Molly Grace has quickly been making a name for herself, and now she’s gearing up for her biggest chapter yet. Her debut album, “Blush,” arrives this month via Nettwerk, featuring the previously released “Mad At Her Forever,” “Do Me (Feels So Good),” “Heaven Sent,” and her newest single, “Soprano.” The project, written between Nashville and Los Angeles, brings together the playful, bold, and emotional sides of pop that Molly has been honing over the last year.
Alongside the release, she’ll hit the road for the Blush Tour, starting in London before heading across North America with 29 dates, including a stop at the All Things Go Festival. Molly is ready to take this next step with music that’s fun, personal, and made to connect. We caught up with her to talk about the album, the tour, and what fans can expect from this new era.
“Blush” captures every shade of feeling, from embarrassment to flirtation to those hot and bothered moments in between. Which track do you think really captures your mischievous side?
I think “Say When” captures my mischievous side the best… There is no shortage of flirty tracks on this album, but “Say When” is certainly the coy-est as opposed to a “Lemme”, which is really forward.
“Mad At Her Forever,” “Do Me (Feels So Good),” and “Soprano” each feel like a mini movie. How did you decide which stories to tell and in what order on the album?
Thank you so much!! I wrote so many songs that I love for this record, but it really came down to which of the songs were both the strongest and worked the best together sonically. In terms of album order, I build my tracklists in sort of the same way I build a set list for a live show. When my fans are listening, I want them to experience a seamless & engaging flow of energy between upbeat songs, midtempos, & ballads. However, I did stray from the live show by closing the album with a song called “Soft”, which is an acoustic, vulnerable voice memo.
You’ve described the album as inspired by showgirls and cabaret aesthetics. How does that visual inspiration tie into the music and your performance style?
The burlesque and cabaret aesthetics are larger-than-life, glamorous, and all about the “wink”. My music is very grandiose and also cheeky in that way. On stage, I love for my performances to feel really theatrical, much like burlesque.
With production led by Keith Sorrells and Oscar Linnander of The Orphanage and co-writing contributions from Claire Ernst and Wrabel, the record carries a refined, radio-ready sound. During the creative process, were there any surprising or spontaneous moments in the studio that ultimately shaped the album?
I was so lucky to work with those folks and many others in the making of this record. Thank you so much!! A moment that comes to mind is when Wrabel, Keith, Oscar, and I were writing “Heaven Sent.” It was our first time writing together and, truth be told, I was soooo nervous. They’re all so incredible! We went in on a Saturday, which is pretty uncommon for a session, but since I was only in town for a few days, they made an exception. The chemistry was immediately there, and we wrote and recorded that song within probably… 4 hours? I remember Wrabel and me just giggling as we wrote the lyrics because they were so cheeky and ridiculous. It was songwriting magic!
Your live shows are legendary for theatricality and full-throttle energy. Any pre-show rituals to channel your inner pop diva before hitting the stage?
My vocal warm-ups are a must. Honestly, though, doing my makeup is my pre-show meditation. It almost feels like I’m putting on my superhero suit. I use that time to get into the zone and hype up for the show.
The Blush Tour partners with LIFEBEAT to support those affected by HIV and AIDS. How do you balance the energy and spectacle of your performances with meaningful advocacy in a way that feels authentic to you?
I am so proud to work with LIFEBEAT and the Elizabeth Taylor AIDS Foundation on this tour. I try to make intentional choices in every step of my work to make space for advocacy. I make queer music and I’m a queer person, so I do feel a responsibility (it’s an honor, honestly) to make sure I’m giving back in more ways than just my art. LIFEBEAT and ETAF are such a dream to work with that it’s easy!
Nashville has a rich musical history. How do you take that hometown influence and twist it into your own playful, pop-forward sound?
Nashville is such a special city. I think the biggest things I’ve taken from Nashville are the hustle and the emphasis on storytelling.
Looking back at your journey from Nashville to Los Angeles, what has been the most surprising lesson about yourself as an artist during this process?
I just think I’ve surprised myself with my ability to adapt to change and my ability to rise to the occasion. As the rooms I walk into get bigger, I’ve learned to carry myself with confidence & grace, which can be really scary as a young artist. Especially spending time in a new city, I’ve learned to trust myself big-time.
Photos / Elizabeth Marsh
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