Discover how electropop newcomer Sasha Atlas transforms Pink Floyd's classic 'Time' into a modern anthem for living in the moment. Dive into her journey from Wall Street to the EDM scene in Miami and explore her unique, bold sound in our exclusive interview. Sasha Atlas The essence of feeling alive is deeply rooted in the DNA of electropop newcomer, Sasha Atlas. With a fresh take on Pink Floyd’s ‘Time’, Sasha Atlas offers a more modern interpretation that breathes new life into the concept of living in the moment for today’s era. Coursing through the EDM-laced cover of ‘Time’, is an deep plea to listeners to embrace the euphoric feeling of living in the now, a plea Sasha Atlas knows all too well. Before moving to Miami to learn from the EDM scene, Sasha was a prominent Wall Street financier. After being laid off in 2023, she decided to lean into a more creative journey and started writing music. Sasha’s bold and confident sound becomes addicting, you can hear it throughout her releases. The strength comes from the beats she builds, the ramping up to powerhouse moments, but letting the vocals drive home the story, the words. There’s been only a handful of times when listening to music where I’ve heard such determination to be unapologetically creative. With ‘Time’, albeit a known rock song, it becomes Sasha’s own story, her own mantra. We were delighted to talk to Sasha about everything from her incredible life story to life in Miami these days. You can listen to ‘Time’ on all platforms now! GRRRL Music: You've mentioned sneaking into underground music venues in Bushwick as a teen, can you share any particularly memorable nights that you felt changed your life in a profound way? Photo Credit: Provided By Artist Sasha Atlas: When I was in high school, Bushwick was not what it is today. It was pretty much entirely industrial, and any events that happened there were almost certainly unsanctioned. When I was a junior, my friends were playing a show on a rooftop of one of these newly built condo buildings. Back then there was very little noise enforcement or really anything preventing you from throwing a rager outside until the wee hours of the night. It was BYOB, and obviously we were underage. We threw a bunch of beers into a hard shelled guitar case and brought it on the subway with the rest of the gear. We felt like rockstars. There were hundreds of people on this rooftop, and there was a hot tub. GM: Okay, we HAVE to talk about your transition from your Wolf of Wall Street finance career to singer-songwriter, at what point did you realize you needed to shift gears to a more creative outlet? SA: I think that some context is important here. I'm a first generation American; my parents emigrated from the recently dissolved USSR, a failed and broken state. They had absolutely nothing there, they were literally starving; and when they came to the US, we just had next to nothing. We lived on less than $100 per month for a family of 4. I didn't have any new clothes until we could afford to shop at K-mart, when I was about 7 or 8. The scarcity mentality is generational and runs deep. Still, everyone in my family is a gifted artist or musician. Even when we were poor, my parents made sure to allocate budget to send me and my brother to music lessons. But at the end of the day, it always felt like making a lot of money was more important, because we knew what it was like not to have any. I always maintained a high GPA and busted my ass studying for exams to get into schools that would set me up for a high paying job. Even though I double majored in theater in college, but I always understood I would go into some professional career with high earning potential. Pursuing art was just too risky, and I couldn't square it with my understanding of the world. But the need for art and the dream of a career in the arts never really left. When I started working as a trader, I liked my job, and I was good at it. And the feeling of having real money felt extremely gratifying. But by then, no one in my family was struggling anymore, least of all me. Over time, my work started to feel like making money just for the sake of making money, and it lost its existential urgency, which left me feeling very hollow. I also started to resent my industry in light of the major economic disparity it had opened my eyes to, especially during COVID. During quarantine, I had a lot of time to think and reconsider my priorities. I also started writing music, a lot of it, something I hadn't really done since I started working. It felt like a younger me, the one that was sure she could do and be anything, was re-awakening after a long and solemn hibernation. I started releasing music and building my artist project on the side. When I learned my company was being sold and we were all being laid off in 2023, I decided not to look for another job. Now I'm here. GM: Your music is described as 'opinionated and bold' yet it betrays a 'sensitive soul that longs for resolutions. How do you balance vulnerability and strength in your music AND public persona? SA: This is a really tough one for me, especially in the age of social media. I have a lot of strong beliefs, and music and art have always been my preferred way of expressing them, because they are personal to me. My first release, "WALLS" is very critical, and was written as a response to my frustration with the politics and social climate of the pandemic. I feel empowered expressing myself through art, because I can be nuanced or subtle. But I often feel that subtlety is not appreciated today. So much of being an artist today is hinged on your social media presence, and I just feel very uncomfortable and overexposed expressing the same opinions in plain text on places like Tiktok. It's certainly much more likely to go viral. But I wouldn't write music if all I wanted