Back when she was six or seven, Grace Kelly was Grace Chung — and every Friday night, her father would surprise her with another cinematic classic. In one, she saw who she'd become.

"We would go to our favorite Chinese restaurant in Brookline, Massachusetts, and then we would go to Blockbuster right after and we'd pick out a DVD for that night," Kelly — not a stage name, but her government — tells GRAMMY.com. "So, he picked out High Society one night, and that's the first time I saw Princess Grace Kelly in a movie."

The 1956 musical rom-com was Kelly's last before she became Princess of Monaco at 26. The saxophonist was floored. "I was so in love with her — and just her beauty, her elegance," she adds, aglow. So, I went to kindergarten the next day and I told my teachers, 'I'm Princess Grace Kelly,' and I would sign my name like that."

In High Society, the future Princess memorably sang Cole Porter's "True Love." Today, at 31, Kelly took up her own scepter of sorts. She sings "True Love" on Grace Kelly With Strings: At The Movies, her new album of cinematic bangers from across the decades.

Out March 1, At the Movies features selections from Kelly's own lifetime, like Pirates of the Caribbean and Mission: Impossible; near it, like E.T. the Extra-Terrestrial and Back to the Future; and her parents' generation, like The Good, the Bad and the Ugly.

What ties it all together is Kelly's sparkling charisma, and contributions from a consortium of heavy hitters: producer Bryan Carter, arrangers Charlie Rosen and Steven Feifke, special guests in trumpeter Sean Jones and guitarist Cory Wong.

Whether or not you're a jazz or film buff, there's plenty to glean from the following conversation with Kelly about the movies, social media, keeping her cool amid logistical insanity, and much more.

This interview has been edited for clarity.

E.T., Pirates of the Caribbean, Mission: Impossible — your album reflects the millennial cinematic canon.

Right? I mean, there's so many memories there.

And Bryan Carter — who co-arranged [the play] Some Like It Hot with Charlie Rosen and produced this album — we are both such Disney kids. Working on this album, we were both so excited. Because these movies, like you said, hold a really special place in our hearts.

I guess I didn't really realize that, but for a lot of the cuts, it's like going down a millennial memory lane. We had a blast just sending memes of Back to the Future and working on the music.

Tell me more about your relationship with these tunes.

It was very hard to pick the songs, because there are so many great songs from the cinema. ut I did pick ones that either had a very personal touch to me. For example, "True Love" is the only song that Princess Grace Kelly sang on screen [in 1956's High Society]. So, we covered that one; it's a beautiful Cole Porter song.

And then a song like "Soul Bossa Nova" — I mean, I love Austin Powers, and I'm also a really big fan of Quincy Jones. So I was like, That's going to be a bop. And then Charlie Rosen arranged that one.

Back to the Future is one of my favorite movies — so I was like, "Well, we have to do 'The Power of Love.'" I've been really lucky to join Huey Lewis on stage a couple of times and he's been a supporter of mine. So, that felt extra special, to pick that one.

And, again, I'm such a Disney kid, and Bryan is as well. So, that was tough because, I mean, the Disney medley's already 15 minutes long. We had to cut two songs from the original one, because it would've been, like, 25 minutes.

When did it become clear that this was the kind of project you wanted to pursue?

I've actually had this idea in the back of my head for a while. I really wanted to do a project covering some of my favorite movie music.

This idea was born years ago when I was talking to a great radio personality, Ron Della Chiesa. He said, "There are so many great songs from movies, and you've got the name Grace Kelly." He didn't know my love for the princess, but of course, when he was even bringing up this idea, I was like, "Yeah, I know Grace Kelly, and I love Grace Kelly."

And the album basically came to be because I was approached by the Barclay Theater in Irvine, California, to put on a debut performance of something that I've never performed before. So that was a great opportunity to be like, "Well, I have this idea about presenting movie music" — and they loved it.

I've also always wanted to do an album that featured strings. One of my favorite jazz albums of all time is Charlie Parker With Strings; it was a really important album for me in my development of playing the saxophone.

So, we brought those two concepts together, the movie music and then strings — which I feel like fits so perfectly musically. And that was the impetus for creating the album.

