The Recording Academy's newly launched Black Music Collective (BMC), a group of prominent Black music creators and professionals who share the common goal of amplifying Black voices within the Academy and the wider music community, has announced a distinguished leadership council. The leadership committee is dedicated to progressing the Recording Academy's mission to achieve equitable representation across its membership and the music industry.

The collective will serve as a space for members to speak openly about new and emerging opportunities in Black music alongside an inspiring group of groundbreaking Black music creators and business leaders. Leadership has already begun creating and identifying programming that will encourage the acceleration of Black membership within the Academy.

Members of the leadership council will join Honorary Chairs Jeffrey Harleston, Jimmy Jam, Quincy Jones, Debra Lee, John Legend and Sylvia Rhone to work hand in hand to elevate the mission of the collective. Recording Academy Trustee Riggs Morales serves as the BMC Chair and Washington, D.C., Chapter Executive Director Jeriel Johnson is the Executive Sponsor. 

The Black Music Collective's Distinguished Leadership Committee includes the following accomplished music professionals:

• Yolanda Adams, Artist
• Brianna Agyemang, Executive
• Derek "MixedByAli" Ali, Engineer
• Tunde Balogun, Executive 
• Tuma Basa, Executive 
• Aloe Blacc, Artist
• Boi-1da, Producer
• Catherine Brewton, Executive 
• Terri Lyne Carrington, Musician 
• D-Nice, Artist
• Phylicia Fant, Executive
• H.E.R., Artist
• Om'Mas Keith, Producer
• Rico Love, Songwriter
• Heather Lowery, Executive 
• Riggs Morales, Executive and BMC Chair 
• Steve Pamon, Executive 
• Tayla Parx, Songwriter
• Ryan Press, Executive 
• Rashid Shabazz, Executive
• Jamila Thomas, Executive
• Dion "No-I.D." Wilson, Producer

"Our time is now and I'm so excited to add my voice in whatever way I can to honor those who came before me, those who worked building the foundation in this important work in music," H.E.R. said. "Initiatives like this help give a voice to young and emerging artists who dream of an even bigger future. We're all in this together."

"This is a new era of change for the Recording Academy and we are honored to have these leading artists, executives, producers and engineers who are all at the top of their fields join us for such an important moment in our world, our nation and our industry," Harvey Mason jr., chair and interim president/CEO of the Recording Academy, said. "Black music is part of the fabric of our industry and it is so reassuring to stand with these leaders to create momentum, bring change and amplify Black voices."

"We're energized by our partnership with such an esteemed group of Black music leaders who share our mission to foster and accelerate Black representation, equity and inclusion throughout the music industry," Valeisha Butterfield Jones, chief diversity & inclusion officer of the Recording Academy, said. "We've doubled down on our partnership with these leaders and are committed to the work ahead."

Stay up to date on the BMC's progress here. 

Diversity, Equity & Inclusion: Watch The Recording Academy's Inspiring "Change Music" Summit In Full

A capacity crowd filled the Martha's Vineyard Performing Arts Center for a screening of Luther: Never Too Much, a new documentary chronicling the life and career of soul and R&B icon Luther Vandross. The event, held last week at the 2024 Martha's Vineyard African American Film Festival and presented by the Recording Academy’s Black Music Collective and Cîroc Limonata, was a celebration of Vandross' legacy in music and culture as well as the Academy's impact in underrepresented communities across the music industry.  

Award-winning filmmaker Dawn Porter, who directed the film, kicked off the screening with a heartfelt memory: "When I first came here in 1998, never in my wildest dreams could I have imagined that a film that is so special to me, I would be able to share with you on this island that I love." 

She also gave the audience, which included former Chair and CEO of BET Networks Debra Lee and Universal Music Group executive Jeff Harleston, permission to release. "You are free to sing, dance, and we will be back for you after this," she said. 

Not skipping a beat, Luther takes things all the way back to the beginning. It details Vandross' early influences including the Supremes, the Temptations and the Sweet Inspirations, as well as Dionne Warwick and Aretha Franklin, the latter of whom both became collaborators. As Vandross' many hits — "Ain't No Stoppin' Us Now," "Bad Boy/Having A Party," "Stop To Love," "Til My Baby Comes Home," title track "Never Too Much," and more — weaved in and out of the comprehensive doc, the audience moved and grooved.  

