NAME:
Franni Cash
ABOUT
Franni Cash has left everything she’s known in the rearview mirror, mustering up the courage and confidence to reimagine herself as a solo artist. Originally the world met her as a showstopping performer, empathetic songwriter, and vocal dynamo in the GRAMMY® Award-nominated Platinum-certified We The Kingdom—which she co-founded. It would’ve been easy to stay the course and remain in the band, but with a newfound strength and creative muscle, a heavy heart and a clear head, she walked away from the group, rekindled her passion for music, and returned to the studio refreshed and ready to make her statement. Her 2025 solo debut, Wild Child is the sound of a young woman reclaiming her voice and unapologetically speaking her mind without fear or filter.
“This chapter of my life is for me, about liberation,” she says. “I felt like it was time for me to be authentic in my songwriting, make the music I want to make and be the artist I want to be.”.
Following her departure, she left Nashville for a while to spend time on the West Coast. She immersed herself in a broad spectrum of influences, listening to everyone from Kacey Musgraves, Joni Mitchell, Bob Marley, and Sheryl Crow to Chris Stapleton, Chappell Roan, SZA, and U2. After about six months, she started to write again only this time, she did it for herself and not for a band. “I felt a new sense of creative autonomy,” she says. “I decided to own it and show what I could do.”
Ideas poured out as she spent weeks in the studio, writing over 100 tunes and sharpening her skills as a songwriter. She teased this era with “Wildflowers” co-written with Austin Cain, Andy Cherry, and David Leonard. Revolving around organic banjo, airy keys, and a magnetic vocal take from Franni, it channeled “this earthy, colorful, sparkly but raw sound,” setting the tone for her solo artistry. Working with Cameron Jaymes [Rachel Platten, Alana Springsteen] encouraged Franni to explore.
“Cameron is from a completely different world musically, which is what I needed,” she states. “In a way, working with him was a risk, but in a way he inspired me to make the music I came to understand was what I wanted to make. He’s really been a mentor for me. He helped me let go, to stop worrying about success and numbers and just write.”
Produced by Jaymes, the single “Koolaid” sees her break from the past without apology. A steady beat drives the track accented by spacey guitar and shimmering keys as she sets the scene, “I used to sit down in the basement taking in every word he was saying, but now that I’m older I’m over the play-pretend façade.” It culminates on a declaration, “I don’t want the Koolaid I’m sure…I want the water.”
She goes on, “This is about those moments when faith feels clouded by confusion and hurt, but deep down there’s still a desire to find the joy. This is the second song I released as a solo artist and I’ve truly loved the freedom of making music that’s been honest to who I am and where I’ve been.”
Then, there’s “Misfit.” Another Jaymes production, she co-wrote the tune with Natalie Hemby. Sunny guitar belies biting confidence in her lyrics as she immediately dispels hypocrisy with a wink, “Gary told me that I wasn’t a Christian if I got a tattoo,” going on to turn the tables, “But they don’t really know how much I pray at night, they just see the things that they don’t like.” She puts it best on the hook, “And Jesus was a misfit too.”
“Sometimes, I feel like a misfit in the world and, especially, in Christian culture,” she comments. “I'm rough around the edges. I have tattoos and a nose ring, and I don’t feel like I fit in with the ‘Female Christian Mold’. It's okay to be different and free though. Not everything is so black and white. It’s a lot of what I’ve come to understand.”
Stark and shuddering piano tiptoes beneath her evocative and spirited delivery on “Anywhere,” a song Franni produced and co-wrote with her father. Her vocals teem with raw emotion, “I know you’re in pain. You feel it in your bones. It feels insane.” On the hook, she assures, “Doesn’t matter how bad it is, I'm not going anywhere.”
“I tried to write a peaceful, comforting, and hopeful song,” she reveals. “It was something I needed to sing for myself. I needed to give myself extra grace. I really love my fans and the community I've been so lucky to build with them. I want my music, what’s out now and what’s still to come, to be relatable, to feel inclusive - to sound infectious and fun. Most of all I want my music to mean something.”
