2hollis is chasing sunlight

July 17, 2025

At just 21, producer and artist Hollis Frazier-Herndon—who goes by 2hollis—has been quietly shaping a sound that feels both online and offline, present and a little out of reach. He started uploading music as a teenager, and over time, his style has settled somewhere between ambient pop, emotive rap, and stripped-back EDM. His tracks feel digital but close—soft vocals, flickering textures, and a kind of stillness that lets you sit with whatever feeling you’re in.

His fourth album, star, released this spring, leans into that atmosphere. It’s reflective and low-lit, a record that moves between pulse and pause—inviting both movement and attention without fully settling into either. It’s music that seems to shift depending on where you’re listening from.

Photography Alex Black
Styling and Editor-in-Chief Simon Rasmussen
Talent 2hollis
Creative Director Mitchell Connell
Interview and Production Enzo Holdt
Videography Walker Andrews
Makeup Max Katt
Men's Fashion Editor Dylan Andrews
Producer Paige Silveria

2HOLLIS wears PANTS by 424, BELT from SLAM JAM ARCHIVE, SHOES are THE WEAPON.

We first met in Paris at the end of June, during a sun-filled afternoon shoot in a loft in the fourth arrondissement. Ten days later, I called him from Amsterdam, and he picked up from his studio in Los Angeles. On that call, we talked about the habits that keep him grounded—early mornings, no phone, light through the window—as well as the imagery that keeps showing up in his work: digital symbols, anime references, private rituals.

2HOLLIS wears JACKET and PANTS by 424, SHOES are THE WEAPON.

With a 24-date North American tour starting in September, things are picking up. But 2hollis seems less interested in momentum for its own sake. What matters more is staying connected to the core of what he’s making: slow growth, clear intentions, and enough time to feel things as they come.

Below is our unfiltered conversation on that trans‑Atlantic call:

ENZO: Take me back to this morning—what was the very first thing on your mind when you opened your eyes?

HOLLIS: Lately I’ve been waking up and forcing myself to stand right up, rather than look at my phone. I find that the days I start my morning by scrolling on my phone aren’t the best days. So I just get up and walk outside immediately.

Straight into natural sunlight?

Yeah, I just step into the sunshine. That’s usually what I do.

Left: SHOES are THE WEAPON. Right: 2HOLLIS wears JACKET and PANTS by 424.

I like to spend time alone when I really want to start my best day. I feel like if I see anyone, it resets my creative timer.

TOP: 2HOLLIS wears COAT by LU’U DAN, PANTS and BOOTS by 424, SUNGLASSES by GUCCI. Bottom: 2HOLLIS wears JACKET by RICK OWENS.

Do you have any rituals throughout the day to set the tone or keep you going?

Definitely. I try to get sunlight whenever I can – I even invoke Metatron sometimes. I mostly just exist on my own terms. I’ll go into my own space, away from phones and from people. I like to spend time alone when I really want to start my best day. I feel like if I see anyone, it resets my creative timer. The more I'm away from people, the higher it builds, and the more I make the crazier shit.

Lately, my process has been working during the day, because my creative flame is really fueled by sunlight. I just can’t sit in a dark studio with a fruit bowl and poor air conditioning – it’s not inspiring for me. So I set up a studio in my new house with huge floor-to-ceiling windows, and I get lots of sun. I work during the day, in the light, and lately I’ve been trying to go to bed early at night. I’m a bit of a grandpa lately.

You’ve talked about feeding off nighttime vibes before. How does that fit in?

I’ve switched it up lately. I’ve found working at night to be less inspiring. I was going to bed at 7 a.m. and waking up at 3 p.m., and then I’d wake up hating it. So I said, “Enough of that; I’m taking control.” Now I wake up early and feel a lot more inspired.

You grew up in a musical household—what do you remember hearing around the house?

Pretty much everything. My dad is a huge part of my musical influences—he showed me so much of what I still love today. Early on I got into Daft Punk, Justice, and some classic rock like Iron Maiden and AC/DC. I was also listening to a lot of hip-hop and soul—A Tribe Called Quest, Wu-Tang Clan, Al Green, Otis Redding. And then there was this Berlin techno duo, Basic Channel—my dad used to play their stuff in the car all the time. I didn’t realize it then, but that sound really stuck with me.

That’s a lot of European influence?