Vandross' decades-long career unfolds in full scope across Luther, highlighting his own group, Shades of Jade; the musical ensemble Listen My Brother, a one-time Apollo Theater fixture that also appeared in early "Sesame Street" episodes; his work on David Bowie's legendary Young Americans album, which boosted Vandross' solo career; his many jingles; his days as a backup singer for Bette Midler and Roberta Flack; and much more. The film's use of amazing archival footage tracing these eras wowed the audience. 

In addition to penning his own hits like "Give Me the Reason" and other classics, such as "Everybody Rejoice/A Brand New Day" from the Broadway musical "The Wiz" and Aretha Franklin's Jump To It, Vandross was a vocal perfectionist and a showman, which Porter reflects in the film through rehearsal footage and sketches of the costumes he designed for his tours. Luther producer and fan Jamie Foxx even offers his own testimony to the vital assist Vandross gave his early romantic life. 

Porter does not shy away from Vandross' dark points in Luther. At the height of his fame, for example, he was involved in a car accident that killed a friend. Insightful interviews with lifelong friends and music peers dating back to high school, including folks like Carlos Alomar, Fonzi Thornton, Robin Clark, Valerie Simpson, Dionne Warwick, Mariah Carey, Nile Rodgers, his niece Seveda Williams, and longtime assistant Max Szadek uncover Luther Vandross, the person. Some of the most heartbreaking personal revelations revolve around his weight and the emotional toll that media scrutiny took on him as well as persistent rumors about his sexuality, which his closest friends continue to guard, even in death. 

Patti LaBelle, to the dismay of Vandross' friend and writing partner Richard Marx, who considers such acts a betrayal, did speak publicly on the topic via a clip. Vandross' inability to find love, as detailed in "Any Love," a song he once described to Oprah as his most autobiographical track, is most heartbreaking. 

In a Q&A panel following the film, Porter shared how she pulled off such a wonderful tribute to Vandross in Luther. 

"What really works for this movie is having all that music," she said. "I watched this movie like a fan. I want to hear those songs. I want to sing those songs. So having the ability to let them play out, having the archive, having the estate images and rehearsal footage" was invaluable, she stressed. "When you have all those elements, you feel like you can do justice to a story. And if anybody deserves justice to his story being done, it's this man." 

The panel — which also featured guest Ryan Butler, Vice President of Diversity, Equity & Inclusion for the Recording Academy, and author, professor and radio host Dr. Nii-Quartelai Quartey as moderator — also highlighted the notable steps and initiatives the Academy has launched to advance a diverse, inclusive music community. 

"[Around the] last GRAMMYs, we launched Academy Proud, which is what we call a membership resource group for LGBTQ artists, creators, [and] professionals, so that they also have a safe space," Butler, who is openly gay, reflected. "I think that a lot of times, the Academy felt unapproachable. It felt like it was the castle on top of the hill behind the gate. So I think what I really do, as the leader of our diversity efforts, is come out of the castle and go into the communities where people are."  

Porter regretted that Vandross, whose health challenges as a diabetic and stroke survivor contributed to his early death in 2005 at the young age of 54, never got to experience today's industry. "Don't we all wish Luther lived now?" she lamented to the audience. 

Vandross' fight to cross over and expand his audience features prominently in the film. He achieved some of that goal with his very personal, chart-topping single "Dance with My Father," which he penned with Marx; the song won the GRAMMY for Song Of The Year at the 2004 GRAMMY Awards while he was recovering from a stroke he suffered in 2003. (Earlier, the crowd gasped upon learning that Vandross won his first GRAMMY after nine previous nominations.) 

"In 2020, a group of us at the Recording Academy got together [and] we created the Black Music Collective, which is really about honoring and celebrating the contributions of Black creatives," Butler said in response. 

"As soon as I saw the film," he continued, "I thought, 'What if the Black Music Collective existed when Luther was here? Would he have been nominated nine times before he won? Or would he have enough Black voters in the [Recording Academy voting] membership?' When I arrived at the GRAMMYs, Black representation in voting membership was around 9%, which was indexing lower than U.S. census data. We set an aggressive goal of 33% and we're [now] at 22%," he announced to applause.  

Porter closed out the panel by announcing that Luther: Never Too Much would hit select theaters in October before its official premiere in 2025 on CNN, OWN and Max. 

Attendees at the *Luther: Never Too Much* private reception | Photo: Corey Fletcher 

Elsewhere throughout the festival, the Recording Academy's DEI team participated in multiple panels and events, including the DEI is Alive panel, which discussed the impact and importance of DEI work in the entertainment industry; a screening of and conversation about Billy Preston: That’s The Way God Planned It, a new documentary celebrating GRAMMY-winning R&B, rock, soul, funk, and gospel legend Billy Preston, which Butler moderated; and a welcome and toast celebration for Oscar nominee Colman Domingo. 

