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October 6, 2026
On October 2, The Divine Feminine returned for its tenth anniversary. The Mac Miller estate reissued the album with three tracks from the original sessions: Grand, Channel 13 and Butterflies. Ten years on, it's time to go back to the record where Mac Miller chose love.
Released on September 16, 2016, his fourth album arrives almost a year to the day after GO:OD AM. That record was about getting clean, about depression, about rebuilding. Mac had found his footing again. As soon as GO:OD AM was done, he moved on.
The new project was meant to be an EP. It became an album, because he needed more room to open up. At the start, there was an idea someone shared with him. "It was actually a concept that was told to me," he told Rolling Stone, "about just the energy of the world being a female energy, the energy of the planet." A way of "falling in love with the universe."
When Vulture asked him what the album was about, he kept it simple: "It's love, which is the simplest answer, but the most complex of topics. It's the religious experience of going into that emotion." The divine comes from there.
He explained the title to Nylon: "It's like the divinity of the woman that you're in love with, you know? And it's kind of seeing the whole entire world in her."
That idea is right there on the cover. It's not a design or a montage. It's a real photo, taken by his brother, Miller McCormick, who also handled the art direction. A makeup mirror on a pink background, and in the reflection, the sky. "I saw it and was like, 'wow that's it,'" Mac said. It could have seemed too easy. For him, it was exactly the point: "It summed everything up, and I loved that it was a real photo."
For the 10th anniversary, Chloe Scheffe signs a new cover. She keeps the mirror and the clouds, but redraws the frame by hand. The frame has changed. The sky hasn't.
10 tracks, just over 50 minutes, and the feeling of walking into a room where the light never quite goes out.
Jazz piano, slippery basslines, funk, R&B. Mac slowly lets go of the rapper's reflexes to make more room for the singer. Many songs stretch past five minutes and shift halfway through, giving him space to try things.
He thought of the album as a journey. "That's where we start, the blinding, overpowering love high," he explained. "It gets into sex, issues, resolve." And through all of it, one rule: "There's always hope. No matter what."
From the groove of Dang! to the sensuality of Skin, from the confessions of Cinderella to the softness of My Favorite Part, The Divine Feminine never really changes the subject. It changes the angle.
Even the features follow that logic. "It was features that all happened so organically with people that are just in my life," Mac said. Bilal on Congratulations, Anderson .Paak on Dang!, Ty Dolla $ign on Cinderella, CeeLo Green on We, Kendrick Lamar on God Is Fair, Sexy Nasty. Around them, musicians more than guests: Thundercat on additional vocals for We, Robert Glasper on piano for the closer.
Dang! opens the way. The lead single, released on July 28, 2016, with Pomo on production, bass, drums and keys, and horns played by Juilliard students. Everything sounds light, yet the song is about a relationship falling apart. Melodies that smile while the words confess.
Mac's own favorite moment was elsewhere. "The second part of Cinderella is my favorite moment on the album. It's just the most vulnerable. It's just me singing." No rap, no guest. Just Mac.
At the time, the album split critics. Pitchfork called it "easily his most intoxicating release yet." Gigwise saw it as his 808s & Heartbreak. Consequence heard "so much focus on lust rather than love." Ten years later, Paste reads it differently: on this album, sex is treated with tenderness, as a way of connecting.
With Mac, desire and God can live in the same song. The closing track says it best: God Is Fair, Sexy Nasty. Kendrick delivers his verse, Glasper plays piano, then another voice takes over: Mac's grandmother, speaking about "how important it is to love, respect, and care for each other." After all the desire, all the nights, she has the final word.
My Favorite Part may be the song where The Divine Feminine tells its story most simply.
The album's third single, released on September 9, 2016, it comes near the end of the record. MusicManTy lays down a bassline that takes up all the space, while Mac and Ariana Grande answer each other with an almost disarming ease. No need to overdo it: a few glances, simple words, a chemistry that's enough to carry the song.
It's not much of a surprise. In 2013, Mac had a verse on The Way, the lead single from Ariana's first album and the first top 10 for both of them. Three years later, the roles are reversed: she comes onto his album, and he sings. "I wrote that love song before I saw her," Mac said. "We made that song and started becoming close again." By the time it came out, they were together.
Across the whole album, Mac looks at the woman he loves. Here, for once, she looks back. The "my" becomes an "our." The song could almost have been called Our Favorite Part.
In August 2018, Mac Miller plays NPR's Tiny Desk, with Thundercat and Justus West by his side. A few weeks later, on September 7, he passes away. He was 26.
A year later, on the same stage, Ty Dolla $ign closes his set with Cinderella. Thundercat and Justus West are there too. Ty sings alone a song they once shared.
Since then, every unreleased track feels like a letter arriving late. Circles in 2020, Balloonerism in 2025. And now, three songs from the Divine Feminine sessions: Grand, Channel 13 and Butterflies. That last one, produced by Taylor Graves with Thundercat on bass, had been circulating online for years, like a secret shared between fans. Alongside the reissue, the estate is releasing The Divine Feminine Live, a concert filmed in 2016. Part of the proceeds from the deluxe vinyl go to the Mac Miller Fund.
The album ended with his grandmother's voice: love, respect, take care of one another. Ten years later, that's what this reissue does. It takes care of what he left behind.
