Unfiltered, unscripted, unapologetic: Astrophe chats with Grace VanderWaal.

You might recognise Grace VanderWaal (and her unmistakable voice) as the 12-year-old winner of America’s Got Talent Season 11 – or perhaps from her 2024 acting debut in Francis Ford Coppola’s Megalopolis, followed by a goosebump-inducing performance at the Kennedy Awards. You might have spotted her on the red carpet at The Cannes Film Festival – the 21 year old CHILDSTAR has been busy.

And although she’s often compared to Miley Cyrus, Taylor Swift, and Sia, VanderWaal is carving out a lane entirely her own. Sassy, sharp-tongued, and endlessly talented – with the work ethic, vision, and trailblazing spirit you’d expect from a Capricorn (her birthday is January 15) – she’s an artist evolving in real time. VanderWaal is one to watch.

Isabelle Webster: Hi, how are you? What's up?

Grace VanderWaal: I'm good. How are you?

IW: Good, thank you. I really appreciate you making time for this so late in your day.

GVW: Of course! No biggie.

IW: Well, let’s jump straight in. You're in New York at the moment, right?

GVW: Yeah, yeah.

IW: What are you up to there right now?

GVW: I live here. I grew up near Nyack, New York, and moved to Brooklyn about two years ago.

IW: Do you like living in Brooklyn?

GVW: I wouldn’t say I’m fully experiencing the “Brooklyn life” because I live in downtown Brooklyn, near Crown Heights and Brooklyn Heights. It feels more like an extension of Lower Manhattan rather than, say, Williamsburg or Bushwick. But I’m actually moving in the next two weeks to the Financial District. It’s not a huge change, but the demographic there is interesting, to say the least. A lot of Wall Street guys.

IW: You can inject a little bit of edginess into the area.

GVW: Exactly. I always say it’s my duty as a woman to be a bit of a menace and throw people off for all the girls who feel like they can't. They should walk away thinking, "Will that ever happen again?"

IW: I have a friend who literally barks at men who catcall her. I’m grateful for her on my behalf.

GVW: Absolutely! That’s a service to all of womankind.

IW: I think it’s really punk to live in a straight-laced neighborhood as a creative. It’s a good contrast.

GVW: Yeah, I mean, it’s harmless – just annoying. I’m not really going out in that area, but I don’t know if you’re familiar with Stone Street? It’s this popular strip of bars, especially crazy around St. Patrick’s Day. So, moving in around then is going to be an interesting introduction to the neighborhood. [ed’s note: this interview occurred before St. Patrick’s Day]

IW: That sounds like a fun way to get acquainted with your new place.

GVW: Yeah, honestly!

IW: I feel like we could just keep chatting, but I should actually ask you some real questions.

GVW: Let’s do it!

IW: A lot of people have grown up alongside your career. It’s an incredible thing to witness with younger artists. How has it been for you, holding onto such a strong sense of personal identity with so many eyes on you?

GVW: Honestly, I never felt like my identity was threatened by exposure or pressure. I’ve always been me. If you had a conversation with 12-year-old me, you’d be speaking to pretty much the same person – just as strong-willed, confident, and self-aware. That part of me has never wavered.

When it comes to external pressure, of course, it affects you. Growing up in a chaotic professional environment is similar to growing up in a chaotic household. It shapes your attachment styles and your relationship with validation. Maybe I hyper-fixate on people's approval or feel the need to perform in personal spaces. But beyond that, my sense of self has always been intact.

IW: That makes so much sense. When it’s all you’ve known, it’s hard to pinpoint how it has shaped you.

GVW: Exactly. Unless I could peek into an alternate reality where none of this happened, I don’t know any other way.

IW: You’ve already hit massive milestones, and you’re only 21. What’s been the most exciting achievement so far, and what’s the next big goal?

GVW: The Kennedy Awards really threw me. I’d say that’s the biggest thing I’ve done so far. I had no idea what I was signing up for until a few weeks before when I Googled it. 

As for what’s next – I always blank when people ask me this, but at 3 AM, I’m on Pinterest planning my next five years. I don’t chase accolades, though. The Kennedy Awards were amazing, but I focus more on artistic fulfillment. If I can create something truly special and put on a tour with the resources to go all out, that’s the kind of achievement I want next.

IW: That’s a great way to approach it. Focusing on creating what excites you and letting the accolades follow.

GVW: Yeah, I hope so.

IW: The Kennedy Awards performance was stunning. What was it like working with Francis Ford Coppola on Megalopolis?

GVW: He’s amazing. Just the sweetest man. And, you know, he just *happens* to have made some of the most iconic films of our time. When I got involved in the Kennedy Awards tribute, I started freaking out, wondering if I had unknowingly signed onto some major political statement. But seeing Robert De Niro there, who has been very vocal about his views, totally reassured me. I’m so glad I did it.  I didn't realise until after how iconic it was.

IW: I think that you usually regret what you don’t do more than what you do.

GVW: Exactly. I was overthinking it. In the end, it was an honour.

IW: Where do you find inspiration? What’s your creative process like?

GVW: I’m really inspired by film right now – especially dark, layered, complex stories. I love when art expresses pain so deep that words alone aren’t enough, requiring multiple mediums to do it justice. That’s what I want to create.

IW: Any specific films?

GVW: I love Requiem for a Dream. The choreography of that movie is incredible, especially how the characters all end in fetal position at the end. I love that kind of intentional storytelling. 

IW: Your work feels very in-the-moment – like we’re experiencing things with you as they unfold. There hasn’t been much retrospect, but that makes sense since you’ve been so busy creating from such a young age.

GVW: It’s funny that you should say that – because my upcoming project is all about retrospect. People feel like they’ve grown up with me, but only a version of me. There’s a whole side of my past that hasn’t been seen. This project is me finally telling that story.

IW: That’s really exciting. It must feel good to finally share that side of things.

GVW: Yeah, it’s a bit of a purge.

IW: One last question before I let you go – how does songwriting happen for you? What’s your process?

GVW: It’s almost always the same. I feel like I don’t write my songs – my subconscious does. It’s weirdly spiritual. I’ll hear some music, start humming gibberish, scat and sing until I hit like, a flow state, and then I’ll listen back and try to decipher the words – and then I repeat the process until I have parts of a song … and then you piece it all together. It’s like tapping into something, without overthinking it.

IW: That sounds like a mix of somatic bodywork, instinct, and emotion.

GVW: Exactly. It’s all connected.

CHILDSTAR is out now (April 4) via Pulse Records.
This interview has been edited for length and clarity.
Words by Isabelle Webster