Diageo, who partnered with the Recording Academy's DEI team to produce the Luther: Never Too Much screening, conversation and private reception, has supported the Black Music Collective and the Academy's DEI initiatives on an ongoing basis. 

Learn more about the Recording Academy's Diversity, Equity & Inclusion (DEI) initiatives, recent DEI achievements, and year-round work to support artists, creators and music professionals of all backgrounds. 

On July 29, a diverse, talented group of over 200 Recording Academy New York Chapter members filled Brooklyn Brewery in Williamsburg to mingle, network, and talk shop. 

The special occasion was the New York Chapter Member Celebration — its first summer event — and the attendees were eager to make new friends and connections, while embracing old ones over free food and drinks.

Held inside Brooklyn Brewery's spacious wooden tasting room, where guests could try any of the local brewer's beers on draft and bites from Shake Shack — the official burger partner of the New York Chapter Member Celebration As members milled about the space, New York-bred DJ Morsy — who's also a music producer, audio engineer and proud member of the Class of 2024 — provided upbeat grooves to make Monday feel like a full-on party.

An hour or so into the lively event, Nick Cucci, the Senior Executive Director of the New York Chapter, and Lee Dannay, the new NY Chapter President, briefly paused the music and conversation to share their gratitude for their community — which grew by 600 members to 3501 this year — and the many sponsors that made the evening possible. "We can’t do this without our partners and our sponsors," Dannay said. 

The Connect Lounge, located among large, shiny vats of beer still in the brewing process, provided opportunities to network with many of the event's community partners. Daniel's Music Foundation, GRAMMY Go, MusiCares, Music Managers Forum US, Platinum Academy, The Mechanical Licensing Collective, Sound Royalties, RAMPD, Queer Capita, and She Is The Music all had tables set up to showcase their important work and how to get involved. 

Inside the Connect Lounge, attendees could watch clips from GRAMMY Go — the Recording Academy's creator-to-creator learning platform —featuring useful courses on music production, songwriting and audience building from a star-studded cast of GRAMMY-winning and nominated artists including Victoria Monét, Janelle Monáe and Hit-Boy. 

The Lounge also boasted more delicious treats; fresh, gooey cookies from Levain Bakery — the official cookie partner of the New York Chapter Member Celebration  — and organic flavored green tea from Saint James. 

Towards the end of the evening, the music was briefly paused once again to reveal the lucky winner of a raffle. NYC-based, Nigerian-born Afrobeats artist Teemanay took home a brand new D'Angelico Premier Brighton electric guitar, donated by the craft NYC guitar company. 

Even after 10 p.m. when the event ended and brewery closed, many guests mingled outside to continue conversations, exchange information and introduce themselves to anyone they might not have had the chance to yet. Recording Academy New York Chapter members are not only talented and driven creators and music industry professionals, they are clearly committed to supporting each other and building community. 

"We haven’t done an all-member celebration, nor have we ever done a program in Brooklyn during my tenure. All the stars aligned for this night. [It was a] great turnout from our members and an iconic New York City venue — Brooklyn Brewery! Perfect all around," Cucci says of the event.

The Chapter extends an extra special thanks to all their beloved partners, especially the Annual New York Chapter partners: Concord Theatricals, Sound Royalties, and the Mechanical Licensing Collective; the Official Burger of the New York Chapter Member Celebration, Shake Shack; and the Official Cookie Partner of the New York Chapter Member Celebration, Levain Bakery.

New York is the Recording Academy's second-biggest chapter. It not only serves New York City but the entire Northeast, eastern Canada, and Western Europe.. The Member Celebration is just one of many gatherings hosted by this East Coast chapter, which also include other networking opportunities , and intimate conversations  with music creators and professional producers  as part of the Community Connections series, to name a few.

If you are an artist or music professional interested in joining your local Recording Academy Chapter, you can find more information here. The Academy also accepts recommendations for new members.

Navigating the multitude of challenges and roadblocks within the music industry can often seem like a herculean feat. Musicians and industry professionals are expected to master the intricacies of creating and performing music while also juggling the economics and business dealings of the industry. These challenges can be even more daunting for creators and industry professionals with disabilities.  

As the leading global community of music professionals, the Recording Academy is acutely aware of these unique challenges, and it's dedicated to supporting creators and professionals from all backgrounds and experiences.  