This was young, but I was absolutely obsessed with a Swedish band called Lo‑Fi Funk. Their first album is called Boy Life—that was a bit of an influence on, if you know, with all the boyliife shit that me and my friends are on. There’s a track on it called “City” that was my favorite. I’d always ask my mom to play it when she drove me to school. If you listen to that song now, you can hear how it's definitely influenced me..

Left: SHOES are THE WEAPON. Right: 2HOLLIS wears JACKET by RICK OWENS.

What was the first thing you remember discovering yourself that made a big impact on you, musically?

For sure, Skrillex. Everyone knows Skrillex was huge for me. Also Deadmau5, and really all that dubstep coming out around 2013-2015. Honestly, Minecraft YouTuber intro music was a big deal for me as well for me when I was 10 years old. I was obsessed – I’d replay certain YouTuber intros over and over just to hear the 15-second drop. I’d even try to recreate them in GarageBand and fail hilariously.

I know you’ve changed your stage name a few times. When did you start thinking about stage names?

Oh, I was very young. I must have been about 12. I was into skateboarding, and my friends and I would skate listening to everything that was hot at the time. This was around 2016. Famous Dex had this song – it’s called “Drip” – that goes, “I get the drip from my walk.” We were so obsessed with that track. We would skate to it all the time. I remember wanting to change my Instagram name back then, and I was thinking about that song, so I went with “Drippy.” Then I just added “Soup” for no reason. So my name was “Drippy Soup” for a while. It had a nice run, but eventually it had to change. “Hollis” is my real name, so I switched to that. Then I added “2” in front because I see the number 2 a lot in my life. So in high school I became “2hollis.”

What triggers you to create?

Everything. It’s the music I’m listening to, the images I see, the movies, the video games, the people around me. It’s experiences, nature, love, heartbreak, anger... all emotions, life itself.

Once someone listens to a song and it resonates with them, that song becomes theirs.

Left: 2HOLLIS wears JACKET by RICK OWENS. Right: 2HOLLIS wears PANTS by 424, BELT from SLAM JAM ARCHIVE, SHOES are THE WEAPON.

You mentioned Minecraft. I know you’re very fond of the game. What exactly about it inspires you?

I love Minecraft because it’s perfect in a way. The great thing about Minecraft is that it can be anything you want it to be. You can create any experience you want in that game.

Do you want to create the same feeling with your music?

People always ask me, “What’s the meaning of this song?” But for most of my songs, the best answer I can give is, “It’s what you want it to be.” Some songs have specific stories, sure, but I like art where the listener or viewer gives it their own meaning. Once someone listens to a song and it resonates with them, that song becomes theirs in a way. I think that’s why I relate to Minecraft – both allow for personal interpretation and creativity.

If you could import one element from Minecraft into real life, what would it be?

Elytra. Definitely. My friends and I always talk about that – imagine if we could have Elytra and just fly around. That would be insane!

Do you see yourself as a worldbuilder? Do you have certain symbols or visual motifs that keep reappearing in your work?

Totally. I always think visually when I’m making music. For the past couple of years, I’ve actually been world-building a story around my music. It’s something I’ve been developing, and it will be more fleshed out in time. Right now, I think of all my albums as part of the same universe I’ve built. Some connections are obvious, others more subtle, but everything ties together. I like to keep it canon, so even if different albums or songs sound different, they’re all in the same conceptual world.

2HOLLIS wears COAT by LU’U DAN, SUNGLASSES by GUCCI.

You mentioned that your earring was inspired by Howl’s jewel from Howl’s Moving Castle. What draws you to Howl’s character and his sense of beauty?

I’ve had a personal connection with Howl ever since I was very young. I’ve loved that story for a long time. I see a lot of myself in him. He’s a genius character – charismatic, beautiful, but also flawed. I admire a lot of his traits and sometimes try to channel them. Of course, some of his aspects are toxic, and I’m aware of that, so I know what not to emulate. But I think he’s just a beautifully complex character. I relate to him in many ways, and I try to capture a bit of that beauty in myself.

You recently changed your hair color to black. Is there a particular color that makes you feel most “you”?

I think 2Hollis is meant to be ever-evolving, ever-changing. Staying in one place has never been me – in personality or in art. I like to move around, try new things, never stay still physically or spiritually. I’m always moving. Literally, when I'm sleeping, my foot is shaking. My mom took a video of it one time. I'm literally constantly moving.

