The latest single from GRAMMY-nominated Tyler, The Creator's Flower Boy, "See You Again," is a love song, and its video, released Aug. 8, totally plays into that theme with the help of fellow GRAMMY-nominees Kali Uchis and ASAP Rocky.

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Like a scene right out of a war-torn love story, Tyler wakes up on an aircraft carrier in a day dreamy mood. "You live in my dream state/ Relocate my fantasy/ I stay in reality/ You live in my dream state/ Anytime I count sheep/ That's the only time we make up, make up," he sings as he gets ready for his day. ASAP Rocky, as one of Tyler's shipmates, passes through a couple of times as Tyler makes his way throughout the day.

Later in the video, Tyler looks out from a window below deck and into the blue waters of the ocean. Miles away, Kali Uchis appears in a small boat wearing a yellow rain coat and begins singing the chorus. Eventually, Tyler ends up on the deck of the ship rapping as a group of men march around in red pants and matching hats.

The video ends in the most Tyler way possible. Through his last verse, he appears wearing a white sheet over himself with only holes for his eyes and a bucket hat on his head. Ghost Tyler raps until he gets the sheet pulled off him and the viewer gets a surprise.

This is not the first time Tyler and Uchis team up musically. Other collabs include "Perfect" and "After The Storm." This past weekend both artists played at Lollapalooza in Chicago, where Uchis was one of the standout female acts.

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Three of the most distinctive and powerful female voices in Latin pop joined forces on the 2024 Latin GRAMMYs stage in Miami on Nov. 14 for a medley of their nominated songs.

First to perform was Columbian-American artist Kali Uchis, with her bolero-inspired song "Te Mata" from her chart-topping Spanish-language album Orquídeas. Nominated for Best Pop Vocal Album, Uchis also boasts nods for Best Pop Song and Record Of The Year for her track "Igual Que Un Ángel," featuring Mexican rapper Peso Pluma, and for Best Reggaeton Performance for "Labios Mordidos," featuring Karol G. This year's Latin GRAMMY nominations mark her first since her 2017 nomination for Record Of The Year for the song "Ratico," with Juanes. 

Dressed in a strapless, corset-style white satin gown, orchids fittingly adorning her mic stand, Uchis embodied old-school glamor and cool as she crooned the downtempo ballad. 

Next, alone on stage in a floor-sweeping white gown of her own, dance-pop singer/songwriter Elena Rose introduced a different kind of nostalgia with a performance of her upbeat hit "Caracas En El 2000," originally featuring Danny Ocean and Jerry Di. The single, an innocent and breezy ode to her Venezuelan roots, has amassed over 22 million views on YouTube and earned a nomination for Song Of The Year in addition to nominations this year for Best Pop/Rock Song for "Blanco y Negro" and Best Regional Song for "Por El Contrario." 

Known for her behind-the-scenes writing for stars like Bad Bunny and Selena Gomez, Rose has become a rising artist in her own right. Along with her Song Of The Year nomination, she earned nods for Best Pop/Rock Song and Best Regional Song, bringing her career Latin GRAMMY nominations total to nine.

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Last but not least, Argentine pop sensation Emilia captivated the audience with a portion of her hit "No Se Ve," a standout from her Y2K-aesthetic 2023 album .mp3, which is nominated for Best Pop Vocal Album alongside Kali Uchis. In rhinestones and ultra-mini skirts, Emilia and her crew of dancers appropriately evoked the early '00s with a faithfulness that would give anyone flashbacks.

Emilia broke into the Argentine music scene with her 2022 debut, Tú Crees En Mí?, a trap and reggaeton-heavy album featuring hits like "Cuatro Viente" and "Intoxicao." With its follow-up, .mp3, she shifted to Latin pop with '90s and 2000s influences, teaming up with Tini and selling out dates across Argentina, Uruguay and Spain for her upcoming tour. 

Check out the complete list of winners and nominees at the 2024 Latin GRAMMYs.

On New Music Fridays, we wear pink! Or black! That’s because, for the third week in a row, one of BLACKPINK’s members has launched a new solo era. This week, ROSÉ recruits Bruno Mars for "APT.," the infectious lead single to her forthcoming debut full-length, Rosie.