Charlie Parker with Strings is a masterpiece, and it's so accessible. I feel like sometimes there's this perception of Bird where it's like, "The recordings are too rough," or "I respect it more than I listen to it." But that's just plain beautiful music.

I know what you mean. Because when people say a similar thing to me about bebop or jazz, I tell them, "OK, but listen, this album is, it could be a good entry point for some people who don't feel like they can listen to jazz, because it's just so beautiful."

And it's interesting that at the time when he released it, some of the people were saying it's too much of a commercial project, the jazz community did not embrace it in the way that I feel like we talk about it and embrace it now. Because it's just such a piece of art. It's so beautiful.

At what point did it feel like the project was truly taking shape?

I think when we had the arrangements in hand. Bryan Carter brought on an incredible cast of young arrangers — GRAMMY- and Tony-winning arrangers.

Charlie Rosen created a couple of charts for us — Steven Feifke, Kyle Gordon, a few recent graduates from the Juilliard School of Music who are doing amazing stuff.

So, I think it started to come really clearly into the picture for me when I was having conversations with each arranger, and Bryan figured out which songs each arranger would take on, and what would fit best stylistically.

The next step of that was giving my ideas of what I thought musically should be highlighted. So, I made little videos for each arranger, and I would play my saxophone part, or I would play something on the keys, and then they'd integrate those ideas into the arrangement. 

And then, Bryan and I co-arranged the Disney medley. That was just the moment that I was like, Oh my gosh.

Getting even the MIDI files back, and listening to the arrangement, it was like, Holy crap, this is going to be epic.

Can you expound on the importance of Bryan and Steven, and anybody else who was critical to getting this project going?

As our producer — and he arranged a couple of the songs as well — Bryan has really brought this record to new heights. I mean, his ears, his knowledge, his taste is just of the highest caliber — and he will not quit until something is right.

He had spent so many hours even on just one measure of the recording and doing post-production on it. I think him and our mixing and mastering team member, Dave Darlington, who's multi GRAMMY-winning — must have spent at least five full-day sessions just going in and every detail. So, he has absolutely just made this album what it is and the quality of what it is.

All along the way, too, if I was having trouble recording my part, we'd jump onto Zoom sessions and he'd be coaching me through some of the vocal production stuff, getting the best takes out of me. He flew in to L.A. to do our three days, our performance and studio work, and then took a red-eye the next night to be a special guest on Seth Meyers' late night show playing drums.

Our associate producer, Kyle Gordon, also was just so helpful in the studio working with us, and brought a couple of really magical arrangements to the table. The other person who is just such an MVP is Eli Bishop, our co-producer. Eli put together the entire string section for the album. And he recorded, I think, more than a thousand tracks of himself playing violin, viola, cello, guitar, mandolin.

I mean, he plays everything. And he really took the project from the few songs that we were able to record live with the 15 piece string section, he then went home and then did post-production and turned that into a symphony orchestra version with his post-production on it.

**Can you talk about the moment where you realized, Holy crap, we did it?**

Well, to be honest with you, when we initially did the first recording session, it was such a crazy time. We did the live debut performance at the Barclays Theater in Irvine, California on, I think it was a Thursday or a Friday night.

The next day, we were in the studio recording it. And the afternoon before the live show, we were rehearsing it. And we only had those three days with Bryan because he flew in for that, and he was working on the "Some Like it Hot" Broadway musical.

It was putting people through it. It was a crazy vigorous schedule, and we had so much music to get through.

But that was a huge, huge win for us to then do the show, go into the studio. And then it took about a year — not a consecutive year — but we were working on the post-production for this album after that initial session, we're chipping away at it. And we had some fantastic special guests in Sean Jones and Cory Wong: they recorded their parts as finishing touches.

When I finally had the final master recordings, and I was able to listen to the album from top down in the car, I think that was the moment that it was like, holy s—, this sounds incredible. 

I remember FaceTiming Bryan that day, when we sent in our final masters. That moment was just so exciting. We'd call each other and just talk about how proud of the album we were.

**How do you keep your head on straight amid such intensity? The jazz world's extremely intense as it is.
**
I would say that deadlines are a frenemy, because thank goodness we had it. That would allow us to just keep doing the next steps and keep getting the next recording in.

