Allow Naomi Scott to reintroduce herself with debut album F.I.G
The actor and singer reflects on embracing every part of herself through the creation of her debut album, and the impact the sounds of her childhood had on the process.
There were signs Naomi Scott would one day embrace a career in music.
The British multifaceted talent is most known for her work on the screen. Her break came from Disney Channel’s Lemonade Mouth, in which she took on the all-singing role of Mohini Banjaree, the film’s free-spirited bassist. The 33-year-old provided the perfect pop vocals for the film’s hit track She’s So Gone. Next, she shot to acclaim as the beloved Princess Jasmine in Disney’s live-action musical, Aladdin. The film’s tracks, such as Speechless, flaunted her syrupy vocals once again. Even when dabbling in twisted tales from the horror genre, she’s managed to put her vocals to good use. As the lead of Smile 2, in which she played cursed pop sensation Skye Riley, Scott provided impeccable vocal agility and showcased her blood-curdling acting chops in tandem.
Whilst establishing herself as a force on the screen, she was leaving a trail of breadcrumbs behind her, hinting at her next career move. In March 2026, Scott culminated years of musical experimentation with a tight-knit group of collaborators and a childhood spent singing in a church choir to release her debut album, F.I.G. The title alone – which is an acronym for Falling Into Grace, Grace being Scott’s middle name – proves this is the musician at her most raw. “With music, I’m completely myself,” she says, confirming she’s rooted the project in everything that makes her her, and celebrated all of the joys and complexities that come with that. The album’s standout track, Gracie – a funk-laden rejection of people-pleasing– joins Hellbent and Cherry as tracks from the album that have surpassed one million streams since their release. It’s proof enough that the appetite for Scott’s eclectic sound is insatiable.
What’s next? She’s taking F.I.G on tour across the US this month, and joining British artist Jessie Ware on her tour in a supporting slot later down the line. When it comes to her goals beyond that, Scott plans to add another string to her bow by amalgamating her talents in a theater setting one day.
Following the release of her debut album, Scott joined EE72 to talk her pre-tour rituals, her earliest memory of music, and the moments she feels most graceful.
What’s your earliest memory of music?
It would be church-related. My parents are pastors and they grew up in church, so I was surrounded by worship music. My dad pastored this tiny church in Southall, and they played 80s Pentecostal songs. Only people who have grown up in church will get those references.
Do you think those references have informed the music you’re making now?
100%. It’s always there. When you sing in a church choir, you do what we call leading people into a place of worship. It’s not supposed to be about you. You are a kind of conduit. That plays into being very connected to what you’re singing and performing. When I watch different artists, I just know when people are from church. My friend Rachel, or Raye, is obviously mega, but when you watch her, you’re like ‘That’s a church girl right there.’ I grew up listening to Mary Mary and I would imitate them. I think there’s a bit of vocal agility you get from a young age if you mimic. I think that also plays into how I sing.
Your new album is called Fall Into Grace. You’ve previously said this album is about falling into other versions of yourself. Do you see Naomi the artist as separate from Naomi at home, or Naomi in other creative endeavours?
No, not in music. I have fun creating worlds and visuals that take on a specific narrative or a story that isn’t just Naomi being Naomi. I enjoy that, but there’s always a bit of me in there. It’s unlike when I’m in a movie and I’m a completely different character. With my world-building and my visuals, it is a version of me. There’s something so fierce and also vulnerable about the Gracie music video when she’s being taken over. It’s not like I had to get into another headspace for that. There is that part of me in there. The whole point of the song is that I wish there was more of that DNA in me, because I’m a bit of a people pleaser. With music, I’m completely myself. It’s all different versions of me, but weirdly, it all feels exactly like me.
Is there something you’ve learned about yourself through the process of creating your debut?
It’s obvious, but I should always trust my gut. Daydreaming and visualising are really powerful for me. I’ve also learned that sometimes I talk down to myself. I’ll be like, ‘Oh, I’m just a mess. I don’t know what I’m talking about.’ So it’s about giving myself credit. It’s also not about doing it all yourself. It’s listening to the right people and finding the right people to help execute your vision.
When do you feel most graceful?
I feel the most full of grace if someone’s being honest and vulnerable with me. I will catch you wherever you are. I will have grace for it. That’s probably a faith thing, too. Growing up with my dad being a pastor, there’s one sermon I remember him giving. It explains that mercy is sparing someone who has done something bad and grace is giving in abundance. I remember the idea of grace and how powerful it is. I’m speaking generally, but as women, we find it harder to give ourselves grace.
The debut album is now out. What’s been your favourite reaction to the album since its release?
My favourite thing is people talking about the album. There’s something really beautiful about people connecting with it as a body of work, exactly how it was intended. I was in New York a couple of days ago, and there were a couple of people who came up to me who were like, ‘Oh my gosh, I love your album.’ It just makes my day. I was actually sitting in the cafe of a movie theatre in Manhattan because I had to make a call, and this woman who worked there came up to me. I thought she was going to tell me that I’m not allowed to be on my phone. But she was like, ‘Sorry, I just wanted to say, I love your album and I’m literally coming to your show in two weeks.’ It meant so much to me.
What does the run-up to these shows look like?
I need to relax. I rest the vocals a little bit and I just chill. I’m always trying to be present. That was the main thing for me at Lollapalooza when I performed there last year. My main thing was to have fun, be present and be controlled in my energy so that I didn’t lose control of my vocals. I want it to be this amazing show, but I also want to leave room to discover something. It would be amazing if people could sing with me in moments, too.
You’re an actor and singer. What other creative endeavours would you love to explore next?
I would love to do stage. I believe it all happens at the right time. I have to be with the right people, and it has to be the right story. I do enjoy directing my own music videos, and we keep it very much in the family. It’s me, or it’s Kat Korbjuhn, my creative director, or my husband Jordan. We make a good team on that. I’d love to do more together in that way.
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