was to be controversial. Maybe it's because I am a bit introverted, or want to keep certain parts of myself private. I don't like to broadcast my thoughts and feelings to millions online. But in my music, I can be vulnerable, I can allow people access to those private feelings without feeling stripped. The music is my armor, I can express myself in a way I feel is far more nuanced, productive, and ultimately positive. GM: Moving to Miami seems to have been a huge shift for you, not only in location but in musical landscapes as well! How has the immersion into Miami's electronic scene influenced you? SA: Funny enough, I really used to look down on electronic music. I was coming of age during the heyday of EDM festivals, big room house acts like Swedish House Mafia and Avicci, and YOLO. I was underage for most of it, so too young to really enjoy it, and I was definitely a bit of a hipster. I thought there couldn't be anything less cool than this cheesy, happy, scene, which I felt lacked the depth and edginess of the indie genres I preferred. But there was something really optimistic and fun about the early 2010s which totally disappeared by the end of the decade. It was like all the hope was sucked out of the world, and I was feeling it, especially in NYC. I moved to Miami in 2021 to escape, and it was like seeing in color for the first time in years. Miami has its issues, but it's undeniably got a unique vibrance, which I desperately needed. Shortly after my arrival, I went to my first rave, which blew my mind for a few reasons. I didn't hear that cheesy music I hated, instead I was taken on journeys through melodies and rhythms that deeply moved me. I later learned that the term "EDM" describes electronic music about as well as "food" describes all the things you could eat; there are hundreds of genres, some of which I think are terrible, and some which have completely changed the direction of the music I make. That feeling of hope and optimism that comes when dancing to great music all night on the beach was a feeling I didn't want to let go of. GM: You've expressed a desire to contribute your voice to conversations with global impacts. Are there any specific issues or stories that you're passionate about amplifying through your music? SA: Going back to feeling overexposed, I think I want to let my music do most of the talking. I've touched on themes from social justice, economic inequality, and the uncertainty of the future of my generation (I'm a geriatric gen Z). I think we all feel extremely uncertain in our footing and what kind of world we are inheriting, and that comes through in my music in lyrics whether I want it to or not. Most of my music is about that kind of stuff really, and I'm actually working on writing more love songs to try to lighten my lyrical content a bit. But I've really been enjoying specifically writing dance tracks about these topics; I think the juxtaposition of the serious lyrics with grooves that make you want to dance is a unique approach. GM: As someone who has reinvented themselves multiple times, from finance professional to electro-pop artist, what future reinventions or explorations are you most excited about in your career? SA: I think that the way I do my live performances are going to evolve and change as I continue to hone my sound. I learned to DJ, which felt like unlocking a door to a whole new world of possibilities for how I can perform my music, but I think that's only the first step. I want to learn to perform using loopers and synthesizers and drum machines. My dream is to find a way to perform my electronic music completely live, maybe even in a band, like Rufus Du Sol and Bob Moses. In general, the prospect of bringing back live music to the dancefloor is something that really excited me. Instagram Other Links

GRRRLs Backstage is GRRRL Music’s exclusive series featuring interviews with indie artists before and after their live shows! Join us as we fan GRRRL over our favorite emerging musicians, diving into behind-the-scenes stories, tour life, and creative journeys. Watch video interviews with the next big names in music, as we connect with them in candid conversations and bring you closer to the artists shaping the indie scene. 1 2 3 4 5

Manny Moura is a pop singer-songwriter shaped by life between Brazil and the U.S., known for poetic, emotionally honest songwriting. Her debut album was released fall 2025. manny moura GENRE: Indie Pop RIYL: Taylor Swift, Phoebe Bridgers Recent Releases: a crush is a creative act Manny Moura is a pop singer-songwriter shaped by movement between cultures, languages, and cities. Growing up between Rio de Janeiro and New York City, music became her anchor—a way to feel at home while constantly in between worlds. Her songwriting reflects that duality, blending emotional precision with a global sense of intimacy. A graduate of Berklee College of Music with a Bachelor’s Degree in Songwriting, Moura approaches pop music with both craft and vulnerability. In the summer of 2022, she released her EP Libra in Love, a six-track project that traces the arc of a relationship in chronological order, moving from hope to heartbreak with clarity and emotional depth. Beyond her own releases, Moura has expanded her creative reach through film and collaboration. She wrote the original song “Espelho do Mundo” for the Cannes Film Festival–nominated short film The Way You Sea Me, and worked closely with Brazilian folk-pop artist Rebeca on the album Espiral, released in April 2024. Inspired by artists such as Taylor Swift, Lorde, and Phoebe Bridgers, Manny Moura makes poetry in pop form—meticulous in translating emotion into tangible, vulnerable songwriting. Now based in Los Angeles, she writes both for herself and for other artists, with her debut album, a crush is a creative act, released this past fall.