But I’ve noticed fans can get really attached to a certain image of me. It becomes almost personal for them, like they feel they know me and own a part of me. I’ve kind of wanted that – I feel that way about my fans, and they feel it about me. So I guess it worries some people when I change. Some fans were even outraged by my new hair color. But I find that interesting. I’m always going to change. People often react negatively to change simply because it’s unfamiliar at first. If every new thing I did was immediately loved, maybe I wouldn’t be pushing any boundaries.

So yeah, I’ll keep changing – hair color, music style, look, everything. That’s part of who I am.

2HOLLIS wears PANTS by 424, BELT from SLAM JAM ARCHIVE, SHOES are THE WEAPON.

I feel like I’m misunderstood almost 99% of the time. But that’s part of being an artist, right?

Left: 2HOLLIS wears JACKET and PANTS by 424. Right: SHOES are THE WEAPON.

You give off a strong sense of self. What’s your relationship with feeling misunderstood?

I feel like I’m misunderstood almost 99% of the time. But that’s part of being an artist, right? Almost all great artists are misunderstood. Sure, many people do get me – my true fans really understand what I’m about. But yeah, most of the time I feel like people don’t fully get me.

When did you first realize you were good at what you do?

Honestly, I think when I first started trying to make music, I just knew in my heart it was my path. Even as a kid in middle school making beats on my computer, I had this feeling that I was headed toward exactly where I am now. And I know I’m still nowhere near where I’m ultimately going to be. There’s a long way to go, but it’s exciting.

What would you say is your own weapon?

I use no weapons. I only use love.

Music

Miss Grit’s Album, “Under My Umbrella,” Is a Surrealist Web of Emotions

April 30, 2026

Miss Grit’s latest album, Under My Umbrella, is a near psychedelic trip into the cerebral. The Korean-American artist has always been interested in psychological excavation. She is an experimentalist, engaging with creative outlets for a variety of reasons, but all artistic roads lead back to one core concept for her: the battle between one’s persona and the mind that that persona stems from. The everlasting pursuit of understanding the self. The reckoning with all those complex facets that make up one’s interiority. Through her lyrics, techno-instrumentation, and even a number of symphonies, she creates a universe of soundscapes that transport us into a world where questions like this can become the focus.

This record, as she describes, is her “most vulnerable by a really big margin.” Ahead of the release of her sophomore album, we sat down with Miss Grit to talk about the uncanny, what it means to have grown up an orchestra kid, voyeurism, and more.

Words by Selena Aiyla
Photography by Hoseon Sohn

What first got you into the realm of Sci-Fi?

It got out of control over COVID. That’s when I really dove deep into it. But I think really early on, when I was in middle school or something, I became a really big Spike Jones fan. Seeing his movies, and then also some of his shorts that were kind of interesting and kind of weird— I just kind of got into it from there. Yeah, that's kind of my earliest, real obsession with it.

Yeah. It's interesting that you bring up COVID, because COVID was such a liminal space in its own right.

Yeah, definitely. I think I was just getting really in my head at that time. So I was like getting into these really heady, sci-fi animes or films and such.

With titles like “Tourist Mind,” “Mind Disaster,” and “Where Is My Head,” the album seems to be heavily focused on the cerebral. What about the human mind are you exploring?

I guess it's really just my own way of trying to figure myself out more and more. It seems like the most important thing probably, at least for me in my lifetime. To get to know myself better and kind of just figure out how it all works up there. A lot of what I jump to naturally in lyrics is about that, just because it tends to kind of consume my mind in a way that feels a bit self-absorbing at times. I think I can be pretty hard on myself and hard on my mind. And so I think just trying to make sense of it in a way through lyrics or music or whatever feels really important to me.

What I find really interesting about your work is that it's electronic music that isn't really trying to be party music at all, because I think that's kind of the trend right now. If anything, I think your music has a really somber tone. How did you land in that space?

Yeah, I think I'm just like a very melancholic person in general. I feel very comfortable engaging in topics that aren't super positive or happy. I'm not like a huge partier or anything. So I think that just kind of comes out naturally in my songwriting. But it's also the type of music that I listen to. I think one of my favorite artists right now is FKA Twigs, who, although she also makes really great party music, I think a lot of her music is very introspective and just engages with a lot of hard feelings. That's kind of the side of electronic music that I tend to relate to more, and the kind of thing that I want to engage with more.