Elsewhere, Bishop Briggs unveils Tell My Therapist I’m Fine, American Authors deliver Call Your Mother and Dillon Francis marks the tenth anniversary of his debut album Money Sucks Friends Don’t with a star-studded remix album.

Plus, Tyler, The Creator heralded the arrival of his eighth album CHROMAKOPIA later this month, and hotly anticipated singles arriving this week include JADE’s "Fantasy," Bailey Zimmerman’s "Holding On," Tiwa Savage’s "Forgiveness," and Estelle’s "Fire."

Below, dive into nine new releases worth checking out from the worlds of K-pop, country, hip-hop, Latin and more.

"Game, start!" Taking its title from the popular Korean drinking game "Apartment," the giddy first taste of Rosie ingeniously meshes ROSÉ’s K-pop polish with everything from surf rock and bubblegum pop, to the kind of suave vintage soul favored by duet partner Mars. Together, the duo creates an earworm that feels both wholly original and instantly unforgettable. Try getting the peppy, chant-ready hook out of your head by the time Mars cheekily asks, "Geonbae, geonbae, girl, what’s up?"

Using an appropriately rosy backdrop, matching leather jackets and just a few instruments at their disposal, ROSÉ and Mars show off their new friendship — and electrifying musical chemistry —  on the track’s goofy music video, which racked up nearly seven million views within just a few hours of its release. While "APT." may be a left turn from what BLINKs and Number Ones expected, it’s clear ROSÉ is swinging for the fences and so far, everything’s coming up rosy.

Read more: Breaking Down Every Solo Act From BLACKPINK: From Jennie's "Solo" To Jisoo's 'Me'

Joy Oladokun flexes her talents for introspection and insight on her fifth album, OBSERVATIONS FROM A CROWDED ROOM. 

Songs like "AM I?," "NO COUNTRY" and "DUST/DIVINITY" are thoughtfully punctuated by a number of spoken word interludes. "Where is the safe space for me?" Oladokun muses before launching into apocalyptic daydreams on "STRONG ONES," while she questions the cost of near-constant vulnerability in service of the career of her dreams ahead of standout "I’D MISS THE BIRDS."

Read more: Joy Oladokun's 'Proof Of Life' Honors Her Own Experience — And Encourages Others To Do The Same

The title of SEVENTEEN’s 12th mini album comes with a hidden message. An anagram for "I FELT HELPLESS," the six-track project promises a new level of emotional vulnerability from the 13 idols and contains DJ Khaled-assisted single "LOVE, MONEY, FAME," plus highlights like "Eyes on you," "1 TO 13," and "Candy."

Released on Monday,Oct. 13, SPILL THE FEELS arrives just in time for the K-pop boy band’s latest world tour, which shows up stateside on Oct. 22 after opening earlier this week with back-to-back shows at South Korea’s Goyang Stadium. After kicking off the American leg in Rosemont, Illinois, the tour will make stops in Belmont Park, New York; San Antonio, Texas; Oakland, California and Los Angeles through Nov. 10.

Read more: 5 Songs To Get Into Seventeen

Project 2024 is more than just a new release for BRELAND, it’s an intensely personal musical examination of the singer’s roots. Following his 2022 debut album Cross Country, as well as his recent duet with Shania Twain on the Twisters soundtrack, the pioneering country artist decided to return to Selma, Alabama — home to generations of his family tree as well as defining moments that helped turn the tide of the Civil Rights movement. 

The result is a powerful and inherently political celebration of life told in BRELAND’s inimitable voice across six tracks — from the proud resilience of opener "Grandmaman’em" and flirty lead single "Icing" to the dancehall-tinged "Motion" and uplifting closer "Same Work" featuring The War & Treaty.

After rocketing to streaming numbers that shot past the billion mark with his 2019 hit "Be Alright," Dean Lewis is back with his third full-length album The Epilogue. As its title suggests, the new body of work purposely adds a postscript to the viral success the shaggy-haired Australian troubadour experienced in the late 2010s while also crafting a soundtrack to hint at his next move.