Kylee Phillips is a Michigan-born indie pop artist crafting emotionally powerful, self-exposing songs rooted in catharsis and melodic strength. Kylee Phillips GENRE: Indie Pop RIYL: Maggie Rogers, MUNA, Holly Humberstone Recent Releases: 'head down/eyes up (alt) Kylee Phillips is a Michigan-native vocalist, pianist, and songwriter of deeply self-exposing pop music. Armed with an arresting, emotive, laser-focused voice, and an unrivaled ear for hooks and melodic contour, Phillips has garnered cult-like acclaim in the midwest and beyond since her explosive debut EP Long Time Coming. The title is strangely apt, as Phillips was a beloved hidden gem in the Detroit scene for over a decade before materializing as a fresh face and urgent new presence in the indie/pop world. The EP satisfies broadly while leaving us wanting more, especially after we ride through the guitar-saturated erotic agitation of Home To You, the pyrotechnic regret of Where You Found Me, and the unwelcome epiphany of the haunting title track. The songs are brought into technicolor clarity by rising star producer Evan Eliason. After the overwhelming response to this 2023 debut, Eliason came on board again for Phillips’ 2024 release The Good Parts, which sees Phillips continue to sharpen her lyrical adeptness and autobiographical insight. Kylee’s anthemic, sonically dense songs alchemize the sincerity of a midwest heart with the prowess and unabashed indulgence usually reserved for coastal voices. Here listeners find the body-cleansing catharsis of femme-pop luminaries like MUNA and Maggie Rogers, intertwined with the heartstring-pulling, hands-raised surrender of a worship conference. Every track makes equal space for the tears and the pulse-pounding we didn’t realize we needed so badly. Whether she’s singing about a failed relationship, a distant yearning, or an existential inquiry into the human experience, the integral throughline through Kylee’s songs is the unwavering voice of a woman who refuses to fear her own intelligence, agency, anger, and desires. In a world with no shortage of self-help sad-babe media, Phillips weaves together a sensual, articulate, and unpretentiously therapeutic soundtrack for the lives we live but can’t always verbalize. She lends us an experiential wisdom that could only come from a massive heart that’s seen a lot of garbage and emerged transformed and immovable.

Discover emerging talent with GRRRL Music's Artist Spotlights! We feature exclusive interviews, behind-the-scenes insights, and deep dives into the creative journeys of indie artists from around the world. Explore their music, influences, and personal stories, all while discovering your next favorite band or artist. Our spotlights connect you to the freshest sounds in indie music and offer a platform for artists to share their voice with new audiences. Låpsley Read our latest artist interviews GENRE: Indie Pop Tuvaband GENRE: Soft Pop IDELE GENRE: Alt R&B TheBabeGabe GENRE: Indie Pop R&B GENRE: Indie Pop Mieu Arianna Chetram GENRE: Pop R&B Check out our past interviews: ANNA SHOEMAKER GRACE KINTER KYLIE ROTHFIELD LOUNNA NA-KEL SMITH LILLY MOSS BARB SAINT LUNA ALI WOLVERTON MEDIUM BUILD SHALOM KALEENA ZANDERS AMELIE JAT SASHA ATLAS TASH HOLLINS EEE GEE TOM LEFLORE TIM ATLAS JOSHUA RAW

Tim Atlas unveils 'Le Soir', a captivating blend of neo-soul and edgy electronic vibes. Experience his evolution from iconic buttery vocals to a grittier sound, showcasing a musical transformation that promises a roller coaster of emotions and grooves. Read our review and interview with. him! Now available on all platforms. Tim Atlas A soaring and triumphant return to music, Tim Atlas releases his newest EP, Le Soir, out on all platforms today! Tim Atlas has been through a LOT in the past few years. His neo-soul sound is already iconic, with a buttery voice and stunning musicality, he has been one to watch. But with a shakeup move to New York City, he returns to us with a grittier, darker electronic sound. His new EP, Le Soir, shows a new side of Atlas, one that allows him to experiment with heavier sounds, creatively creating this collection of six songs that you can truly sink your teeth in. Out on all platforms now, Le Soir represents a personal and musical shift in Atlas’s discography. Immensely personal, you can hear this side of Atlas begging for an audience and let me say, it’s worth it. Grungy, more industrial, yet intimate (I know, it’s insane, but trust me), the EP starts with the soaring “Le Soir”, with this huge electronic break that actually left me jaw dropped. As the EP moves through, “Attractive” brings big electronic drums to the forefront yet still allows Atlas to use his groovy side to come through with a nasty funk line and smooth vocals. The blend between sounds is truly one of the best things about Le Soir, forcing the listener to really trust on where the song is going at any given time. It’s the most fun