Daya, one shaped by reinvention, creative freedom, and the quiet confidence of growing on her own terms.
For Daya, born Grace Martine Tandon, her journey began with the breakout success of “Hide Away”. From her Grammy-winning collaboration with The Chainsmokers on “Don’t Let Me Down” to most recent release “HUSH” with TroyBoi, she has steadily continued her evolution, pairing vulnerable lyricism with increasingly adventurous production choices.
Looking at her trajectory, Daya seems to have become increasingly interested in creative control and artistic growth rather than chasing every commercial trend. That’s not necessarily a limitation. Some artists build careers measured in decades rather than cultural moments. When Daya emerged around a decade ago, the industry was shifting from radio dominance to streaming and social media-driven fandoms. Artists who arrived just a few years later benefited from platforms like TikTok, where personality, and constant visibility became almost as important as the music itself. In some ways, that’s what makes her interesting to interview now. Rather than a profile of an artist at the peak of a hype cycle, there is a deeper conversation about how has she sustained and reinvented herself after experiencing success so young as she gravitated toward more introspective, electronic, and alternative influences that can built a loyal audience along the way.
TroyBoi’s productions are known for pushing beyond genre boundaries. What surprised you most about working together?
I think what surprised me most was how well we meshed while working together. We naturally have so much musical chemistry and a lot of overlap in what we like and don’t like. I’ve loved his music since I was in high school, so I knew our tastes would align in some ways, but usually there’s an adjustment period when you work with someone for the first time. With him, it felt like we were already in lockstep from day one in the studio like we’d been working together for years.
The «HUSH» debuted during Miami Music Week to an immediate reaction. Did performing it live before its release change your relationship with the track?
I think discovering that it translates so well in big outdoor spaces like that was definitely exciting and validating. But more than anything, it felt like a relief to finally perform it since the original demo was written eight years ago, before Troyboi added production to it. I think songs come in and out of your life at different times for a reason, and this definitely feels like the right moment for “Hush.”
Looking back at «Hide Away,» what would that version of Daya think of the artist you’ve become today?
Oh God, it’s hard to imagine. I like to think she would be proud of the artist I am today for going after what matters to me and what truly excites me creatively. Even though I only just released my second album, it feels like a lifetime of personal and artistic growth has happened since then. I think she’d be proud of the way I navigated hard things in the industry without any real example or blueprint to follow.
Your latest album “Til Every Petal Drops” is more introspective. What were the conversations you were having with yourself while making this album?
This album was written over the span of three years, with different producers and co-writers on almost every song. I didn’t even realize I was working toward a cohesive body of work for most of the process, and I think that’s why it has this sense of sonic freedom. I saw someone online say that every song feels like a different subgenre, and I’m proud of that.
I think allowing myself to experiment and really dig deep in the moment to get to the heart of each feeling was crucial. Emotionally, I was really trying to work through avoidant habits and learn how to be more open and honest in my relationships. I’ve always been the “chill” girl on the outside, yet internally I can have these really intense feelings of lust, envy, passion, or desperation. I wanted to learn how to stop being afraid of expressing those emotions outwardly and show my cards, in a sense, because that’s what leads to real connection.
Do you keep a journal?
I do! I try to write in it every day, though I lost the habit a bit while on tour. I have a huge stack of journals from over the years at my house, and at this point they feel like heirlooms to me. When I evacuated during the fires in LA last January, they were the first things I thought to grab.
What role does personal style play in shaping your confidence before stepping on stage?
Stage styling is everything. The way my outfit makes me feel can absolutely make or break a show for me. Recently, I’ve been loving wearing black leather gloves onstage, it just feels elevated and powerful. I love that there are no rules and that anything can work if it feels right.
Is there a fashion era you’re endlessly inspired by?
Honestly, the ’90s. I love a low waist, minimal top, or slouchy dress. I think there’s something so naturally sexy about the raw, unpolished, grunge feel of it all.
You’ve spent much of 2026 on the road. Do you have a favorite place to play and where are you looking forward to later this year?
Chicago has been a recent favorite for me. It’s always been beautiful weather whenever I’ve gone, and I’m usually playing near the water, so I’ve been lucky. It just feels like there are some real, die-hard music lovers there.
I also love playing almost anywhere in Asia. I have a few shows in China and the Philippines this summer, and I’ll be playing Singapore for the first time, so I’m really looking forward to that.
What book, film, or television series has stayed with you recently while on the road?
I just read Heart the Lover by Lily King. My sister recommended it to me, and it’s a great tragic love story, which is always easy for me to love. I also recently watched Network, a film from the ’70s about media corruption and exploitation, and it has some of the best dialogue I’ve ever seen on screen. It felt like it could have been written about today’s social media landscape, even though computers barely existed at the time, which is crazy to think about.
Network is an incredible film, and dialogue aside, I want to steal Faye Dunaway as Diana’s wardrobe. What is something people would be surprised to learn about you outside of music?
This is a very random fact, but when I was nine, I memorized and recited 500 digits of pi for a Pi Day contest at my elementary school. I honestly don’t remember how I did it, but I ended up winning the contest by around 250 digits. I guess I’ve just always been a pretty competitive and disciplined person.
Finally, just for fun, what your go-to karaoke song?
Anything ABBA!