I was also going through a move in Los Angeles, and then I was tracking during the day and moving boxes at night, and it was just this very chaotic time. I mean, it's already so busy working on an album, but I wasn't even settled in a place.

But even then I was like, I've got to get this stuff done. I got to get my parts done. And there's something that a deadline just kind of makes you get at it. There was certainly a lot of relief on the other end of being like, Wow, we can breathe and we got it done.

But it's definitely a period of pushing and of stress. And I don't think stress is not always bad. I think it's very essential.

There were moments when we actually had to push back deadlines of things because our distributor wanted certain files and things done, and the music just wasn't there. And I did not want to sacrifice the quality of our music.

Ultimately, we were like, "We've worked so hard on this. It is like 99.5% there. Let's just get it right."

Before we go: you're on the most visible, social media-fueled end of jazz, where the lines between musicians and "content creators" are blurred. How do you negotiate that territory?

I think of creating content as a different bucket than making an album of this quality. I think it is a really powerful tool, to be able to have social media to connect to my fans and to get the word out.

But I also see it for what it is. I like to make content that will be able to reach more people. There's different ways to approach social media, whether it's just to update your fans or are you going for a growth type of trajectory.

And there's always going to be the trolls, getting to the psychological side of it. There's always going to be the haters. Luckily, there are a lot of supporters, and there's a lot of love as well.

It can be really tough. I've had plenty of challenges of getting the haters out of my head, and I try and disassociate a bit from Grace Kelly and go a little bit more third party with it, especially when I'm having a hard time with the hate and the comments, and be like, OK, let me step away. I'm going to turn off all the devices. How do I really feel about this? And am I proud of the music that I'm creating?

And remembering that for every hater, there's so many more supporters and people who are just wanting to see me continue on my path and have said really supportive things.

So, it's a fine balance, but I also try to keep enough time to not be online.So I've been getting a lot better at just kind of spending only a certain amount of time on socials or working on my email to fans.

And then otherwise just turning off, going for a hike, being with friends, working on music, so that it doesn't feel like it's just all-encompassing — a never-ending series of notifications.

11 Essential Compositions & Arrangements By Steven Feifke, The Youngest GRAMMY Winner For Best Large Jazz Ensemble Album

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.

July has graced us with a diverse array of new music from all genres, lighting up dance floors and speakers everywhere.

The last weekend of the month brings exciting new collaborations, including another iconic track from Calvin Harris and Ellie Goulding, as well as a fierce team-up from Paris Hilton and Meghan Trainor. Halsey and Muni Long offered a taste of their forthcoming projects, while Jordan Davis and Miranda Lambert each delivered fun new country tunes. 

In addition to fresh collabs and singles, there's a treasure trove of new albums to uncover. Highlights include Ice Spice's Y2K!, Rakim's G.O.D., Sam Tompkins' hi, my name is insecure, Wild Rivers' Never Better, Tigirlily Gold's Blonde, and kenzie's biting my tongue.

As you check out all the new music that dropped today, be sure you don't miss these 10 tracks and albums.

Although fans anticipated Machine Gun Kelly's next release to mark his return to hip-hop, no one seems to be complaining about "KellyRoll." Embracing the trend of venturing into the country genre, mgk teams up with fellow GRAMMY-nominated artist Jelly Roll on their newest track, "Lonely Road."

The genre-blending track interpolates John Denver's classic "Take Me Home, Country Roads." However, unlike Denver's sentimental ode to the simplicity of rural life, mgk and Jelly Roll reinterpret the track through the lens of romantic relationships that have come to a, well, lonely end.

As mgk revealed in an Instagram post, "Lonely Road" was a labor of love for both him and Jelly Roll. "We worked on 'Lonely Road' for 2 years, 8 different studios, 4 different countries, changed the key 4 times," he wrote. "We finally got it right."

In another interpolation special, Halsey samples not one but two classics in their latest single, "Lucky." The song's production features elements of Monica's 1999 hit "Angel of Mine," while the chorus flips Britney Spears' fan-favorite "Lucky" into a first-person narrative.

While Halsey has always been a transparent star, their next project is seemingly going to be even more honest than their previous releases. After first revealing their journey with lupus with the super-personal "The End" in June, "Lucky" further details their struggles: "And I told everybody I was fine for a whole damn year/ And that's the biggest lie of my career."