That's the vision behind RAA+D (Disability + Accessibility), the Recording Academy's new member resource group aimed at supporting artists, creators and professionals with disabilities and advancing their needs and initiatives. Unveiled during the Recording Academy Philadelphia Chapter's inaugural Block Party during Disability Pride Month last month, RAA+D is dedicated to achieving true accessibility for everyone in the music community and going beyond mere compliance.  

Through RAA+D, the Academy is working to ensure that all members can fully engage in the organization's programs by providing elements such as live American Sign Language (ASL) interpreters, accessibility ramps at our shows and events, and closed captioning for our programs.  

"In recent years, the Academy has made significant strides to ensure that individuals from all walks of life feel supported and a sense of belonging within the Recording Academy spaces," Ryan Butler, Vice President of Diversity, Equity & Inclusion for the Recording Academy, said in an interview. "Through the implementation of RAA+D, the Academy aims to create a robust support system for the disability community, providing opportunities for networking and celebrating their contributions to the greater music community." 

Read More: How The Music Industry Must Work To Close The Accessibility Gap: 4 Eye-Opening Takeaways 

RAA+D's initiatives are driven by a commitment to foster an inclusive environment where accessibility and community are priorities. To help accomplish this, the Recording Academy has partnered with RAMPD (Recording Artists and Music Professionals with Disabilities), one of the leading organizations supporting music creatives with disabilities, as a community partner to advance the work of RAA+D on a year-round basis. 

RAA+D is part of the Recording Academy's DREAM (Diversity Reimagined by Engaging All Musicmakers) Initiative, an inclusive network of member resource groups spotlighting the contributions and initiatives of creators and professionals from diverse cultural backgrounds.  

Spearheaded by the Academy's Diversity, Equity & Inclusion (DEI) team, the DREAM Initiative recently launched multiple resource groups, including Gold Music Alliance, which honors and elevates Pan-Asian members and allies within the GRAMMY organization and the music industry, and Academy Proud, which celebrates and honors LGBTQIA+ Academy members and music industry professionals. Other active groups within the DREAM Initiative include Women in the Mix, launched in 2019, which builds community for all women and increases representation within the Recording Academy and in the music industry; the Black Music Collective, launched in 2020, which is a group of prominent Black music creators and professionals focused on advancing Black music and culture; and GRAMMYs Next Gen, which supports and empowers the next generation of music creators and professionals. 

As the Recording Academy continues to establish membership networks that align with our wide-spanning mission and core values, the DREAM Initiative will launch multiple member resource groups spotlighting the diverse music community, including groups celebrating and supporting Latin and Indigenous creators and music professionals. 

"As we look to the future, we are thrilled about the transformative potential of RAA+D," Butler reflected. "This initiative reaffirms our commitment to inclusivity and the recognition of the diverse talents within the disability community. We are excited to see the positive impact it will have on our organization and our members." 

With additional reporting from John Morrison 

With massive crowds and countless critics raving about her debut album, Ravyn Lenae knew what she had to do: completely ignore all of the expectations that led to it.

"I knew in order for me to keep evolving as an artist and a person, there was no choice but to let those boundaries go,"she says from her home in Los Angeles. 

After building up a growing following in Chicago alongside other members of the Zero Fatigue Collective (which includes producer Monte Booker and rapper Smino), Lenae relocated to the West Coast. She made a massive mark on 2022’s Hypnos, which featured a beguiling mix of alt R&B, house and soul alongside Renae’s magnetic vocal presence.

And rather than coast, Lenae dug deeper for the followup, Bird’s Eye (due Aug. 9). Working with frequent Kendrick Lamar collaborator and in-demand producer DJ Dahi, Bird’s Eye flutters across genres and influences — pulling from Fleetwood Mac on one track, drawing in Childish Gambino on another, and adding Jimmy Jam’s bass elsewhere. Indicative of these multifarious influences are two pre-release singles: the retro pop-leaning "Love Me Not" and the soulfully skipping "Love Is Blind." 

Lenae uses that shapeshifting methodology as a way to interrogate the concepts of love and relationships — never content to rest on her laurels, learning how best to grow and adapt. "Making the songs and getting to the bottom of what they meant for me was me kind of retracing my steps a little bit and really acknowledging all these moments in my life, in my childhood, that were pivotal for me and my identity," she says. 