I think I can be pretty hard on myself and hard on my mind.

What does it mean to have a “tourist mind”?

I think I wrote that at a time when I was just feeling very overloaded by social interactions. I tend to have a very active tourist mind. If I'm hanging out with people or being very social during a certain time period, or just kind of engaging with social media or pop culture a lot, I think it [becomes] really easy to lend your mind to the general consciousness of the culture. When I'm hanging out with friends or socializing a lot, I tend to try to explore their minds. More than mine. Or I maybe put their minds above my mind. And so by doing that, I think I tend to live in their worlds too much and kind of forget about what makes me me. It's kind of like forgetting.

Yeah, like a little bit of voyeurism.

Yeah, definitely. And I think that tends to really eat away at me sometimes. And I think that's kind of when I have these existential crises about who I am and stuff.

I noticed that your sound has some symphonic elements. That’s a really unique choice for an electronic alt-rock artist. What made you want to throw those sounds in there?

I grew up playing in orchestra, and I played the cello and everything. I think kids growing up [in music] are either pointed towards jazz music or classical music, and I think I was pointed towards the classical genre. And so, it's just something that is always with me. And I'm really into movie scores and everything. I went to school originally to get into film scoring but ended up switching over to music technology. So when I get to songwriting, it's often just maybe how I hear melodies in my head, or how I hear the songs coming together. It feels almost like more of a natural extension than my voice does sometimes.

What three words describe the feelings you poured into this album?

Misunderstood, tangled, and hurt.

How do you feel about remixes? Would you ever want to remix some of the songs on this record?

Yeah, I actually have always really been into the remix world. I've done a bunch for other artists, and then on my last record, I had a remix version. But this record, I kind of approached it how I approach remixes, where I try to kind of morph the energy into something that's more lively, energetic, and just something that would be fun in the live setting or over big speakers. So in a way, it kind of feels hard to imagine this record remixed. But I’m also intrigued about where that might take these kinds of songs. So yeah, I would love to hear that version.

I think it becomes really easy to lend your mind to the general consciousness of the culture.

Live performance. What do you love most about it?

I used to have a lot of anxiety over live performances, and I used to not really look forward to them. But I think with this record, I just really wanted to have music that I thought would feel really good singing live. It's kind of new to me, having this positive experience with playing live. I think the approach with this record— trying to be more vulnerable in my lyrics and following through more with my melodies and phrases— that kind of helped me emote more in the real-life setting, where I'm usually a bit restrained or timid. It kind of forces me out of that.

Rolling Stone said you explore uncanny sonic spaces. How would you describe your relationship to the uncanny?

I always think that that's kind of interesting because I think I have trouble perceiving myself in a neutral way. Kind of like how people have difficulty listening to their voices played back in recordings, or even just looking at yourself in the mirror, it can be hard to really envision how other people view you. So I think that's always interesting. And I think my relationship with [the uncanny] maybe feels non-existent because I'm not necessarily trying. I tend to approach things very timidly, and I usually want to have a frame of reference to follow. So I'll usually try to first copy people's work. And then from there, I feel comfortable enough, like I know the assignment, I know what the usual is, and then after that, I'll tend to have more freedom for myself to kind of set those rules aside and do whatever feels natural to me or just what feels good to me. So maybe that's kind of what helps it come out in a way.

Are there any other forms of art you engage with outside of music?

I do my visuals for my record too. I actually never really tried doing that before. So, that's a skill that I've been trying to hone in on. I was never a great artist or illustrator or anything. But the film world really intrigues me. I loved the music video world and everything. So I just became really interested in how artists kind of portray themselves through the lens and everything. That’s one medium that I really [want] to explore.

Music

Inside Naïka’s ECLESIA Tour

“One of the things that makes me the happiest,” she says, “is seeing the diversity in the crowd: people from everywhere, all walks of life, all ages, just coming together. It’s everything I dreamed of.”

Born Naïka Richard, her identity has never been static. French and Haitian, born in Miami but raised across multiple countries, shaped by languages and cultures that don’t always align neatly — she exists in a kind of constant translation. “My upbringing, my family, my friends, we’re so diverse. Multiple languages, ethnicities… It's a big blend. So it’s cool to see that physically in front of me.” You can hear this blend in her music; the seamless switch between French, English and Haitian Creole, shifting gears between love songs, personal reflections and even political undertones. Her rising popularity, a tribute to true World Pop. There’s no fixed center, no singular origin story she returns to. Instead, there’s fluidity, between places, between sounds, between selves.