Though they haven't revealed a release date for their next project, Halsey referred to her next era as a "monumental moment in my life" in an Instagram post about the "Lucky" music video — hinting that it may just be their most powerful project yet.

Read More: Everything We Know About Halsey's New Album

Ahead of Paris Hilton's forthcoming album, Infinite Icon — her first in nearly 20 years — the multihyphenate unveiled another female-powered collaboration, this time with Meghan Trainor. Co-produced by Sia, "Chasin'" is a lively pop anthem about discovering self-worth in romantic relationships and finding the strength to walk away from toxicity.

"She is the sister I always needed and when she calls me sis, I die of happiness inside," Trainor told Rolling Stone about her relationship with Hilton. Coincidentally, Trainor first wrote the track with her brother, Ryan, but the pop star was waiting for the right collaborator to hop on the track — and Hilton was just that.

"We made something truly iconic together," Trainor added. "It was a bucket list dream come true for me."

A highly awaited return to music after eight years, Australian electro-pop duo Empire Of The Sun are back with their fourth studio album, Ask That God.

"This body of work represents the greatest shift in consciousness our world has ever seen and that's reflected in the music," says member Lord Littlemore in a press statement.

Like their previous work that transports listeners to a different universe, this album continues that tradition with trancey tracks like lead single "Changes" and the thumping title track. Ask That God offers a chance to reflect on the blend of reality and imagination, while also evoking the radiant energy of their past songs.

Dance music's collaborative powerhouse, Calvin Harris and Ellie Goulding, are back with another summer hit. Their latest track, "Free," marks the fourth collaboration between the duo — and like their past trilogy of hits, the two have another banger on their hands.

The track debuted earlier this month at Harris' show in Ibiza, where Goulding made a surprise appearance to perform "Free" live. With Harris delivering an infectious uptempo house beat and Goulding's silky vocals elevating the track, "Free" proves that the pair still have plenty of musical chemistry left.

Post Malone's transition into country music has been anything but slow; in fact, the artist went full-throttle into the genre. The  New York-born, Texas-raised star embraced his new country era with collaborations alongside some of the genre's biggest superstars, like Morgan Wallen and Blake Shelton. Continuing this momentum as he gets closer to releasing F-1 Trillion, Post Malone teams up with Luke Combs for the new track "Guy For That."

The catchy collaboration tells the story of a relationship that has faded, where the protagonist knows someone who can fix almost anything, except for a broken heart. It's an upbeat breakup song that, like Post's previous F-1 Trillion releases, can get any party going — especially one in Nashville, as Malone and Combs did in the track's music video.

Just one month after Surfaces released their latest album, good morning, the duo's Forrest Frank unveiled his own project, CHILD OF GOD — his debut full-length Christian album. Among several features on the LP, one of the standouts is with GRAMMY-winning artist Tori Kelly on the track "Miracle Worker."

Over a plucky electric guitar and lo-fi beats, Frank and Kelly trade verses before joining for the second chorus. Their impassioned vocals elevate the song's hopeful prayer, "Miracle Worker make me new."

Their collaboration arrives just before both artists hit the road for their respective tours. Frank kicks his U.S. trek off in Charlotte, North Carolina on July 31, and Kelly starts her world tour in Taipei, Taiwan on Aug. 17.

Since their debut in 2022 with "Tippy Toes," Japanese girl group XG has been making waves and showing no signs of slowing down. With their first mini album released in 2023 and now their latest single, "SOMETHING AIN'T RIGHT," the group continues to rise with their distinctive visuals and infectious hits.

The track features a nostalgic rhythm reminiscent of early 90s R&B, showcasing the unique personalities of each member. As an uptempo dance track, it's designed to resonate with listeners from all across the globe.

"SOMETHING AIN'T RIGHT" also serves as the lead single for XG's upcoming second mini album, set to release later this year.

For nearly 15 years, Mustard has been a go-to producer for some of rap's biggest names, from Gucci Mane to Travis Scott. On the heels of earning his first Billboard Hot 100 chart-topper as a producer with Kendrick Lamar's "Not Like Us," he's back with his own collaboration-filled project.