October 6, 2026
On October 2, The Divine Feminine returned for its tenth anniversary. The Mac Miller estate reissued the album with three tracks from the original sessions: Grand, Channel 13 and Butterflies. Ten years on, it's time to go back to the record where Mac Miller chose love.
Released on September 16, 2016, his fourth album arrives almost a year to the day after GO:OD AM. That record was about getting clean, about depression, about rebuilding. Mac had found his footing again. As soon as GO:OD AM was done, he moved on.
The new project was meant to be an EP. It became an album, because he needed more room to open up. At the start, there was an idea someone shared with him. "It was actually a concept that was told to me," he told Rolling Stone, "about just the energy of the world being a female energy, the energy of the planet." A way of "falling in love with the universe."
When Vulture asked him what the album was about, he kept it simple: "It's love, which is the simplest answer, but the most complex of topics. It's the religious experience of going into that emotion." The divine comes from there.
He explained the title to Nylon: "It's like the divinity of the woman that you're in love with, you know? And it's kind of seeing the whole entire world in her."
That idea is right there on the cover. It's not a design or a montage. It's a real photo, taken by his brother, Miller McCormick, who also handled the art direction. A makeup mirror on a pink background, and in the reflection, the sky. "I saw it and was like, 'wow that's it,'" Mac said. It could have seemed too easy. For him, it was exactly the point: "It summed everything up, and I loved that it was a real photo."
For the 10th anniversary, Chloe Scheffe signs a new cover. She keeps the mirror and the clouds, but redraws the frame by hand. The frame has changed. The sky hasn't.
10 tracks, just over 50 minutes, and the feeling of walking into a room where the light never quite goes out.
Jazz piano, slippery basslines, funk, R&B. Mac slowly lets go of the rapper's reflexes to make more room for the singer. Many songs stretch past five minutes and shift halfway through, giving him space to try things.
He thought of the album as a journey. "That's where we start, the blinding, overpowering love high," he explained. "It gets into sex, issues, resolve." And through all of it, one rule: "There's always hope. No matter what."
From the groove of Dang! to the sensuality of Skin, from the confessions of Cinderella to the softness of My Favorite Part, The Divine Feminine never really changes the subject. It changes the angle.
Even the features follow that logic. "It was features that all happened so organically with people that are just in my life," Mac said. Bilal on Congratulations, Anderson .Paak on Dang!, Ty Dolla $ign on Cinderella, CeeLo Green on We, Kendrick Lamar on God Is Fair, Sexy Nasty. Around them, musicians more than guests: Thundercat on additional vocals for We, Robert Glasper on piano for the closer.
Dang! opens the way. The lead single, released on July 28, 2016, with Pomo on production, bass, drums and keys, and horns played by Juilliard students. Everything sounds light, yet the song is about a relationship falling apart. Melodies that smile while the words confess.
Mac's own favorite moment was elsewhere. "The second part of Cinderella is my favorite moment on the album. It's just the most vulnerable. It's just me singing." No rap, no guest. Just Mac.
At the time, the album split critics. Pitchfork called it "easily his most intoxicating release yet." Gigwise saw it as his 808s & Heartbreak. Consequence heard "so much focus on lust rather than love." Ten years later, Paste reads it differently: on this album, sex is treated with tenderness, as a way of connecting.
With Mac, desire and God can live in the same song. The closing track says it best: God Is Fair, Sexy Nasty. Kendrick delivers his verse, Glasper plays piano, then another voice takes over: Mac's grandmother, speaking about "how important it is to love, respect, and care for each other." After all the desire, all the nights, she has the final word.
My Favorite Part may be the song where The Divine Feminine tells its story most simply.
The album's third single, released on September 9, 2016, it comes near the end of the record. MusicManTy lays down a bassline that takes up all the space, while Mac and Ariana Grande answer each other with an almost disarming ease. No need to overdo it: a few glances, simple words, a chemistry that's enough to carry the song.
It's not much of a surprise. In 2013, Mac had a verse on The Way, the lead single from Ariana's first album and the first top 10 for both of them. Three years later, the roles are reversed: she comes onto his album, and he sings. "I wrote that love song before I saw her," Mac said. "We made that song and started becoming close again." By the time it came out, they were together.
Across the whole album, Mac looks at the woman he loves. Here, for once, she looks back. The "my" becomes an "our." The song could almost have been called Our Favorite Part.
In August 2018, Mac Miller plays NPR's Tiny Desk, with Thundercat and Justus West by his side. A few weeks later, on September 7, he passes away. He was 26.
A year later, on the same stage, Ty Dolla $ign closes his set with Cinderella. Thundercat and Justus West are there too. Ty sings alone a song they once shared.
Since then, every unreleased track feels like a letter arriving late. Circles in 2020, Balloonerism in 2025. And now, three songs from the Divine Feminine sessions: Grand, Channel 13 and Butterflies. That last one, produced by Taylor Graves with Thundercat on bass, had been circulating online for years, like a secret shared between fans. Alongside the reissue, the estate is releasing The Divine Feminine Live, a concert filmed in 2016. Part of the proceeds from the deluxe vinyl go to the Mac Miller Fund.
The album ended with his grandmother's voice: love, respect, take care of one another. Ten years later, that's what this reissue does. It takes care of what he left behind.