That blend is precisely what sets her apart. In an industry increasingly obsessed with hyper-specific niches, Naïka operates in the opposite direction. Her artistry isn’t about narrowing identity; it’s about expanding it. The result is a kind of radical openness: come one, come all. “My top priority is always connecting with my audience, and putting together the best show possible.” At a point in her career that seems to be constantly progressing, it’s clear Naïka finds stillness in her team, her audiences and her own creative journey.

It’s now 1:30 p.m. and I’m meeting her and her team for breakfast at Toastique, in the heart of Washington D.C.

Suitcases pushed against the wall, and a little black dog curled under the table as the group of four women enjoyed their breakfast. Naïka’s fighting a cold, having played four shows in Montreal, New York and Philadelphia, she’s exhausted. The day before was spent on vocal rest. Today, she’s downing immunity shots with her meal. “There is no typical ‘day in the life’ on a tour,” she tells me when I ask. “It's weird how quickly time goes, because I feel like it was yesterday that we were putting the set together and the visuals. Now it's already come to an end.”

But soon, she’ll be on the road again — just a few days earlier, she announced 15 new shows over the months of June and July, with various stops across Europe. Naïka is no stranger to tour life. “My first tour was a little more backpack-y,” she tells me, “now I’ve got a bus, I’ve got a team, it’s a whole new beast.”

That “beast” is also a family.

Her manager and longtime friend, Marta Trapella, operates with a quiet steadiness that anchors the chaos. What started as a college friendship became a long-term collaborative relationship, always in step with one another. “I knew that if she had the right team around her, she would be unstoppable,” Marta says. “At first I said no [to being her manager] because I felt I couldn’t give it my all, but after a few months, I knew I had to join her.” Naïka laughs, “I knew she’d come back.” Set designer Lorr Volatier is in near-constant motion, pausing only briefly before shifting to the next task. She does it all. “What she doesn’t do is an easier answer,” Naïka says. The band is made up of fellow musicians Naïka met while studying music in Boston. Her childhood friend Galliane Puechavy flew up from Miami to travel with the team for a couple of the U.S. stops before heading to Miami where Naïka will close off this leg of the tour. The group functions like a living system, each person adjusting to the rhythm of the whole.

At 3:30 p.m., we make our way to the venue for tonight’s show, Washington’s 9:30 club, where the bus is unceremoniously parked on the side.

The tour bus takes about 14 strides to go from front to back — it’s hard to imagine 14 people (and a dog, introduced to me as Leo) cramming into this vehicle every night. But, still, it’s home-like; shoes are removed at the door, flowers sit on the table. The word zobodobodo is scribbled across a little white board by the kitchen. Coffee and incense hang in the air. Lemons sit in a basket by the sink, her favorite go-to snack. “I always have lemons and honey,” she says. She takes a lemon wrapped in a paper towel and puts it in her purse for later.

For an artist on the rise, it’s ironic that motion itself seems to be the only downside of the experience.

“My least favorite part is sleeping on the bus, just because I don't sleep very well because of the movement.”

By 5:30 p.m., Naïka’s had a 30 minute nap and banked content for her socials before starting soundcheck.

She takes a moment to sign a few vinyls for the merch stand, saying, “I’ve been practicing this signature my entire life. I always knew I’d be creative in one way or another.” Midway through her second soundcheck song, the doors for the meet and greet are opened. Around 20 of her biggest fans and supporters are escorted through the empty venue, their eyes widening as they realize Naïka is an arms length away. There’s excited giggles, shushing and then attention; this is what they came for. Her audience follows no clear demographic guidelines; women, men, older, younger, all diverse ethnicities and backgrounds. One has a Palestinian keffiyah wrapped around her waist. Another is donning a Haitian soccer jersey.

They’ve traveled too, in their own ways, to be here.

Doors open at 7:00 p.m. sharp. After the meet and greet, we’re whisked backstage for hair and make up. As they do on every stop, Naïka’s team has tapped a local hairstylist to prepare her for the night. Tonight, it’s Jasmine Washington from the District Hair Lounge, just down the street from our venue. Naïka does her own makeup. “It’s rare I let anyone else touch my face,” she says.