Faith of a Mustard Seed features a robust 14-song track list with contributions from Vince Staples, Lil Yachty, Charlie Wilson, and more. The LP marks Mustard's fourth studio album, and first since 2019's Perfect Ten.

In an interview with Billboard, Mustard shared that the album's title is an ode to late rapper Nipsey Hussle, who suggested the title during one of their final conversations before his untimely death in 2019. And once "Not Like Us" hit No. 1, Mustard knew it was time to release the long-in-the-making album.

Faith has been a driving force behind Alabama band the Red Clay Strays, both in their music and in their journey to stardom. With their new album, Made By These Moments, the quintet leans into that foundation even further, giving listeners a look into their walk with God and road to redemption — all of which has helped them become one of country music's most exciting breakout acts.

Despite the divine influence, lead singer Brandon Coleman insists they're not a Christian band. And their music proves that: The Strays' sound delves as much into high-flying Southern rock and gritty delta blues as it does country, sounding like Waylon Jennings or Johnny Cash one minute, then Lynyrd Skynyrd or Elvis Presley the next. As Coleman insists, what's most important to the group is making music that resonates.

"Most of the time we're not setting out to write a worship song… or anything like that," he tells GRAMMY.com. "We don't want to be a Christian band or even a country band — we just want to make music, plain and simple."

Born out of a cover band in 2016, The Strays grinded it out for years in bars around Mobile and the Deep South before hitting a breakthrough with 2022's independently released Moment Of Truth. Their budding acclaim led to opening slots with Elle King, Dierks Bentley, Eric Church and Old Crow Medicine Show, their first chart hit with "Wondering Why," and debuts on the Grand Ole Opry stage and on national television. And just one week before Made By These Moments arrived, the group were featured on the star-studded soundtrack for Twisters.

That all culminated in them signing with RCA Records in April 2024 and working with producer Dave Cobb, who helped the Red Clay Strays deliver their most polished and faith-focused set  to date with Made By These Moments. Its 11 songs serve as a blueprint of how with hard work, patience and God in your corner no obstacle is too big to overcome. The band navigates everything from questioning oneself ("No One Else Like Me") and searching for purpose ("Drowning," "Devil In My Ear") to discovering and becoming grounded in faith ("I'm Still Fine," "On My Knees") and growing into the best version of yourself as a result ("Made By These Moments," "God Does"). 

"We're not trying to go out and preach to anybody, we're just singing songs about our lives and people can listen if they want," Coleman asserts. "I've had many people who aren't spiritual or religious come up to me and say that our music has gotten them to think and reevaluate how they go about their daily lives. That's all you can ask for if you're trying to inspire or help people with your music."

Before the release of Made By These Moments, The Strays' Brandon Coleman and Drew Nix spoke with GRAMMY.com about how faith influences their music, the album's range of inspirations, and more.

You guys haven't shied away from making your faith a focal point of your music. Mind telling me about the roots of that influence, particularly with how it relates to the 11 songs on this new record? 

Brandon Coleman: I mean, God's really the driving force in all of it. He's why we do this. Everyone's wondering why they were put here on Earth and what their purpose is. Once you're able to get an idea for what that is, that's often what you end up doing. Our music is about our lives and living on the road, and God is a big part of all of it.

Drew Nix: When God gives you a gift you have to use it or it's wasted, right? The biblical things we talk about in our music are lessons that we've learned growing up. It's such complex and simple truths all wrapped into one, which makes it really easy to write about. There's victory and strife and everything else you go through in life. It leaves us thanking God at the end of each and every day for giving us another one.

It sounds like rather than faith seeping into music that it's simply been ingrained in your DNA long before you started making music? 

Coleman: Exactly. We're always looking to put God above ourselves.

Nix: When I'm writing songs like "Drowning" — a song that came about when I felt like I couldn't get ahead in life because I kept slipping and falling — it's very therapeutic too. 

Another example is "Devil In My Ear," which sees me dealing with a close friend and someone I considered to be family's suicide. It was our drummer's brother Jacob, who was an unofficial member of the band and one of the best musicians we knew. He took his own life in 2020, so that song was me trying to deal with that. The only thing I could come up with at the time was that the devil got in his ear because he really had it made — he was an incredible musician with a loving family around him. It just didn't make any sense to me until writing that song.