"An Epilogue typically sums up a book, answers any unanswered questions, and hints at what’s to come," Lewis said in a statement of the LP, which contains heart-wrenching fare like "Empire," "All I Ever Wanted," and "Trust Me Mate." "This is a new chapter. It feels like the ending of the last few years of my life and the beginning of the next. I really tried to define my own style. For me, the music wraps up the past and shines a light on what to expect going forward."

Jean Dawson continues to push the boundaries of experimental pop on Glimmer of God, his fourth full-length studio release. The follow-up to 2022’s Chaos Now (as well as EP Boohoo from earlier this year) takes sonic cues from influences like Prince, Stevie Wonder and Zapp & Roger — all artists he found himself inspired by while growing up between the U.S. and Mexico. 

Led by "Die For Me," a collab with tourmate Lil Yachty, and second single "Houston," Dawson’s album taps into his inner feminine on tracks like "Darlin’," "Black Sugar" and "Murciélago" and also features a guest turn from BONES on album cut "P4IN."

It’s sheer coincidence that Alana Springsteen shares a last name with a living musical legend (no, she’s not related to the Boss). But the rising country phenom has carved her own path through the music industry since she was a child, earning a publishing deal in the mid-2010s at just 14 years old.

The TWENTY SOMETHING singer’s latest singles come two-for-one after she decided on a whim to drop "cowboy" and "hold my beer" simultaneously at midnight on Friday. The former finds Springsteen looking back with regret after getting lassoed by a particularly disappointing cowboy ("He roped me in like no one could/ And in the end, he really broke me good"), while on the latter, the Virginia Beach, Virginia native dusts herself off, gets back on the proverbial horse, and commits to making some delightfully rowdy choices that would make her mama proud. 

Read more: Alana Springsteen Isn't Just Living Her Teenage Dream. She's Speaking To An Entire Generation.

Jordan Adetunji has "Options" on his new single with Lil Baby. Fresh off his viral hit "KEHLANI", the Belfast native remains unthreatened at the prospect that his lover would go off and choose another man, confidently declaring, "I got options/ Baby, you got options/ If you with me, not an option/ Baby, it’s the weekend/ Need it often/ Girl you know that I’m the one to solve your problems."

On the track’s accompanying music video, Adetunji boards a luxurious yacht teeming with bikini-clad video girls, only to later be joined by Lil Baby, who confesses, "Four, five times a day, I check your page/ I’m your lil stalker" at the top of his own, sexually charged verse.

Sevdaliza and Karol G join forces for their new collaboration "No Me Cansaré." The mid-tempo bilingual ballad opens with the Iranian Dutch singer intoning, "Don’t have fear, I won’t let go/ You protect my inner child" before sharing the spotlight with the Latin pop sensation on the breathy second verse. 

"No Me Cansaré" — which translates to "I Won’t Get Tired" in English — also comes with a sultry black-and-white music video depicting the two songstresses as winged angels watching placidly over younger versions of themselves.

Leon Thomas III has had a big year. Following a Best R&B Song win at the 2024 GRAMMYs for "Snooze" and a three-month stint in Florence, Italy to produce Ye and Ty Dolla $ign’s Vultures series, the R&B singer and songwriter is ready to see his own name atop the marquee. 

When he’s not penning chart-topping songs or producing for the likes of Ariana Grande, Post Malone, Drake or Chris Brown, the former child actor is adding notches to his own musical utility belt. Since joining Ty Dolla $ign’s EZMNY Records as the imprint’s first artist in 2022, Thomas has evolved into a R&B fixture. His debut album, 2023's Electric Dusk, showcased his slick lyrics, free-flowing melodies, and anthem-made ballets in full form.

Now, the Brooklyn-born artist is set to build on his newfound momentum with his sophomore release, Mutt. While the project may seem carefully curated, Thomas says the album and his artistic journey is loosely-tailored by design. 

"There are parts of this that people may think are calculated, but I’m just flowing," he tells GRAMMY.com. "I’m just glad people are resonating with everything I’m doing naturally. It’s a journey."  

