Gracie Abrams is officially entering a new era.
On Monday (May 11), the 26-year-old singer-songwriter announced that her third studio album, Daughter From Hell, will arrive on July 17 via Interscope Records.
The album is already available for pre-order in multiple formats, and anticipation online has been immediate — especially after Abrams teased the project during this year’s Met Gala weekend.
Alongside the announcement, Abrams confirmed that the album’s lead single, “Hit the Wall,” will be released on Thursday (May 14) at 8 p.m. ET.
“It’s the introduction to this new chapter, and I feel grateful and relieved that this is the introduction. I love the song so much and I love the people I made it with. It feels embodied and that feels good. I’m excited for it to belong to everyone else,” she said in an interview with Vogue during the 2026 Met Gala festivities.
Abrams also shared the album artwork across social media, writing: “‘Daughter from Hell’ My third album is out July 17. ‘Hit the Wall’ this Thursday night. Whoa whoa whoa. Freaking out. I am so ready for it to be yours.”
The upcoming project marks Abrams’ official follow-up to The Secret of Us, her 2024 sophomore album that significantly expanded both her commercial reach and critical profile. The record helped solidify Abrams as one of pop’s strongest young songwriters, particularly among listeners drawn to emotionally detailed, diaristic lyricism.
Much of Abrams’ recent success has also been tied to her ongoing creative partnership with Aaron Dessner, the Grammy-winning producer and member of The National who once again collaborated closely with her on Daughter From Hell.
Dessner’s atmospheric production style has become central to Abrams’ sound over the last several years, helping shape the intimate, emotionally layered songwriting that’s earned her comparisons to some of pop’s most influential confessional artists.
Still, Abrams has increasingly carved out a lane that feels distinctly her own.
While her earlier work leaned heavily into stripped-back bedroom-pop aesthetics, recent releases have shown greater confidence, sharper hooks, and a broader emotional range. Songs like “That’s So True” demonstrated her ability to pair vulnerability with pop precision — a balance that’s become a defining part of her appeal.
The title Daughter From Hell alone already signals a potentially darker, more self-aware direction for Abrams creatively. Fans online have quickly begun speculating about the album’s themes, aesthetic, and sonic evolution following the announcement.
Abrams, however, appears less interested in carefully managing expectations than simply letting listeners experience the music for themselves.
That emotional openness has been one of the biggest reasons for her rapid rise over the past few years. Even as her audience has grown from indie-pop circles into full-scale arena crowds, Abrams has maintained the sense that listeners are hearing directly from her rather than through a heavily manufactured pop persona.
Now, with a third album arriving this summer, she’s stepping into what may be the most defining phase of her career so far — not as an emerging artist anymore, but as one of pop music’s clearest young voices.
