Jessie Murph Made A Soulful Statement With ‘That Ain’t No Man That’s The Devil’

Jessie Murph wanted to spend her That Ain’t No Man That’s The Devil release week with her fans. At each listening party across the country, the 19-year-old genre-defying singer-songwriter was reminded that persevering through adolescent bullying in Athens, Georgia was worth it. “It felt like one big therapy session, honestly,” Murph tells Uproxx over Zoom two days before her debut studio album arrived. In Columbus, Ohio, people sang along to “Someone In This Room” featuring Bailey Zimmerman. At other points, fans have attached to “Love Lies,” a pleasant surprise for Murph.

Nothing is more important to her than sharing music with the world, and nothing could possibly stop her from it. That Ain’t No Man That’s The Devil solidifies that Murph, who already has two platinum-certified songs and 12.65 million monthly Spotify listeners to her name, has only scratched the surface of her resonance.

Below, Murph told Uproxx about her journey to her debut LP, her respect for Shaboozey, and what she hopes people understand about her after listening to it.

You’ve cited the late Amy Winehouse as an inspiration, and I could tell that right away with the opening track, “Gotta Hold.” Was there a particular moment where you channeled or felt the most inspired by Amy in the studio?

Well, I think my whole life I’ve been very inspired by her. The first song I ever remember covering — I think I was like eight or nine — was “You Know I’m No Good” by her. She’s always just been a huge inspiration, and the more I explore musically and the more I just find myself as a person, I come into myself musically simultaneously. I’ve been letting the soul side of me, which is stuff I love so much, come out and flourish, especially on this album.

Had you been more hesitant to lean into soul prior, or is it more to do with naturally coming of age?

I think it’s just more a natural progression. I try not to ever think too much about what I’m sounding like. It’s definitely a more mature sound coming out in this album, but like I said, it’s happening as I grow up.

Actually, you’ve frequently named Amy, Adele, and Drake as formative influences. I think this album encapsulates all three, given the soul, the belted vocal runs, and the effortless flow. How have you cultivated such a unique blend as your signature sound?

I don’t know. I never really think about it. I think it would freak me out to think about it too preemptively. It just comes out as I’m making these songs. With this album, the creative process was a little different. I would go in the studio, and everybody would just be on instruments and somebody would hand me a mic. I would just kind of get to freestyle these melodies and most of these lyrics, which is really sick and something that I found so freeing. So everything just kind of came out in the font of what I’ve always listened to because I think you are what you listen to a little bit.

Do you remember the first time someone reacted to your singing voice in a way that made you realize it was unusual that you sound like that ?

I think I was 11, and I posted a video on YouTube of me singing “Titanium,” and I remember it got like 24,000 views. I remember being so freaked out and excited about that. I think that was the first moment that I was like, Whoa, I could really do this if I work hard enough . I always wanted to be a singer, but growing up, especially in Alabama, everybody’s like, “That is not realistic.”

You released “When I’m Not Around” in 2021 in response to the bullying you’d faced in your hometown, Athens, Georgia, after beginning to share your music. Was there a moment when you contemplated quitting because you were tired of being judged?

No, not at all. If anything, it made me want to do it more. I’ve always been so motivated by spite. So, people being like, “You suck,” or something like that, just made me want to prove them wrong. I’m actually still grateful for all of that because it really did push me to say the things I was saying. I feel like I wouldn’t have been so spiteful in my songs if I didn’t have that type of chip on my shoulder.

Do you hear from people back home now who have conveniently changed their opinions?

Of course. Yeah. I have no resentment in my heart for any of that. I talk to people occasionally, and I’m so grateful for all of that. I’m able to look at everything with a different perspective now, thankfully, instead of being mad about it.

When did the process for this album start?

The second half of last year into this year was predominantly when the whole thing started from front to back, but the main chunk of songs I made in a week, I think. It was in the summer at some point last year, I think. Something happened, and I was so hurt, and it brought out a lot of other past anger that I’d held in my entire life, honestly. I’ve never been good at talking about things, but when you don’t, that sh*t comes to the surface. That really happened to me, and everything just came out at once.

You told Billboard that “there’s a lot of emotion” behind That Ain’t No Man That’s The Devil . Where does that emotion stem from?

I think I’ve always been very emotional. I’ve always felt things so deeply, whether it’s good or bad. It’s always going to be super extreme, which is great for what I do but not great for my mental health. I’ve always been like that my whole life. I mean, thank God I have this to pour it into, because otherwise, I feel like that could be so damaging and controlling.

If you had to choose — and I’m forcing you to, so blame me — which three emotions are the glue throughout all 12 tracks?