Mutt unites Thomas' love of jazz icons like Art Blakey and Miles Davis with neo-soul and rock acts like Black Sabbath and Led Zeppelin to forge sleek jams with a contemporary edge. Album cuts "Vibes Don’t Lie" and "Yes It Is" are a baptism in neo-soul vocals, evoking  innovators such as D’Angelo, Musiq Soulchild, and Maxwell. 

The album is as lyrically rich as it is sonically expansive. On the sultry "I Use To," Thomas recounts the sorrow of a lost love that once enriched his soul; "I Do" is a piano-laden tale of the hard-fought lessons that ushered in a new romantic endeavor. Throughout, the singer/songwriter is intensely vulnerable. "God and losing you is the only two things I fear," Thomas sings. 

The rock-inspired "Dancing With Demons" is a foot inside the deep end of fame while "How Fast" offers a flash of braggadocio. "Hold on, I’m a visionary. This s– getting kind of scary/ So addicted to the top, it’s always missionary." And "Answer Your Phone" is a crowd-swaying tune set to enliven fans on Thomas’s first solo tour.

Like Thomas’ life, the album shows the "Socialite" artist embark on a one-way ticket to the top of the musical landscape. He’s no longer satisfied with playing the background. Thomas has embraced the weight of being a headlining act on Mutt, and he’s prepared to weather the uncertain storms and visible weeds he’s set to experience on his broader musical pursuits. 

Thomas spoke with GRAMMY.com about his studio sessions with Ty Dolla $ign and Ye, the new generation of R&B crooners pushing the genre forward, and how his dog Terry inspired the album title. 

This interview has been lightly edited for length and clarity. 

How does it feel to release your second album?

It feels special, but I was super nervous. Dropping music in 2024 is an interesting process because you’re fighting the waves of so many social media moments and distractions. But it’s great to see my music cut through and for people to hear me. It feels like some of my best work, and I’m just excited for people to see all of the different ways I’m putting music together. This is going to be a journey. 

What inspired the album title?

I got a dog three years ago. His name is Terry and he’s a German Shepherd and Husky mix. He’s such a sweetheart, but he’s always getting into stuff. I recognize the face he makes when he’s in trouble. I make the same face when I’m about to go through a breakup or something. 

I felt like that correlation was an interesting process. I wanted to talk about the element of control between men and women when you’re trying to get your partner to act right. It seems to be a common theme in this generation, so I wanted to talk about it. 

What sound were you trying to capture on Mutt?

For me, jazz is the root of who I am. My grandfather was really cool with Art Blakey back in the day, and he always played Miles Davis and John Coltrane. I try to find ways to implement some of the chord progressions that I hear in my head into my music. That will always be adjacent to neo soul, but I don’t necessarily want to do a whole live jazz album as a 30-year-old right now. 

A lot of decisions that I made are also rock influenced as well. I was listening to a lot of Black Sabbath, the Rolling Stones, and Led Zeppelin during the making of the album. I’m finding ways to sneak in my influences, even though I know I’ll lock in on these R&B charts. 

How did the production come together? Did you handle most of it?

I outsourced. There were a bunch of different guys that worked on the production. I think being around Ye and Ty Dolla $ign for the Vultures I album helped. I spent three months in Florence, Italy before I finished [Mutt]. I came back with a different taste level for how an album can play from top to bottom and how tricky we can get with the production. I started adding little pieces here and there to really elevate the sound of it. It’s definitely my symphony, and I’m trying to put it all together.  

How is it working with artists like Ty Dolla $ign, Ye, Chris Brown, and SZA? Are you inspired by their work or studio sessions?

I think I’m inspired by osmosis. I don’t feel like there’s any specific style that I’m using that’s theirs. I’m just putting my neck out there and daring to be different. I’m not doing basic concepts or attacking basic instrumentals. I feel like I’m doing my best to push the genre by taking chances and experimenting. I’m just hoping that it’s received because I genuinely love the R&B genre. I want to see it grow and evolve, and I want to be a part of that process. 

Read more: How 'SOS' Transformed SZA Into A Superstar & Solidified Her As The Vulnerability Queen

What’s your views on the current state of R&B?