I obviously hate to hear that, but at the same time I firmly believe that one of the most beautiful things about music is the positivity that can radiate from even the most tragic of circumstances. It's a way to make others who've gone through similar experiences feel seen and not alone, easing the weight of the trauma that comes with it in the process. "Devil In My Ear" is a perfect example of that. 

Nix: Not feeling alone, that's a huge part of it. On a related note, the song "Made By These Moments" touches on exactly what you're talking about. We go through all these horrible and beautiful things in our lives that make us who we are. It's also one of the songs that finally brings up the mood on the album as well. 

Coleman: That's the beauty of this album. It starts out great a lot of times like life does. It starts with a good rock song before taking you down into the dark places that we all go to with "Drowning" and "Devil In My Ear." Then you come out of that with "I'm Still Fine" realizing "Oh crap, I'm down in the valley but I'm still fine because God's still got me" ahead of rejoicing with "On My Knees," and realizing that getting through all these bad things is what makes us stronger with "Made By These Moments." Closing out the album with a perfect ending is "God Does," a gentle reminder that even though you may not think something is possible, God does.

It's like a roller coaster ride to redemption. 

Coleman: Addiction and survival, too — all of it.

You mentioned "Drowning" a moment ago, which is one of my favorites on the record due to both its message and Brandon's high-powered vocals — particularly during its chorus — that remind me a lot of Chris Stapleton. It's a little bit country, blues and rock with a heck of a lot of emotion. 

Coleman: Thank you. "Drowning" was originally written in A, so we were singing the chorus, but it wasn't quite up there note wise. I felt like we had a lot of room to keep going up, so we walked it up to a C so it has more of that screaming vibe to it, which definitely helped the song. 

It feels fitting and reminds me of when we were struggling in 2020 and 2021 and were driving for Uber. I finally scraped up $100 to get my car's oil changed. It was supposed to be free, but the place ended up charging me a $40 fee before convincing me to buy new air filters too, to which I said "go ahead" because I just can't say no. What was a $15 air filter I ended up getting charged $75 for, taking my would be free oil change up over the $100 I'd just saved up. 

I remember leaving there, going back home and kicking this drawer that I'd picked up on the side of the road. I ended up breaking it and screaming at the top of my lungs, and that's what the big notes in the chorus of "Drowning" remind me of. 

If it makes you feel any better I literally got my car's oil changed this morning and they got me on the upcharge for an air filter too. 

Coleman: It does, but it hits a lot different when you only have $100 to your name.

Absolutely. And thankfully that's something y'all aren't having to deal with anymore. What a difference a couple years can make! 

Coleman: Even going through all that, despite how hard it was, we were never hopeless. We all just looked at it as going through a battle. We still had faith in God all the way, even when it was very hard to, which was very scary and stressful. People always say to never quit and to never give up, and that's turned out to be true for us too. 

That leads me to "God Does." There's a lot of rockin' tunes on this record, but that song stands out from the rest, both in its message and the stripped back format you recorded it in. Was it always your plan to compose it like that or did you ever have a plan to give it a similar treatment to the rest of this project? 

Coleman: I can't speak for Drew, but that was always my idea of how it would be. Working with Dave, he has his ideas too, and in the studio they all mesh together as we figure out and create it. He changed the whole beat up on ["God Does"] and gave the song more of a waltz-y feel that completely transformed it for the better, in my opinion.

Nix: I had a country-er imagination for it when I wrote and demoed it. I bought a pedal steel about a year ago to have it go more of the country route, but the way it turned out is better than I ever imagined.

Coleman: I like the way Drew came up with it, too. I actually still have that work tape on my phone because I remember how that song helped me out during that time of uncertainty and struggling. We played a show in Baldwin County [Alabama] somewhere and were using Jacob's old bus because our's was broken down. One of its tires went flat, so we had to leave it at the venue. Drew and I returned the next day to change the tire so we could get home. It was then that Drew told me about this new song he'd just written called "God Does." 

I don't know if he knew, but I was sitting there just trying to hide my tears as I listened to it because of being in that time of life of not knowing what to do and feeling hopeless. That song came along at a very good time and really changed my trajectory mentally.