She takes a second to change into tonight’s look; an asymmetrical skirted look, dripping in sequins, complete with elbow length gloves and a feathered jacket for the opening number. “This outfit is fire,” everyone in the room agreed. The bare midriff, a staple of all her performance looks, brings to mind less of a fairy tale mermaid and more of an amazonian warrior. She looks so strong. Complete with thigh-high tassel lined boots designed with Jimmy Choo, a huge milestone for the artist and her team. “It was such an incredible experience, something truly new for me. I’d love to design my own line one day.” I can visualize it already, crowds clad in Haitian-inspired garb, born from the mind of Naïka and the women that surround her. I note another form of creative expression here.

“Do you want to see something REALLY fire,” she extends her hand; in it, a lighter with her photo on it, a remnant from her ECLESIA launch party.

Minutes before calling her team for their collective pre-show prayer, Naïka and Lorr are doing jumping squats in the dressing room, then popping into a 2-minute plank on the floor. “She’s done a 5 minute plank before [a show],” Lorr says. “It gets her in the zone.”

It’s 8:57 pm and the energy in the air is palpable. Naïka is fully dressed and her team is huddled in the crew room for a quick prayer before the show. You can hear the hum of the audience outside, three hours from the moment many of them began to line up. The crew, the band, the team and the artist are hand in hand, her eyes are closed. But the vibrations in the room are high, a mix of Sunday Service and the Superbowl. Naïka begins to address the team:

“Dear God. Thank you so much for this new day. Thank you for these opportunities, and thank you for this purpose that you've blessed each and every one of us with. I pray that you might please help us do what we do best tonight, so that we can fill everybody's cup so they can feel more whole, more alive, more love, more light. I pray for an amazing, amazing, amazing show in Washington, DC, in Jesus name. I pray Amen. Amen.”

She hits the stage at 9:05 p.m. From start to finish, the show goes smoothly; an empowering display of feminine energy and intimate connection between Naïka and her fans. There’s rarely a moment you can’t hear the crowd singing along. ECLESIA was released barely two months prior but the audience obviously committed it to memory. Naïka trusted them to carry the chorus of F.I.S.H with a cheeky smile. She listened as they asked her, “Where you really, really from?” during LAYERS, an ode to the third culture kid. And during WHAT A DAY!, you could barely hear over the audience’s reaction to the lines, “What a day for crime, kids are dying in Palestinе/ Blood is paving Congolese mines, and thе world keeps going.”

At 10:22 pm, Naïka takes her final bow. After the show, Naïka is bouncing with energy, running to the green room to greet Leo with a kiss. “The cold I was fighting earlier? Gone,” she says to me with a laugh. “I’m so full of energy. It’s going to hit me like a brick when I get on the bus.” I’m reminded instantly that after so much exertion, her day isn’t over yet - after greeting a few folks after the show, showering and changing, Naïka and her team still have to make the nearly nine hour drive to Atlanta overnight. The packing has already begun as we say our goodbyes. Lorr is taking Leo for a walk, and Marta is managing the last few guests who want to say hello to the artist before she departs. Galliane is there with a warm hug and words of encouragement from friends and family abroad shared in their communal group chat.

Naïka is in motion again — continuing on to another city, to connect with another crowd and to continue to build a world that is distinctly her own but universal to all who welcome it.

Music

Lolo Zouaï' Releases "Reverie"

April 24, 2026

The French-born American artist, producer, and songwriter, Lolo Zouaï, presents her third full length album, Reverie. With fourteen tracks in both french and english, her vocals will place listeners in their own trance of pleasant daydreams. The album flows through alternative RB, hip-hop, pop, and Arabic sounds, overall building a dark world with sensual and cinematic visuals. Each song explores her past; wounds, memories, and dreams open up to flood out passionate melodies. Reverie sparks reflection and escapism, as well as explores the boundaries of identity.

From headlining with the likes of Blood Orange, Slayyyter, Shygirl, and SadBoi to collaborating with Yves on their recent single "NAIL", the songwriter (whose credits include NewJeans "Right Now" and H.E.R.s Grammy-winning self-titled album) continues to make her own headlines from the liked of The Fade and Rolling Stone. Catch her before she takes flight to international stardom: listen to Reverie out midnight April 23rd and watch her lead single "Baggy Jeans".