Nearing the release of Bird’s Eye, Lenae spoke with GRAMMY.com about directing the video for "Love Me Not" in Chicago, blending Brazilian music with Prince inflections, and how the album helped her reconnect with her father.

A lot seems to have happened in the two years since 'Hypnos.' On a month-to-month, day-to-day basis, how much do you shift creatively?

It feels like night and day to me, even though it's been a really short amount of time. During this time between Hypnos and this album — the recording and creating process —  a lot unlocked with me. [There was] a lot of personal growth that happened that allows me to approach music in a much freer and kind of impulsive way.

With the last album and that process, I think I did place a lot of parameters around what I had to be, what I had to sound like, what it had to feel like, who I had to connect with. And I kind of just released all of those expectations with this and made music that I wanted to hear.

How easy was it to actually release those boundaries and work more more in the moment?

I knew in order for me to keep evolving as an artist and a person, there was no choice but to let those boundaries go, if I wanted to keep pursuing music in a way that felt honest. And then being able to collaborate with people such as Dahi, who has kind of mastered that in a lot of ways, and learning from him and seeing his process, seeing how easy and natural it is to just fall into what feels right…

I think the longer you're in an industry or you're in something, the more rules you place on [creativity] and the more you overthink it and try to mold it in a way that doesn't feel impactful. As an artist, being around him and him encouraging that type of process, I think that was a lot of it, too.

Dahi's worked with some incredible artists, and clearly in a way that accentuates that artist rather than making it about DJ Dahi. That must have been so perfectly aligned with your openness, to go in and let yourself learn what you wanted to do. They always say if you know too much and plan everything out, you’ll end up stifled creatively.

It's so true. And that's why I describe it as me kind of returning back to that 12-year-old me, that 13-year-old me, before I cared about opinions, what people thought about me and what I was doing, what I was wearing. I think we start off that way, and then the older we get, the more we get so self-conscious and we judge ourselves more harshly than everyone else.

Why do we do that?!

[Laughs.] I think it's just human nature. And then we try to unlearn all of it.

Even just in daily life, it's so hard to not think about what I could have done at any given moment. And when you’re creating music, there are 5 million ways you can create the same idea and you have to just land on that one.

A hundred percent. During this process, we would have a song idea and then three different versions of that song that hit completely different feelings — maybe a more soft rock version of it, maybe a more indie version of it, maybe a more soulful version. Then it was about having to settle into what is "the one" and what feels the best, versus like what's going to chart or what's going to get in the club. Having to release all of that and just really lean into what feels good is what works every time.

That relates even to how the album was announced, with two tracks that almost speak in conversation with one another. Those songs balance such clever hooks with more nuanced conversation about how conflicted and complex love and relationships can be. How did you find that balance between emotional realism and such immediate music?

It was just really feeling empowered and confident in my decision making. And that's something that's developed over time, too. Really listening to my voice and what I want out of music in my career and my rollout, you know?

Listening to that, obviously having people around me who are like-minded in that way like my management and my team. We all kind of empowered each other to lean into those feelings. At no point in this process did anything feel forced or like I was reaching for something.

That’s so interesting. You want your team to feel supportive but you also want to feel empowered to take risks away from that support. And that reminds me of “Love Me Not,” which has some really smart risks. It's that vintage pop feeling, right down to the clap-along beats, and the vocals feel right in your ear. So when you started working on that track, for example, did you always imagine it being that nostalgia, that warmth? 

I thought that there was just something so cool and timeless, a classic feeling about it. And my songs are the ones where you can really pinpoint what the influences are, or when this was made, or the person behind it. Having a song like that, that really reminded me of Outkast. Like, What is this?

Even before it dropped, I remember having some anxiety around maybe my fans not liking it because it feels a little different from Hypnos. I think anytime you kind of jump outside of the bubble you've kind of created, it's scary because there are people living in that bubble with you who like the temperature in there. 

It’s so important to be constantly revitalized in your work. If you’re doing the same thing, even if your fans are demanding it, you’re not going to get that. And hopefully when your fans see all that you can do, they’ll follow it. 

Yeah. And there's so much left in me to explore into and put out into the world. And look at an artist's career, someone like Tyler, the Creator: Seeing where his sound started and how he's almost trained his fans’ ears to be receptive to something new every time. They've completely grown up with him in a lot of ways and expanded their palate. Kind of forcing the hand of listeners is something that's really interesting to me. [Laughs.]

I love that idea of pushing yourself and pushing your fans, but still within the realm of what's good. [Laughs] Not just experimenting for the sake of it. Speaking of growing and experimenting, I wanted to ask about the “Love Me Not” music video that you directed. It feels so well shot but still so intimate and casual.