roller coaster I’ve been on in a long time. We got to talk to Tim Atlas about this new creative phase of his life, the change in scenery and what his upcoming tour plans are: GRRRL Music: Le Soir is a darker departure from your previous ‘California-sunshine-soaked’ releases, and seems to be connected to your move to NYC. Has the city evoked a different creative side of you that you’ve been wanting to explore? How does the city-vibe affect your creative process, if at all? Photo Credit: Provided By Artist Tim Atlas: Definitely. I think my environment shapes anything I do creatively, and NYC almost gives people permission to unapologetically be themselves. Going into this record, I let go of what I thought people might expect from me and just let whatever come out come out. And in that process, I think I trusted in the fact that whatever I wrote and produced was 100% a reflection of who I am at this point in my life. GM: On ‘Knockin’”, there is that darker underbelly in which you talk about exploring this idea of mistaking attraction for escaping life. Can you share more about your personal experiences or observations that led to this perspective? TA: I think I can subconsciously look for distractions. Life is filled with pressure and anxiety at times, so naturally we look for ways to escape that. This song places that escape in the people around us, and I’ve been a prime example of that. But when I think of this song, those avenues of escape just keep us running in circles. I hope that makes sense without getting too personal haha. GM: As you prepare for your headlining U.S. tour, how do you plan on translating the experimental nature of "Le Soir" into live performances? TA: Yess, I’m so excited to bring this project to the stage. I’m in my NYC chapter, so I’ve created a setlist and a stage design that reflects that while still coming back to the songs that people know and love. So I took a cardboard cutout of a subway train, put an LED screen in the windows, and automated the headlights on the train to reflect the music. I buckled down and learned how to program the lights with video to sync with our performance. I wanted to make sure this felt like an experience, so I’m trying to incorporate as many details as I can to tell this story. GM: Apart from late nights, are there any other unique or unconventional moments or settings where you find inspiration for your music? TA: I try to live as much life as I can mentally/socially/physically. I’m naturally a homebody, so whenever I’m on the train or walking around the city, I try to soak it in & be in the moment. I like learning and trying new things outside of music. Then when I come back to my studio, the songs feels a little more informed by my life. Instagram Other Links

Discover Lounna's journey behind her sophomore album, Garden For Winter. From Pittsburgh’s blossoming music scene to personal stories of resilience, she shares her creative process, folk inspirations, and more in this exclusive GRRRL Music interview. LOUNNA Lounna's stunning return in her sophomore album, 'Garden For Winter' brings a message of hope to all those who feel stuck in the dark. Welcome to Lounna's world. A soft & nostalgic singer-songwriter in a loud world, Lounna perfectly hits those perfectly quiet moments that begs for reflection from listeners. Her sophomore album, 'Garden For Winter' is a stunning feat - through personal tragedies & mental health, she maintains her empathy & optimism throughout, weaving it into classic folk songs like 'Wildwoods' and 'Bigger Than Us'. While 'Garden For Winter' was due to be released in 2024, her priorities changed once her husband was diagnosed with Burkitt Lymphoma and Lounna put her album on hold. The Pittsburgh local now feels ready for the album to live in the world, and as we talked to her via email - it's clear how much this album became her saving grace through tough moments. 'Garden for Winter' is available on all platforms January 31st! Instagram Website GRRRL Music: Let’s talk about Pittsburgh! I went to college there and everyone is always so surprised that it’s a blossoming city - can you talk about how it’s been in the music scene there? LOUNNA: I love Pittsburgh! While I grew up just an hour away, I didn't get to spend much time in the city until I started performing in some of the venues. Growing up, it seemed very far away from home. As I've been integrating myself into the local music scene, I've been meeting some wonderfully talented musicians who are so sweet and welcoming. There are songwriter meet-ups, songwriter rounds, and live music every weekend all over the city and neighboring suburbs. There are multiple local music festivals also, a few of which I have been privileged to participate in. Every experience has been great so far. GRRRL Music: Your music really evokes a nostalgic sense of home, in ‘Appalachian Mountains’, when the violins sweep into your vocals - it’s magical. Can