I think we’re in a really amazing place. There are singers that fill that craving for the golden era of the 1990s. There are others with really solid vibes that feel like the '60s. And then there are people like myself who are blending genres and time periods while having fun, not giving a s— about the rules. 

I think that’s a positive thing, but it’s abrasive to people who only see R&B as a linear thing. There’s a broad range in what it can be in its true definition, and I’m excited to see where we go in the future. There are so many artists playing instruments and singing their ass off without a lick of autotune. I’m definitely a fan of the genre, and the next generation is going to be nuts. 

Read more: R&B Isn't Dead: Listen To 51 Songs By Summer Walker, Josh Levi & More Artists Who Are Pushing The Genre Forward

Do you feel this album will fill any perceived holes in the genre?

I’ll be honest, I create selfishly. I’m just going into the studio to chase some chills. I don’t really care about the holes in the R&B genre. I just feel like that’s a big boulder to carry on your shoulders. I’m just trying to tell my story. I’m doing my best to put these records together, to get them mixed on time, and to shoot these music videos. 

When penning music for artists like SZA, Chris Brown, and other greats, was there a point where you were like, I got to do this for me?

Yes. It’s hard to be selfish, but the more reading I did and the more I learned about myself, it just felt like it was time to prioritize something that means so much to me. 

Writing these records and working with these big artists is such a blessing, but I want to hit stages and see the world through my music. I want to collect furniture from all the different countries. I feel like the best way to do that is through my music, so this is me putting my music and my dreams first. And I’m just really excited about it all. 

Did you ever have a moment of hesitancy, especially with you starting out as a child actor?

Yes, it wasn’t always easy. I think internally, I know who I am. I know who God made. I don’t need outside people to validate what I know to be true. Sometimes you have to be patient to allow people to grow with you. 

It’s like being a Coca-Cola or a Pepsi. They met me as an actor and they know I make music, but they saw me in a certain light and as a certain brand. It takes time to transfer over and introduce new flavors to the consumer. I’m being patient with my fans, and I’m being patient with myself. I’m working harder to make a product that’s going to be acceptable and will allow me to continue making music I want to make. 

You’re a multi-hyphenate. An artist, actor, producer, and songwriter. Do you ever get overwhelmed by it all? 

When it comes to scheduling, I get overwhelmed. But I’m doing more to prioritize my mental and physical health without taking anything away from myself or my art. That balance is something I will continue to perfect over time. It’s like a muscle, and I’m still figuring it out. I want to do everything, and I know I can. I just think certain industries I’m involved in are a three-month season, rather than all 12. 

How did it feel to win a GRAMMY for SZA’s "Snooze"?

It’s really surreal. I’ve never been one to put too much energy into awards, but that GRAMMY felt different. That was a special thing. I don’t have a college degree or anything, but this is the closest thing I can say to my pops that, "Hey, I’m validated here." He obviously sees the work I do with all these big artists, but him coming to my house and holding my GRAMMY was an interesting moment. Seeing someone who’s always believed in me hold something that validated his belief was such a beautiful moment.

Do you feel like you’ve found your voice, or is something you’re still exploring? 

I feel like an artist’s work is never done. There’s always something to explore. I sat in a studio session with Babyface. He’s still exploring new things and he’s a lot older than me. The fact he’s still writing new songs and experiencing the world through his music lets me know it never ends. And I’m cool with that because this is a really awesome job. I feel like my voice is present and my voice is formed. It’s just all about packaging it so people can help me better. 

Are there future collaborations or goals you have in mind down the road? 

I definitely want to continue to make music, and I want to be rich enough to give back as well. I have a lot of initiatives and nonprofits I want to put together when I hit that $100 million mark, and I think it’s all possible through music. That’s why I fight so hard for my artistic journey because the brand itself can really uplift my own community. 

When will your day-one fans see you go back to acting?  

I’ve been ignoring self audition tapes for three years because it’s been insane trying to produce big albus and build these albums out in preparation for tours. But I’m looking forward to the release of this album and my tour to get back into acting class. I’m really a fan of the artform, so I want to shake off the cobwebs and really get back into the acting gym. I want to give [my fans] a performance that’s an elevation from everything they have seen from me before.

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.