Ooh. I’d say anger, spite, and hurt.

I read in an old Flaunt interview that you have notebooks in which you wrote as a kid about wanting to do what you’re doing now. Have you re-read them recently?

I do read them occasionally. I haven’t done it in a while. I need to sit down and do that actually, especially with the album coming out. It’d probably be really surreal. But, yeah, I definitely do have a lot of that stuff. I remember this one specific thing I have that I wrote. I think I did it around probably 12 or 13, and it was this contract I wrote myself. It said, “By signing this, it means you abide by becoming a singer,” or some sh*t like that. And I signed it. From that moment forward, I remember being in my room, in my basement, making so many videos, and posting as many as I could. I was so adamant that I wanted it to happen.

How do you think you’ve grown from Drowning , your February 2023 debut mixtape, to your debut LP?

I think a large part of the growth is sonically, and I feel like I get better at songwriting the more I do it, which is just the natural thing that happens. But I’ve just come into my sound more and myself and a lot with the creative process. Traditionally, in most sessions, I feel like people go in and sit down and they’re like, “OK, what are you going through?” You talk it out, and you come up with a title, and then you write it. I’ve always found that process to be so excruciating. It makes you feel naked — and not in a good way. I wanted to change that for this album. Being able to go and just freestyle, most of it was so therapeutic and good. I could just sing whatever melodies I wanted, and they would just come out, and I wouldn’t really have to talk about it, which was so nice.

Do you remember where you were and what happened when you thought of That Ain’t No Man That’s The Devil as the title?

I don’t remember where I was when I realized that was the title, but it was in one of the first songs off the album, “Son Of A B*tch.” I always knew that line was crazy, and I feel like it really just encapsulates the album well. I knew for a long time that was going to be the title.

What statement does this album make about you as an artist?

I think it makes the statement of I can do absolutely anything. I’m rapping on it. I’m singing on it, I’m really singing on it. But I definitely was adamant that I wanted to get both of those points across because I am so passionate about both. I feel like that’s something that’s almost unique to me in the way of just being able to do both and loving them both so much.

Which song was the toughest to release to the public because it’s so vulnerable?

I never really think about that until after the fact.

Probably smart.

But I think the most vulnerable song on the project is definitely “I Could Go Bad.” It kind of takes the album and wraps it up and gives it reason for why you’re so f*cking angry the whole time. I mean, it’s like, F*ck yeah, I’m mad, but you take that away, and I’m just hurt . That feels really vulnerable.

Shaboozey opened for the first leg of your In The Sticks Tour this spring. Did observing him up close as his artistry and life exploded to a new level inspire you to push yourself even more?

Dude, I am the biggest Shaboozey fan. I mean, getting to see him perform — first of all, he’s an incredible performer. I think that was his first tour, which is really sick. I’ve been a fan of him for a very long time, and I’m so glad he’s getting his flowers. He’s just got that swag about him.

You’ve had so many successful collaborations, from “Heartbroken” with Diplo and Polo G to “Wild Ones” with Jelly Roll or “Texas” with Maren Morris. That’s before mentioning Teddy Swims and Bailey Zimmerman are also featured on this album. Did you feel pressure to prove that you don’t need features in order to make a resonant record?

I mean, it’s definitely crossed my mind, but at the end of the day, I just f*cking love collabs, actually. It’s real fun. I think I’ve been viewing it through a lens of I’m just blessed to be able to do that than as pressure, which is good. The other perspective kind of stresses me out. But I’m passionate about this album, and I feel like I put my heart and soul into it. That’s all I can really do. Whatever happens on the other side of that is none of my business.

What are you most looking forward to about this next leg of your In The Sticks Tour ?

I’m just excited to go back to the sticks. I prefer going to the sticks over big cities any day. The shows are so much more fun. The people are so nice. I love that sh*t, so I’m real excited about that. Oh, my God . I’m playing my first-ever arena in my hometown, which is really sick.

That’s something you probably didn’t even know you could write down in a notebook when you were a child.

It’s actually been one of my goals. I saw Disney On Ice at this arena when I was a little kid. I’d watch hockey games there, and I would sit there and watch the game and be like, “I’m going to play here one day.” And now, I’m going to play there.

There’s nothing better than that. You never wavered. How do you think this album represents you being rewarded for staying true to yourself?

I don’t know, to be honest. Everything’s been kind of a blur. I think what’s kept me really grounded and really myself is that I’m just always so focused on the music. That’s what I love. I don’t care about any of the other sh*t. The music is just — I love it. It lights me up inside. Getting to perform the music and sing with people, that is what truly makes this worth it for me.