I knew with the album and how I wanted the imagery to feel, it would be very homey. Making the songs and getting to the bottom of what they meant for me was me kind of retracing my steps a little bit and really acknowledging all these moments in my life, in my childhood, that were pivotal for me and my identity, those first moments where I felt like I was getting closer to myself in a way. 

A lot of that started on the South side of Chicago, at my grandmother's house, in the basement. Even the cover of the album symbolizes that transition for me. That's where I dyed my hair red for the first time in the basement, in the sink, so coming back to the sink and dyeing my hair ginger on the cover was something that felt so powerful and defining for me. It just made perfect sense that we were going to go back to Chicago for the first video, in my grandmother's house, with all my family members involved. Those are my grandparents, my mom, my sisters, so that's why it feels so loose and candid. I really wanted to give people a glimpse into my life and what it felt like walking into my childhood home.

Getting to see a place through someone else’s eyes is so extraordinary. It really makes the little details pop. For example, the plantains cooking on the stove at the beginning.

Yeah. I associate plantains with my grandparents, my family. We’re of Panamanian West Indian descent, so those smells and those sounds, I really wanted to incorporate into the video.

That really speaks to bringing some comfort along with the risk-taking, same as having your family around. The features do a great job of bolstering you, setting up that stability, particularly Ty Dolla $ign on "Dreamgirl."

I think we just had the idea to kind of take the song into a different world in a way. When we first started the first section of the song, I just knew there was magic there. Those Prince drums and that Brazilian guitar — why do those make sense together? It shouldn't ever make sense together. But when I heard it? Oh my god, this feels like something fresh and new, but also like I've felt this feeling before.

Dahi's brain is just incredible, and then even bringing in Jimmy Jam on it to do bass was a dream come true. I knew it kind of felt like it existed in that Janet stratosphere, and I thought it would be such a cool touch for him to do that personally. Dream come true on all spectrums. I love Ty Dolla $ign, obviously grew up listening to him. He's incredible and I was so honored that he wanted to do it.

Besides Janet, were there any particular artists who were kind of central inspirations for this album specifically?

Sonically, Janet is always in the mix. With this one in particular, some Gwen Stefani, No Doubt, a little bit of Fleetwood Mac in there. I just love taking these worlds that are very different from each other and kind of mashing them and seeing what happens. It's like my favorite thing ever.

You’re trained in classical music, and it's so clear that you understand the range of emotion that you can convey. I'm just curious what happened when you went into recording — or even before that, in the writing. What was it like digging into yourself to find the narrative that matched the mashing?

Honestly, I don't think there was much premeditation with the writing and what I wanted to touch on in a way. Really leaning into those impulsive initial first feelings that a song gives me is something I really valued with this album. And moving forward, that'll be my process.

What was premeditated with the writing process with this album was, with every song, trying to really peel back those layers in my brain and those barriers lyrically. Like, What would I naturally say? Think of that and then think, Okay, how can I make this even more literal, even more personal? Even in working with my girl [songwriter] Sarah Aarons, I learned a lot from her as far as songwriting and how to really paint a picture that feels clear and concise and emotional. Not trying to find the prettiest words or the most interesting words, but really writing what feels real. And that's something that I've really, really valued and learned with this process.

Even with “One Wish” with Childish Gambino, the whole album feels like this big conversation on relationships. Being more direct feels like some advice someone would get with a relationship itself, let alone writing about it. Did that process help you actually process what was happening in your life too?

Oh man, 100 percent. And that's why music is so beautiful to me. It's really a means of opening dialogue between me and myself, and then me and the people in my life. With a song that's so important to me like “One Wish," it’s not just because it's a great song, but because this has really catapulted me into this different part of my life and repairing relationships, opening up difficult conversations — like with my father in particular. Hearing such a simple song and the response I've gotten from it has only validated me much more in the fact that these real stories, real emotions are what connects.

Have you played the album for your father?

We started repairing or rekindling our relationship maybe two years ago. The making of Bird’s Eye was at its peak and I felt like it was important for me to have a song on the album that addressed my relationship with him in order for me to release it and start to move on in a positive way.

So sharing the song with him, inviting him to be in the music video was huge for us. And then even after debriefing about maybe some feelings that came up when he heard certain lyrics or when he saw certain scenes in the video, it just opened up this really honest, candid dialogue between us and I couldn't be more grateful that I have this outlet.