you talk about your connection to Americana & folk and what it means to you? LOUNNA: Folk music = life! In all seriousness, thank you very much. As a teenager I listened to a lot of Taylor Swift, mainstream pop, Mayday Parade, and a whole lot of country. I even went through an Eminem phase. My songwriting at this time was vague and aimless as I never thought about what genre I wanted to write or what I wanted my image to be as an artist. After high school, I discovered Mumford & Sons, and that was when my own songwriting shifted and started feeling purposeful. I had never listened to folk music before then and listening to the works of M&S, Gregory Alan Isakov, and Bear's Den provided a stable and grounded home for my songwriting. The intention in the lyricism, the gentleness yet steadiness of the guitars, and the overall calming aesthetic connected with me in a profound way that I hadn't yet experienced when listening to music. It felt like laying down on a feathered blanket beneath the evening sun after a very tiring day. I realized that I wanted my own music to evoke the same sense of a hazy, cozy nostalgia, and that led me to be intentional with my storytelling, music production, and artist image. If I hadn't discovered Mumford & Sons at 19, I can't imagine what my music would be like today, if I had continued to pursue it at all. GRRRL Music: A sophomore album can be intimidating to some artists, especially given that your music can be so vulnerable - what was your mindset like going into this project? LOUNNA: I was very much looking forward to this project. My debut When I'm Home was fully DIY, being recorded and produced on my own in my living room. It was released back in the summer of 2022, and perhaps with haste as I quickly realized that it didn't meet its full potential nor my intentions. So, when it came time to work on my sophomore album, I was grateful to meet and work with another local producer and engineer, Daniel Blake. I stepped foot into a legit studio for the first time in the early spring of 2023 with a list of nearly two dozen songs that were candidates for album #2. At this time, I didn't have a solid concept for the track list, but the themes generally followed the same pattern of seasonal affective disorder, grief, and anxiety. Ironically with the vulnerability of the songs, I couldn't wait to share them with other people. A summary of my personal story during the time Garden For Winter was written and produced: shortly after my debut released in '22, I experienced a chemical pregnancy, which is a very early miscarriage. I spent the next nine months writing a song titled "Lily Of The Valley", penning one verse every 2-3 months while I processed the grief and then wrote the refrain only after some time had passed. Another song, "Wildwoods", was written around those same months and began as a journal entry where I considered my life aspirations and purpose, having been prompted to contemplate those things after the miscarriage. While chest-deep in the production of the record, I experienced another miscarriage in the autumn of 2023. The album was nearly finished by January of 2024 when my husband was diagnosed with a rare blood cancer, Burkitt lymphoma. I was hoping to release the record in the spring of '24 but postponed it until my husband completed chemotherapy. Given the nature of being human and handling these unbearable circumstances, the themes and songs of Garden For Winter became even more deeply connected to my personal story, more so than I initially intended when the process began in early 2023. But the thing is that I still can't wait for people to hear these songs. One of my life intentions is to provide a safe connection and sense of home for other people, both in person and through my music. There are a lot of lessons in these songs, things that I never considered until brutally confronted with them, and I want to ease others into these lessons with gentleness and love. My husband is in remission now, we are making our way through the winter season, and things really do get better. GRRRL Music: The album really delves into personal tragedies and mental health, can you talk about how you came up with the album name, Garden For Winter? It feels like the perfect way to describe your resilience. LOUNNA: Thank you for asking this question. Resilience is definitely one thing that we need, and we can find this through self-love, self-forgiveness, and overall kindness in all situations. Garden For Winter summarizes the album's thematic elements and imagery with many of the songs referencing darkness, snow, the cold; it also summarizes the resilience and persistence of time's healing touch as referenced in the second half of the record. The true intent of the title: we are gardens. We are persistent, abundant, overgrown with love. We all know how to care for the garden in the warm months, and this album is the key to learning how