Photography Jason Kibbler  Styling Julia Müller Interview David Gargiulo

Grace VanderWaal is no longer trying to live up to anyone else’s idea of who she should be. She’s not here to play the prodigy, the golden child, or the “next big thing.” With CHILDSTAR, her raw and poetic new album, she’s finally telling her version of the story: the unfiltered one, the one with bruises and contradictions, the one that doesn’t care if you’re uncomfortable.

“When I started writing this album, it wasn’t even a conscious choice,” Grace tells us. “It was something my body naturally needed to cycle through.” And what came out of that cycle is nine sharp, intimate tracks that dissect the experience of being watched, consumed, and constantly shaped by an industry that builds up young women only to toss them aside once they no longer fit the mold. It’s not an easy listen. And that’s the point. Grace doesn’t flinch as she sings about dissociation, identity, and the strange grief of growing up in front of millions. CHILDSTAR: Final Act, the companion short film, pulls five of the album’s most vivid tracks into a touching visual narrative. It’s clear Grace is thinking not just as a musician, but as a storyteller in full command of her voice, her aesthetic, and her message. This is not a rebrand. This is Grace VanderWaal cutting through the noise and finding clarity. And if you think you know her, this album invites you to listen again. This time, without the script.

David Gargiulo __ Childstar is a raw, poetic reclamation of your own narrative. When did you know you had to make this album, and what part of it scared you the most to share?

Grace VanderWaal __ Writing this album wasn’t even a conscious choice. It was something my body naturally needed to cycle through. When that process began, I was most scared to confront, even privately, my feelings around being publicly objectified for so many years.

DG __ Childstar: Final Act isn’t just a music video; it’s a full-on short film. What made you feel it was important to release five songs as one cohesive piece?

GV __ It happened naturally. That's often how my creative process works — when something good is happening, it starts gaining its own momentum. These five songs always stood out to me storyline-wise, and pulling them together just made sense.

DG __ You explore society’s obsession with young female artists—watching, consuming, and discarding them. Did making this record help you reclaim your sense of self or feel more grounded as a person again?

GV __ Absolutely! One of the things that tortured me most was holding all of these feelings in. Music has always been my most natural form of expression, and it felt claustrophobic not to share this side of myself. 

DG __ The album blends various musical styles and narratives. How did you approach the creative process to ensure that each song authentically represented different facets of your story?

GV __ I approach producing and songwriting the same way I approach many other sides of the creative process: I try not to overcontrol it. I think you can suffocate an idea, and I never want to do that. Songs that are deeply personal tend to pave their own path; you just have to listen carefully and nurture them.

DG __ In Proud, you sing, "Promise I'll be small. I won't take up space at all." How does that line reflect how you've felt in the industry growing up?

GV __ That lyric is really personal for me. But yes, it relates to my experience in the industry too. I always had an odd and unhealthy relationship with my identity. As a little girl, I was scared of growing up. I was terrified of puberty and womanhood. Emotionally, it’s about feeling like there wasn't room for me in the spaces I existed in.

DG __ How has your understanding of your younger self changed as you’ve grown into adulthood?

GV __ Now, I feel so much empathy and sadness for my younger self. When I was living it, I was just a ball of misunderstood energy — even by myself. It came out as frustration and anger. Looking back, I realize that kind of anger often comes from deep misunderstanding.

DG __ Do you feel like your idea of “home” is still tied to where you grew up or has it shifted as you’ve grown into your own space?

GV __ Yes, absolutely! I've only ever had one home in my life, my childhood home in New York, and it actually got bulldozed and doesn’t exist anymore. It’s fucking crazy! 

DG __ Who in your circle keeps you grounded and who pushes you to dream bigger?

GV __ My sister, 100 percent! She encourages me to feel weakness and sadness without shame. No one makes me feel as strong and empowered as she does.

DG __ What role does silence or solitude play in your creative process? 

GV __ It’s different every time. I don’t necessarily need silence or solitude. Maybe during the "pre-production" phase, if I’m thinking about something I want to write about, it might be a more intimate moment with myself. But once I’m in a writer's room or studio, it’s much more of a judgment-free zone. I've been doing this for so long, I can access those intimate emotions even with someone I just met.

DG __ Has acting changed the way you approach storytelling in music? 

GV __ Definitely. Acting has pushed me to be more strikingly vulnerable — a goal I'm still working toward. I’m also really inspired by film scoring and the psychology behind it. It’s something I love bringing into my music.

DG __ In Brand New, there’s a sense of longing for freedom. Do you feel like you're chasing freedom, or is it more about protecting the freedom you've found?

GV __ I actually don't think Brand New is about freedom for me. If anything, it’s about longing for structure. When you’re raised inside a box and then suddenly handed the entire world, part of you just wants to crawl back into the box.

DG __ What’s next for you now that you’ve embraced this new sense of freedom? How do you plan to navigate this next chapter?

GV __ I just really want to keep bringing vulnerable artistry into everything I do — expand into visuals, connect with fans. I can’t wait to bring these songs on the road. I think the shows are going to be really beautiful and visually striking. I’m really excited about that.

Photographer Jason Kibbler (Artworld Agency), Stylist Julia Müller (The Wallgroup), Interviewer David Gargiulo, Makeup Vincent Oquendo (The Wallgroup) using Chanel Beauty, Hair Eddy Scudo (The Wallgroup) using Bumble and bumble, Manicurist Ash Wendell, Sr Producer Isaac Epstein, Producer Meghan Fitzgerald-Brown, Digitech Charley Parden, Photo Assistants Andy Boyle, John Bain Griffith, Stylist Assistant Cole Stevens, Studio Manager Hannah Flynn, Studio Salt Studios, Talent Grace VanderWaal (High Rise PR)

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