Lady Wray on Drawing From Gospel Roots for ‘Cover Girl,’ Her Most Dynamic Album Yet: ‘You Can’t Fake This’

For Lady Wray, the creation of her fourth studio album, "Cover Girl," required a journey back to her origins. The artist, who first emerged in 1998 as Nicole Wray with the R&B hit "Make It Hot," found herself far removed from that early success. Her debut single had soared to No. 5 on the Billboard Hot 100, but it was eighteen years before she released her solo follow-up, 2016's "Queen Alone," which re-established her as a powerful soul vocalist. Out this Friday, "Cover Girl" continues her exploration of soul music while weaving in the spiritual textures of her gospel roots. "I grew up in a Pentecostal Baptist church," Wray explained to Variety. "My goal was to capture that joyful, hand-clapping feeling, but blended with funk, soul, and a hint of hip-hop. This album allowed me to do everything I've always wanted, and it's been the most enjoyable project of my career."

Now 46, Wray exhibits a creative freedom that many veteran artists strive for. "Cover Girl" immediately stands out as a top R&B release of the year, filled with passionate love songs that blend classic soul, futuristic funk, and Motown-inspired sounds. Her vocal performance is both unrestrained and masterfully controlled. On the doo-wop influenced "Hard Times," she triumphantly sings about overcoming relationship struggles, while "What It Means" channels the spirit of the Delfonics. The Stevie Wonder-esque ballad "Calm" finds her returning to her spiritual foundation, powerfully declaring her faith.

The album marks another collaboration with producer Leon Michels, a key figure in the soul revival scene known for his work with Sharon Jones & the Dap-Kings. Their partnership began after Wray's involvement with the Black Keys' 2009 project "Blakroc," which led to her touring as part of the duo Lady. Their first full album together, "Queen Alone," helped redefine her solo identity, a process they continued on 2022's "Piece of Me," recorded during her pregnancy. Wray attributes the successful dynamic of "Cover Girl" to her strong rapport with Michels, who signed her to his label, Big Crown Records. She has worked with industry giants like Timbaland and Pharrell Williams, but values the familial creative environment she has with Michels above all. As one music critic noted, "The trust between an artist and producer is paramount, and Wray's partnership with Michels exemplifies how that trust can yield truly authentic work."

The album's title was inspired by a childhood memory. A family friend would reward her for good grades with ten dollars, always calling her "Cover girl." Wray recalls asking her mother what the term meant and learning it was about beauty and innocence. The title track confronts societal beauty standards and champions self-love. "I wanted to return to a time of innocence, before becoming jaded," Wray says. "The album is about self-care, love's sacrifices, and that fresh feeling of wanting to dance. That's the core identity of this project."

Ultimately, "Cover Girl" is a testament to Wray's resilience. She debuted at 19 as a protégé of Missy Elliott, featuring on Elliott's album "Da Real World," but faced significant setbacks when her second album was shelved. A subsequent deal with Roc-A-Fella Records at its peak also failed to yield lasting success. Her connection to Damon Dash later facilitated her work with the Black Keys, which helped steer her toward her current soul-focused path. With a tour scheduled through November, Wray reflects on her journey without bitterness. "I'm a fighter. I've been swimming across oceans and staying afloat for a long time," she states. "This isn't something you can fake. I plan to be performing at 80, with my daughter by my side. For me, it's about love and fun. The moment it stops being fun, I'll be done. But right now, I'm loving it."