Grace Freeman, better known as Gal Musette, has been writing songs since she was a child in San Clemente, California. Now based in Los Angeles, she has drawn from French chansons, indie folk and the songbooks of artists such as Joni Mitchell and Burt Bacharach to create work that feels both delicate and quietly resolute. Her new single ‘Broken Clock’ marks another step in that evolution, trailing her forthcoming third album Our Day in the Sun. A record she describes as a quiet rebellion, it shows how she embraces vulnerability, endings and the letting go of old ideals. Speaking with openness, Freeman reflects on how her songwriting has grown alongside her life, moving from precocious romanticism to a more complex honesty.
‘Broken Clock’ feels both intimate and universal, drawing on the old saying “even a broken clock is right twice a day.” What made you want to frame such a personal moment of clarity through that phrase?
I first heard that phrase about three years back, and I immediately resonated with it in an emotional way. I tend to see things in black and white to a fault. That silly old saying meant so much to me. It helped me accept my imperfections- while giving myself credit for trusting my gut when it counted.
The song seems to transform a painful relationship into something empowering. Do you see songwriting as a way of reframing experiences, almost rewriting your own narrative?
That’s a great way to look at it, I’ve never thought of it that way. For me songwriting is a place where I can express the harsh truths; sometimes I’m not ready to face them but within the world of a song they seem safer to navigate.
Your upcoming album Our Day in the Sun is described as a “quiet rebellion” and a “coming-into-self.” What does rebellion look like for you at this stage in your life and career?
Rebellion on this record feels both vulnerable and empowering. For the first time, my personal journey and my musical journey are walking side by side, instead of depending on each other. The songs have their own identity- they’re connected to me, but they don’t feel like they define me.
The record explores endings and unraveling ideals. Was there a particular turning point that made you want to shed the need to please and embrace a more raw voice?
My community has helped me embrace my “voice” sonically and lyrically. Being surrounded by artists that express themselves so truthfully yet tastefully has emboldened me to express myself more directly in my songs.
You collaborated with Aaron Marsh on the new album, who added string and woodwind arrangements. How did his involvement shape the emotional landscape?
Aaron created an arrangement for a song on the record called ‘Vincent Why.’ It’s mesmerizing. There are some emotions that simply can’t be expressed in words that he was able to capture in that arrangement.
Looking back, your debut Backwards Lullaby included a duet with Rufus Wainwright, one of your inspirations. How did that collaboration affect your confidence as an artist so early on?
Duetting with Rufus gave me a huge confidence boost early on. It made me feel like I belonged in the world of music I admired, and encouraged me to take myself more seriously as an artist.
At just 14 you wrote and recorded 70 Love Songs in response to The Magnetic Fields. Do you think there’s a straight line between that precocious project and the songwriter you’ve become now?
Absolutely! I’ve always been a hopeless romantic, and when I was writing those songs I idealized love and saw things so simply. Now that I’m seasoned in the convoluted world of love and heartbreak- I can see that love should feel as simple as those precious little songs I was writing. She was on to something!
You’ve opened for Suzanne Vega and Rufus Wainwright, artists who all have very distinct voices and audiences. What do you learn from watching other performers from the side of the stage?
I’ve learned that the most compelling artists to watch perform are the ones that own who they are.
‘Ghost’ was a song you described as being open to interpretation, almost like a puzzle for the listener. Do you approach lyrics as something to be solved, or more as emotional snapshots?
Definitely emotional snapshots. It’s hard for me to tie it all together with a bow, although I respect songwriters who are able to write that way!
As you look ahead with Our Day in the Sun, what do you hope listeners carry with them when the record ends?
I wouldn’t consider this record “easy listening.” I hope listeners are able to listen to the record in a space where they welcome an emotional experience. The through line for me writing this record was understanding the fleeting nature of my relationships- some familial and some romantic- and learning how to let them go without having to erase them.
