It only takes seconds for Jessie Murph’s songwriting to make you feel something. The 20-year-old artist mourns failed relationships and estranged family dynamics as easily as she parties and throws dollar bills in strip clubs on her sophomore album, Sex Hysteria, which blends doo-wop, blues, trap, and country elements across songs like “Heroin” and “Blue Strips,” which was named one of Spotify’s 2025 Songs of Summer.
With 15.3 million monthly listeners on Spotify, 11.5 million TikTok followers, and 9 hits on the Billboard Hot 100 chart, she’s captivating crowds with her vulnerable lyrics and signature raspy vocals, which are infused with her Southern drawl. But on her latest single, “1965,” she wistfully longs for a love that’ll last—no matter the circumstances—as she muses, “I think I’d give up a few rights / If you would just love me like it’s 1965.”
Of course, those lyrics didn’t come without controversy in a political climate that constantly challenges women, equal rights, and reproductive rights. The track caused quite a divide online when listeners lost the plot on whether it was serious or satirical. (Spoiler alert: Jessie has openly claimed it’s the latter.)
“People are going to think what they want to think,” she tells Cosmopolitan. “It’s difficult with how social media works these days, in the sense that people hear 10 seconds of a song and they’ve made their mind up and don’t want to take the time to listen to the whole thing.”
At the end of the day, Jessie isn’t dwelling on the discourse. She’s more focused on bringing her cheer stunts to the stage and swapping intimate stories while connecting with fans on her Worldwide Hysteria tour. The Song of the Summer VMA nominee caught up with Cosmopolitan to chat about her whirlwind rise to fame—and the fateful DM she got from Gucci Mane after dropping a song in his name.
As you’ve been working through criticism about your songwriting, is there something you’ve learned from the younger versions of yourself while you navigate this new chapter of your career?
Wonder is a big thing. Trying to remain truly curious and wonder about everything is something I take from my younger self and try to remember. It’s hard to disassociate, put your head down, and go about what you have to do without that.
You’ve carved out a sweet spot between stripped-back acoustic sets and full-blown choreo with your gritty vocals and surprise cheerleading stunts. How long has cheer been part of your life, and what made you want to bring it to the stage?
I did cheerleading all throughout middle school and high school, and I always loved it. It’s such a hard sport that people don’t take seriously. They usually talk about it not being a sport, and I think that’s crazy because it’s so physical. I remember doing stunts, thinking, If I could sing while I was up here, it’d be so ideal. My coaches said no, so once I started doing this, I was determined to make it work somewhere.
Something else you were determined about was the Gucci Mane feature on your album. After sampling his song, “Lemonade,” on your track named after him, the man himself teamed up with you on “Donuts.” How did that moment come about?
“Donuts” was such a full-circle moment, and it wasn’t my plan. I never thought I was going to get Gucci Mane on the record, and then I put out the song “Gucci Mane.” He heard it, and DM’d me like, “That song you did was dope.” We became friends, and I ended up sending him “Donuts.”
Wait. He DM’d you on Instagram?
Yeah! I was like, “Hi...Gucci Mane.”
So...do you think you made Gucci proud?
I don’t know, I mean, I hope so!
There’s been a ton of discourse about your latest single, “1965,” online. You’ve shared that its lyrics are satirical but stem from a real desire for romance without limitations. Do you think this will affect how you approach songwriting going forward?
Not at all. People are going to think what they want to think. It’s difficult with how social media works these days, in the sense that people hear 10 seconds of a song and they’ve made their mind up and don’t want to take the time to listen to the whole thing.
Without context, some of those lines sound fucking crazy. Like, I get it! My goal is always to make people feel something. Whether that’s hate or love, so be it. It’s not my responsibility to make sure everyone understands everything all the time. The beauty in making art is that some people aren’t going to understand it.
Do you think the same could be said about the music video?
Everyone being so upset about the video because it was fucked up...that’s the whole point. That time period was so fucked up. I just wanted it to feel as real as possible, and I think that can upset people sometimes.
Your songwriting comes from a very real place. What was the most challenging part about making Sex Hysteria?
Picking the songs and curating is always really hard because I’m making hundreds of them for these albums. I sort through them, but that part always gets me. There’s a song called “The Man that Came Back” that was a really difficult one for me, but it ended up being such an important part of the record.
It’s such an emotional song you wrote about your dad when you were 17, and you previously said it almost didn’t make the final cut. What changed your mind, and why share that story now?
Things you see and experience as a kid are your blueprint for love. It sets up what you look for when you’re older and what type of people you look for. When I was looking at everything on the album and laying it out, that song gave reason for a lot of the other songs. It’s been a very comforting and beautiful experience to see people post it with similar stories, and seeing people scream that song live is so crazy.
How is your inner child feeling about it all?
It’s a mix of emotions. A part of me feels liberated for myself and the rest of my family. Another part of me feels a little guilty, because it’s about somebody who’s still alive, and I never want to hurt anyone. I’m not sure how my dad feels about it or if he’s even heard it, but that thought definitely crosses my mind. Some people need to hear songs like that. I wish I had that song when I was little, and it’s important that people do.
Have any of your fans shared stories of hearing the songs that struck a chord with you?
Oh my god, every day. Anytime I’m in VIP, people feel comfortable sharing very personal things with me. It’s very special that they feel safe enough to do that. They’re always telling me stories about similar childhood experiences and stuff. A lot of the time, I leave crying. I’m a very empathetic person and having people cry in my arms is always a very emotional experience.
Has it affected your approach when making music?
It definitely makes me feel like it’s all worth it because it helps somebody. I know how music can help, and there are artists I listen to when I need to hear certain things. Music gets me through as it does for other people. It really validates and pushes me to make more vulnerable music, for sure.
Are there any specific artists or songs that have helped in your journey?
So many. I listen to a lot of Noah Kahan, and he has this one song called “Howling” that’s really fucked if you’re ever sad. There’s this man named Gregory Alan Isakov who makes great sad music. Other times, I need to be motivated, so I’ll listen to, like, Lil Baby, Drake, and Jay-Z.
Okay, the duality! Music is so important because it helps us sort through those feelings and feel less alone.
Truly! Because we have these feelings inside all the time—that’s so crazy and comforting.
What’s next for you, and what do you hope people take away from you and your music?
I just want to make people feel something. If they relate, I hope that they feel less alone. As far as being on tour right now, my main goal is to make people feel safe at the shows. I want them to show up and be able to feel, because that’s what everybody comes there to do. And anytime I have free time, I’m making lots of music and goodies. There’s more coming.
Get tickets for Jessie’s Worldwide Hysteria Tour
Parts of this interview have been edited and condensed for clarity.
