the globe for her first headlining tour and lighting up the Empire State Building orange as part of her Y2K! album rollout, Ice Spice shows no signs of slowing down. And as "BB Belt" alludes, her deal with 10K Projects/Capitol Records (she owns her masters and publishing) is further proof that she's the one calling the shots in her career.

Whatever Ice decides to do next, Y2K! stands as a victory lap; it shows her prowess as drill's latest superstar, but also proves she has the confidence to tackle new sounds. As she rapped in 2023's "Bikini Bottom," "How can I lose if I'm already chose?" Judging by her debut album, Ice Spice is determined to keep living that mantra.