to care for the garden in the winter. GRRRL Music: What was your favorite song to write on the album and can you talk about your writing process? Are you methodical or do you lean into the creative Gods? LOUNNA: I let the creative gods take full possession of my mind and body - haha! I had a lot of fun writing the first song on the album, "Sassafras". I wrote it in the spring of 2023 after a much-needed hike in a local state park with my husband. It was a beautiful, comfortably warm day in May, and we walked peacefully through the forest. There were little sprouts of sassafras trees all over the forest floor, which intrigued me. The word "sassafras" itself gave me a sense of nostalgia. My husband told me stories about how the roots used to be used to flavor root beer. I literally couldn't get the word out of my head until I sat down to write the song over the course of the next couple days. This is how my songwriting begins (most of the time): with a concept. Sometimes the lyrics come quickly and efficiently, like they did with "Sassafras", and other times the melody and instrumental parts come quicker. It feels very different every time I write, which is probably a good thing as that means that I am connecting to each song in a unique way. GRRRL Music: Something that everyone should know too is that you’re a producer as well! Did the production side come before you were an artist or vice versa? Is there something you’d tell other artists about production that they should know? LOUNNA: I started songwriting as a young teenager. My first experience with producing came in 2019 when I started a little demo project I had titled "Sundry Demos". I used a very basic DAW, Audacity, and experimented with various instrumental overlays and sound effects. It was very sad-girl-emo-folk, but it taught me a lot about timing and pairing instruments together in general. This little demo project geared me up enough to produce my debut record, but I was still limited in knowledge and resources. Garden For Winter was co-produced with Daniel Blake, a process that taught me even more about music production and engineering. The most important things I've learned as a producer is that it is fully acceptable to get second opinions and to hire session musicians to play the instruments that you cannot, and that the best productions are sometimes a little strange when you listen up close to all the little details. Those weird little layers are what make a production special and unique to an artist's sound.

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Grace Kinter dives into her latest single, I’ll Show You How, blending R&B with house, her genre-bending journey, and the creative vision behind her cinematic music video. Read the full GRRRL Music interview now. Grace Kinter Grace Kinter's old soul delights in her new music video, 'I'll Show You How'. Bringing a more mature sound to her R&B vocals, Kinter uses the blending of genres to her advantage. Grace Kinter is no stranger to the R&B world. Growing up, she was introduced to Aretha Franklin and Nina Simone and began developing her voice in their likeness. Full of soul and jazzy riffs, Grace released her EP, 'Two Fold' in 2024, showing off her maturity within the genre & venturing outside of her comfort zone to bring the melodies to life. 'I'll Show You How' blends her soulful riffs with a driving yet dreamy house beat, allowing the soundscape to shift in the quieter moments of the track. Grace is now releasing a music video (see below) for 'I'll Show You How'. A creative feat for any new artist, Grace gave a deeper meaning to the song. With professional dancer, Lionell Burgess, at the center - the choreography, costumes and storytelling brings the song to life and asks the viewer to let go, push yourself out of your comfort zone & believe in your art. Instagram Music Video GRRRL Music: Before we jump into your single and music video ‘I’ll Show You How’, can we talk about your very eclectic influences? You talk about your dad’s ‘tedious gypsy jazz guitar’ playing, being introduced to Aretha Franklin & Nina Simone at a young age - how do all of these influences make up your voice today? Grace Kinter: I like to say I grew up in an atypical musical household. Usually when you hear about musical households where the parents were both creatives, the children are put into lessons very early and taught discipline. This was not the case for me. My parents didn’t push anything- however I was nurtured into having a good musical ear and I learned music was an emotional exchange. My dad would host jam sessions, play records, and practiced guitar every night- often the same licks and songs etched into my memory. I spent most of my childhood playing imaginary games and sending friends home so I could have “Grace time.” But having this musical influence in the background without actually being pushed to sing or play allowed me to fall in love with