“When someone listens to these songs, I hope they’ll feel the same freedom I felt,” she says. “This music is an invitation; that I hope encourages everyone to take a deep breath, let the pressure off, and be whomever they want.” By finally being herself, Franni has an opportunity to resonate with as many people as possible and perhaps inspire them to make a needed change while providing them with the soundtrack to that change.
Expand“This chapter of my life is for me, about liberation,” she says. “I felt like it was time for me to be authentic in my songwriting, make the music I want to make and be the artist I want to be.”.
Following her departure, she left Nashville for a while to spend time on the West Coast. She immersed herself in a broad spectrum of influences, listening to everyone from Kacey Musgraves, Joni Mitchell, Bob Marley, and Sheryl Crow to Chris Stapleton, Chappell Roan, SZA, and U2. After about six months, she started to write again only this time, she did it for herself and not for a band. “I felt a new sense of creative autonomy,” she says. “I decided to own it and show what I could do.”
Ideas poured out as she spent weeks in the studio, writing over 100 tunes and sharpening her skills as a songwriter. She teased this era with “Wildflowers” co-written with Austin Cain, Andy Cherry, and David Leonard. Revolving around organic banjo, airy keys, and a magnetic vocal take from Franni, it channeled “this earthy, colorful, sparkly but raw sound,” setting the tone for her solo artistry. Working with Cameron Jaymes [Rachel Platten, Alana Springsteen] encouraged Franni to explore.
“Cameron is from a completely different world musically, which is what I needed,” she states. “In a way, working with him was a risk, but in a way he inspired me to make the music I came to understand was what I wanted to make. He’s really been a mentor for me. He helped me let go, to stop worrying about success and numbers and just write.”
Produced by Jaymes, the single “Koolaid” sees her break from the past without apology. A steady beat drives the track accented by spacey guitar and shimmering keys as she sets the scene, “I used to sit down in the basement taking in every word he was saying, but now that I’m older I’m over the play-pretend façade.” It culminates on a declaration, “I don’t want the Koolaid I’m sure…I want the water.”
She goes on, “This is about those moments when faith feels clouded by confusion and hurt, but deep down there’s still a desire to find the joy. This is the second song I released as a solo artist and I’ve truly loved the freedom of making music that’s been honest to who I am and where I’ve been.”
Then, there’s “Misfit.” Another Jaymes production, she co-wrote the tune with Natalie Hemby. Sunny guitar belies biting confidence in her lyrics as she immediately dispels hypocrisy with a wink, “Gary told me that I wasn’t a Christian if I got a tattoo,” going on to turn the tables, “But they don’t really know how much I pray at night, they just see the things that they don’t like.” She puts it best on the hook, “And Jesus was a misfit too.”
“Sometimes, I feel like a misfit in the world and, especially, in Christian culture,” she comments. “I'm rough around the edges. I have tattoos and a nose ring, and I don’t feel like I fit in with the ‘Female Christian Mold’. It's okay to be different and free though. Not everything is so black and white. It’s a lot of what I’ve come to understand.”
Stark and shuddering piano tiptoes beneath her evocative and spirited delivery on “Anywhere,” a song Franni produced and co-wrote with her father. Her vocals teem with raw emotion, “I know you’re in pain. You feel it in your bones. It feels insane.” On the hook, she assures, “Doesn’t matter how bad it is, I'm not going anywhere.”
“I tried to write a peaceful, comforting, and hopeful song,” she reveals. “It was something I needed to sing for myself. I needed to give myself extra grace. I really love my fans and the community I've been so lucky to build with them. I want my music, what’s out now and what’s still to come, to be relatable, to feel inclusive - to sound infectious and fun. Most of all I want my music to mean something.”
“When someone listens to these songs, I hope they’ll feel the same freedom I felt,” she says. “This music is an invitation; that I hope encourages everyone to take a deep breath, let the pressure off, and be whomever they want.” By finally being herself, Franni has an opportunity to resonate with as many people as possible and perhaps inspire them to make a needed change while providing them with the soundtrack to that change.
Social Feeds
