Chart Beat

Sitting in her childhood bedroom and noodling on her guitar in February 2024, 24-year-old Gigi Perez was thinking about the scope of her songwriting. She’d been ruminating for a while on the idea of a frantic kind of love, and how to connect it to her lyricism. “When that person is so constant in your life, it’s kind of like you fall into it, and you have nothing else to grasp on to,” she tells Billboard. “It came from that desperate place.”
All of a sudden, a line popped into her head: “Kiss me on the mouth and love me like a sailor.” As she kept strumming and writing out new lines to add to the chorus of her growing song, the singer-songwriter realized she wasn’t the only one listening. “My door happened to be open, and my little sister walks by and says, ‘Oh, Gigi, that’s really awesome,’ ” she recalls.

And as the idea has moved from work in progress to completed product, it’s clear that the world feels the same way. After Perez began teasing the track in earnest on her TikTok in the spring, users quickly latched onto the hook, clamoring to hear a full version. They finally got to hear it on July 26, when Perez unveiled “Sailor Song,” a stirring, emotionally raw ballad that sees Perez turning her feelings of longing into a sweeping, queer-coded love song. The song debuted on the Aug. 31-dated Billboard Hot 100 at No. 98, and it has since spent six weeks on the chart, reaching a No. 46 high on the list dated Sept. 28.

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For Perez, the sudden, rapid success of “Sailor Song” feels like a culmination of all the work she’s put into her independent career — and one that enabled her to accept a record deal with Island Records in September. “I feel truly ready for this,” she says. “And I know exactly what I’m looking for.”

Perez walks Billboard through the writing process of “Sailor Song,” explains why she learned how to produce her own work and breaks down what it means to have a queer love song making waves in modern pop culture.

When did you first start working on “Sailor Song”? What was the original idea that led you to making this?

A lot of the process for me is typically just having my guitar and freestyling, and that’s mostly how the songs come — I was in that progression of writing, and I just said, “Kiss me on the mouth and love me like a sailor.” So, I kept going; I had the chorus done that night.

It really just stayed as a chorus for a while, and the lyrics had changed. There were certain little words that changed the meaning of what [the song] was. Once I had written the verses, I pulled a melody from another song I had written and put that into this song. It really is one of those things where it was a puzzle putting it together, but there wasn’t much resistance. Other times, in order to get something like that, you have to really dig for it.

I love a song that is good at creating imagery without having to explicitly spell out the imagery — the use of the sailor as an image almost makes the song feel mythical in scale, which is really effective.

There’s something about this thought — and I don’t know if it’s because I grew up by the water and spent so much time in my childhood at the beach — that little by little, these beach and sea and water themes just kept appearing in my songs. It’s really sweet because I was thinking, “How do you compile the things that are on your heart and that you want to say in a way that makes sense?” It wasn’t until “Sailor Song” that I looked back and was like, “There’s been a whole path being laid subconsciously,” which is very cool.

I was struck by the fact that your voice sounds like it’s in the distance on this track — what did your setup look like when recording and producing “Sailor Song”?

I went into this chapter of my life [feeling] in my soul like I hit a point where I wasn’t collaborating with people because I wanted to, but because I relied on it. There was a lack of expression on the production side, [but] I think things ended up falling together perfectly. I moved back home, and in the same way I taught myself the guitar, I watched a bunch of YouTube videos and messaged the collaborators who I really admired to ask them questions about producing. It was a lot of throwing things at the wall and learning little things here and there. Like, how does EQ [equalization] really work? What is a compressor? I was allowed time to really experiment with production and recording. It makes me feel the same way that I felt when I was 17 — that’s something I keep coming back to: That first rush of recording, when I was just doing it with my high school band, and we were just uploading files on Spotify and SoundCloud.

As far as the recording and what happened, I use an SM7 [microphone], and I started doing this thing [while recording my voice] where I do three vocals and I pan [one] a little bit to the left, [one] a little bit to the right and one right in the middle. And then I threw in certain kinds of reverbs that give it a roomy kind of sound. I also have an amazing mixer, Matt Emonson, and he just takes it away from there. I just wanted something that felt really intimate and yet really big.

Once you started teasing this song on TikTok, it blew up and fans were itching to hear the full thing. What was that like for you to witness in real time?

I was really happy. I feel like I’d gotten to a certain point where I just started enjoying music again in a way that I truly felt like was honoring my happiness. That was the main principle that I felt through being independent and being able to work on music in a different way. And then when I saw that people were really enjoying it, I was like, “That’s so genuinely awesome.” It was a slow burn in terms of getting to where it’s gotten to now but to know that it was something that really pulled on people means everything to me.

One of the things in life that I’ve struggled with — and part of why I decided that I wanted to be an artist — is the feeling of loneliness that comes with the lie that no one understands you. I think about the artists that changed my life in that way, and one of the first gay projects that I had that with was Troye Sivan’s [2015 debut album] Blue Neighbourhood. That changed my life. I couldn’t even imagine that somebody could be there for me during a time when I couldn’t express or understand what I was feeling. I didn’t grow up in a space where that was something that existed, and if it did, it was very taboo. It’s so beautiful now that there’s so much media that really highlights the gay and queer experience. Kids need that. Actually, people in general, not just children. There are still people all around this world [who] live in an online world and escape through music. It’s very special to me that, in any capacity, I could be a part of that.

To that point, it feels like queer messaging in music is having a genuine moment this year where songs that are about queerness are hitting the charts in a major way. What is your reaction to that level of visibility in the mainstream?

I think we’re only scratching the surface right now. Representation is so, so important. It’s the thing that gives people the courage and the ability to dream that you can do whatever. You, as a person, can take up space. I think there’s an identity part of it, and then there’s just the actual human part of it, and those two things are very important to me. Every queer artist is going to share their story and their identity differently. I’m only one person, and my message is only going to connect [with] and reach the people that it’s meant to. That’s why I think it opens up the bridge [for other artists], and I’m really excited to see everything that’s happening in queer music.

You recently signed to Island Records — what has the transition from independent artist to being signed at a major looked like for you so far?

I feel so blessed. It’s been such a weirdly spiritual experience, in terms of things happening behind the scenes. It feels like this thing is really guided. I didn’t know a year ago that any of this would happen, and I think I had a very clear vision where I said, “I’m going to stay independent, and this is the way I’m going to do it.” The fact that that has changed [means] I’m so grateful for all of the experiences that I’ve had over the last few months to lead me to this moment. They’re going to be an amazing home.

A version of this story appears in the Sept. 28, 2024, issue of Billboard.