music in my own unique way. GM: ‘I’ll Show You How’ is a delicious blend of R&B and house that really highlights your artistry, I’d love to know the ‘art’ behind blending genres, what inspiration did you take to build up & write this song? GK: When you sing from the soul and mean what you say, I’m learning that your voice can fit into any genre. For this tune, I just had the amazing house beat on loop and walked around listening to it, danced to it, and kept it flowing through me until the melody nearly shouted at me. I stopped in my tracks and quickly took a voice memo singing my idea over the beat and the rest was history as they say! GM: We HAVE to talk about the incredible music video for ‘I’ll Show You How’. Everything from the art direction to highlighting dancer, Lionell Burgess, to the costumes - where did this vision for the single come from? Can you talk more about the process of shooting such a huge project? GK: I really stepped outside of myself to write the song. Lyrically, I used the idea of “stepping outside of my comfort zone” to inform a perspective where I was LITERALLY outside of myself, like a “fairy godmother” looking down at the real me trying to get her to loosen up and enjoy life for what it is. That led to the concept of the music video. I play the higher self or the “fairy godmother” and my star, Lionell Burgess, has to decide if he wants to “take my hand” or not throughout the video. Lie is an incredible dancer and I knew I wanted him to dance for a project of mine for a while now, so ‘I’ll Show You How’ felt like the perfect opportunity to both showcase his talent and also tell the song’s story. Lie does end up “taking my hand” in the end and we channeled Lady Gaga and Beyonce in Telephone for that end sequence! And shout out to my amazing director Elise Felber and Rubber Baby Films for bringing the concept to life! GM: From your 2022 album, Side Effects to your most recent EP - there’s a big shift in your soundscapes. Was there a shift in your life that led to wanting to experiment with other genres? GK: Certainly!! Older Grace strictly focused on the singing and melody and the instrumental part was up to someone else. I didn’t have the chops to bring my ideas to life when it came to the instruments. But working with people who understand me and listen has helped me explore and become a way better songwriter. My long-time producer/collaborator, Brenden Cabrera, will often get a voice note from me describing something in my own language and then he is able to help me bring it to life with such ease. That’s how my song ‘Manic Pixie Dream Girl’ turned bossa-nova and why it wouldn’t have taken that fun shift in, say, 2019. GM: What artists or genres are you really loving right now? Do you find inspiration through other music? GK: I definitely find inspiration from other artists. From the songwriting and lyrics to their visuals, I am always thinking about how I can do something similar but the “Grace” version. I’m loving that women are taking over the rap game right now. I’m a huuuuge fan of Doechii, GloRilla, and JT. Love all of their most recent albums. My soulful artists I’ve been loving lately are Summer Walker, Cleo Sol / SAULT, and Thee Sacred Souls to name a few. GM: What’s in store for Grace Kitner in 2025? Will we see an album soon? GK: How’d you know?? I am currently working on my album and hope to have it out towards the end of 2025. In addition, I hope to curate a handful of shows around LA, perfect my roast chicken recipe, and continue investing time and energy into my LA community, especially after a tumultuous start to the year with Tr*mp and wildfires. Finding time to volunteer and spend time with people who make me laugh is just as important to me as music.

JT FOLEY is a Los Angeles–based indie pop and alt-pop artist and songwriter known for vulnerable lyricism, synth-driven production, and major songwriting credits. JT FOLEY GENRE: Alt Pop RIYL: BANKS, Caroline Polachek, Chappell Roan Upcoming Releases: 'Bloodhound' Out On 2/20 Recent Releases: 'Linger' JT FOLEY is a Los Angeles–based artist and songwriter crafting emotionally driven indie pop and alt-pop. As an artist, she draws inspiration from acts like The 1975 and The Japanese House, pairing vulnerable, authentic lyricism with soft synths and ’80s-inspired drum textures. Her sound balances intimacy and polish, allowing emotion to lead while atmosphere sets the tone. Her work as an artist has earned placements on major editorial playlists, including New Music Friday and All New Pop, marking her as a rising voice within the modern indie-pop landscape. Alongside her solo work, JT FOLEY is an accomplished songwriter with credits for a wide range of artists, including Nessa Barrett, GAYLE, Olivia O'Brien, blackbear, Ellise, and Meg Smith. Whether writing for herself or others, her approach remains consistent—emotionally honest, melodically strong, and grounded in connection.