Pop music is all about big emotions, bigger hooks, and even bigger personalities. Nashville’s Molly Grace is here to deliver on all three. With sparkling disco vibes, cabaret-worthy theatrics, and a knack for writing songs that are playful and personal, she’s carving out a space where glitter meets grit.

Now stepping into the spotlight with her debut album Blush, Molly is serving full-throttle charisma, powerhouse vocals, and unapologetic fun. The record pulls inspiration from showgirls, musicals, and 60s–70s glamour, but it’s grounded in her own experiences of love, heartbreak, and self-discovery. 

We chatted with Molly about the making of Blush, her favorite tracks, and what it’s really like bringing her hyper-femme, glittering pop vision to life on stage.

Blush is your debut album: bold, playful, and personal. What was the first song you wrote that made you feel, “Okay, this is the record”?

Definitely “Soprano”. When Autumn, Fustin, and I wrote that one I could not stop listening to it. It was the perfect flirty mix of disco & pop… once I had that song written, the sonic vision for the album really came to life.

You’ve said Blush captures everything from being embarrassed to being flirty. What moment or emotion sparked the title for you?

 I went back and forth on the album title for a long time. I wanted a word or phrase that felt like it captured the hyperfemininity, theatricality, and flirtiness of the album. Once I heard “Blush,” I knew it was perfect. 

The record has a cabaret sparkle, featuring showgirls, glamour, and big theatrical energy. What visual world did you imagine when making it? 

Thank you so much! Honestly, I referenced quite a few musicals in the making of this record. I found myself coming back to the aesthetics of Hairspray, Dreamgirls, and in general 60s & 70s aesthetics. In my head, “Blush” is a hyperfemme, glittering dream world.

You’ve worked with Keith Sorrells, Oscar Linnander, Wrabel, and Claire Ernst on this record. What did each of those collaborators bring to your sound?

 Yes! I got to work with those incredible writers and so many more, too, on this record. Keith & Oscar are such a fierce production duo. They’re really innovative and creative with their production – they know how to bring songs to life and create memorable moments. When Wrabel and I write together, it’s like the silliest ping pong game you’ve ever seen. He has such a quick mind and a gift for coming up with melodies that feel like you’ve been singing them your whole life, yet they’re completely fresh. And I could brag about Claire Ernst forever – we write together a bunch and she’s one of my favorite artists. She has such an ear for a hook and her musicianship makes for such interesting chord progressions.

Your songs swing from cheeky bops like Do Me (Feels So Good) to slower, more vulnerable tracks like Soft (Voice Memo). How do you balance humor and heart in your writing?

 I have to work really consciously at it actually. If I could go into the studio every day and write a flirty, dance-y banger, I absolutely would. I have to challenge myself to slow down and explore the vulnerable, uncomfortable topics, too. 

What’s the track on Blush you can’t wait for fans to hear live, and why? 

“Lemonade” for sure. That song is a powerhouse in every way – it’s lyrically hard-hitting and the vocals are crazy, especially with the lovergirls.

Your live shows already have a reputation for full-throttle charisma and theatricality. How will you translate Blush from the studio to the stage?

When I write, I definitely write with the stage in mind. The music translates pretty seamlessly to the stage, but I feel what really brings it to life is the choreography and the lovergirls. The chemistry of us all on stage adds so much playful energy. The choreography, too, highlights little moments in the music that you might not catch on the first listen. I’m super excited for people to see the whole vision.

You’re kicking off your Blush Tour with All Things Go and then hitting multiple cities across North America. What’s your must-have/do ritual before stepping on stage?

A nice, long vocal warm-up with the girls is a must. And honestly, my makeup is a big ritual for me. I do my own makeup for shows and I really use that time to center myself and step into my Molly Grace confidence.

Your partnership with LIFEBEAT ties the tour to activism and community. Why was that important for you to connect with?

 Artists have always been at the center of social justice and culture, so it feels like a no-brainer to use my shows as a place to not only create safe spaces for my community but also to give back in a meaningful way.

Inclusivity and optimism seem central to your music. What do you want fans to feel walking out of a Molly Grace show?

 I just want people to feel good. I want them to feel empowered and to have had the time of their lives. Every day in this world gets heavier – my shows are a place to dance, giggle, and feel safe for a few hours.

Blush is playful, polished, and packed with hooks… but it’s also deeply personal. What’s the most vulnerable song on the album for you? 

I’d say the most vulnerable song on the record for me is probably “Wearing My Ring.” It’s about learning to leave something you know isn’t right, which is really difficult for me, especially if there’s no extreme catalyst that gives you no choice but to leave.