Keke Palmer’s Diva Era: A Star in Control
When it comes to being young, hot and in Hollywood, no one does it like Keke Palmer. With a career spanning over 2 decades of acting, singing, producing and directing – just to name a few, there is very little that she can’t do. Fresh off “One of Them Days”, the #1 movie in the U.S. box office on release weekend, Keke Palmer continues to showcase her versatility as a multi-hyphenate powerhouse. Now, she steps into the world of DivaGurl, the fictional R&B girl group at the heart of the mockumentary “The Rise & Fall of DivaGurl”. Their journey to stardom is anything but smooth, but their passion for music keeps them pushing forward. In an exclusive interview with Galore, led by Jason Lee, we got the scoop on all things KeKe Palmer, DivaGurl‘s and everything in between.
FEATURE INTERVIEW:
DivaGurl seems to operate as both homage and satire of girl group culture. What specific moments from groups like Destiny’s Child, TLC, and 3LW inspired you to walk this line between celebration and comedy?
Growing up in the early 2000s girl groups were very prominent, so there was a lot to draw from. For this project I wanted to create my own girl group lore with DivaGurl. You’ll find easter eggs throughout the skits, videos, and artwork. I always thought it was kinda funny how Destiny’s Child became a trio on Access 24/7, we spoofed that moment on episode 3 of DivaGurl “Somebody Can Send Your Luggage”.
The character of Keyana draws from reality TV personalities like K. Michelle and Tamar Braxton. What aspects of their journeys resonated with you most when crafting this character, and how did you ensure the satire remained respectful?
The Reality Show to Superstar pipeline has been interesting to watch. We loved rooting for Danity Kane on Making the Band. We wanted to see Tamar step out from under her sister and create her album on Braxton Family Values. I wanted to create an exaggerated persona that you’d be entertained by as we chronicled the journey that mirrored the template of the traditional girl group narrative. All tea, no shade. It’s all love.
You’ve mentioned drawing visual inspiration from both T-Boz and Beyoncé for DivaGurl’s aesthetic. Can you break down a specific look or moment where you deliberately fused these two distinct styles?
The black and blonde ombre hair is totally T-Boz inspired. I wanted something that could be Keyana’s signature look. Something to differentiate Keyana from me because she isn’t Keke. She’s a character in the Keke universe. LaShay’s character is inspired by Left Eye and the girls from Blaque with her funky natural styles. Monet is Baby Spice and Sade draws from the SWV and Xscape. We reference a lot of groups to make our own thing. Specifically our look at the BET Awards. We recreated the moment when Xscape showed up coordinated at the Soul Train Awards a few years back and 1/4 of the girls went rouge and came in a completely different color. I wanted to reimagine moments like this just set in the DivaGurl universe.
The decision to package DivaGurl as a comedy album with skits feels reminiscent of classic hip-hop albums. What made you choose this format for storytelling rather than a traditional visual album like your previous work?
I experimented with skits on Virgo Tendencies Part I. I’m just doing it with more intention with DivaGurl. The stage is set with elements that people love from me. The clips that people make memes, my character skits, and fashion make up the formula that’s on full display in “DivaGurl” the faux-reality show on KeyTV. It’s not necessarily a visual album but it is a storyline connected to and around the music. I’m just having fun doing improv and playing dress up.
Your KeyTV network is hosting the fictional DivaGurl reality show. How does having your own platform influence your creative decisions compared to working within traditional entertainment structures?
Whitney Houston served as executive producer for the first two Cheetah Girls films, and by the second movie, Raven-Symoné, who starred in the franchise, had also stepped into an executive producer role. With KeyTV, I have the creative freedom to wear both hats as an executive and on-screen talent. This project was also a great opportunity to spotlight my longtime collaborator Lawrence Murray. Together, we brought the DivaGurl story to life. Lawrence also has a series on KeyTV called Unlabeled, and the upcoming season will feature Dawn Richard, famously from Danity Kane.
The song ‘S.O.B.’ references Destiny’s Child’s ‘So Good’ while ‘Leave Me Alone’ draws from 3LW’s ‘No More.’ What specific elements from these classics did you want to preserve or reimagine?
The synths in the pre-chorus of “S.O.B.“ are a nod to the signature sound of the late ’90s and early 2000s, like DC’s So Good. Even the drum kicks channel the vibe of TLC’s CrazySexyCool. The catchy chorus of 3LW’s No More is cleverly interpolated in Leave Me Alone. I wrote these songs alongside my producer KP and other talented writers to ensure the music feels fresh, fun, and full of energy.
You’re creating what you’ve called “Empire music”, tracks specifically designed for TV and film synchronization. How does writing with screen placement in mind differ from creating music purely for album release?
Some people might dismiss “Empire music”, but I’ve always seen it as a smart business move. It’s been a key part of my strategy from the start. I had songs on the soundtracks of my early films, like “All My Girlz” (Akeelah and the Bee), “It’s My Turn Now” and “Jumpin” (Jump In). Later, working with Rodney Jerkins and Muni Long on the Rags soundtrack gave me deeper insight into creating music with a storyline in mind. In those experiences the music was shaped around the story. This project the music came 1st and we built the story around it.
The deluxe edition interludes expand Keyana’s storylines through comedy skits. Can you walk us through your process of developing these scenarios and how they connect to the music?
DivaGurl has a whole reality show and a “Rise & Fall of DivaGurl” behind-the-music mockumentary dropping. It’s my version of This Is Spinal Tap or Jackie’s Back. There’s a lot of personality, there’s meme-worthy moments in the show, I wanted to expand on the comedy and tell the story within the framework of the album. The music is there as a base and the skits add color to the story.
DivaGurl’s artwork reimagines iconic covers from TLC, Destiny’s Child, and the Pussycat Dolls. Which specific album covers did you reference, and what modern twists did you add?
The artwork draws a lot of inspiration from Destiny’s Child iconography. For example, the cover of our first single, “S.O.B.”, reimagines the cover of DC’s debut album, where Beyoncé, although the lead, wasn’t front and center but positioned off to the side. By the time you look at the second and third covers, Beyoncé is prominently in the center, which inspired the Survivor album cover homage for the DivaGurl EP. At this point, Keyana’s character is also more developed. The Rock With You cover blends elements from The Pussycat Dolls’ debut album with the vibe of TLC’s CrazySexyCool for a unique visual.
As someone who’s portrayed various characters throughout your career, how do you approach differentiating Keyana’s voice and mannerisms from your previous characters like GiGi Nixon or Chilli?
Keyana is a bit over-the-top, similar to GiGi Nixon, but as I’ve mentioned, she’s not Keke. In fact, Keyana and Keke have their own beef, which you’ll learn more about on the DivaGurl Deluxe. It’s where I’ll share stories that didn’t make it into the DivaGurl reality show or “The Rise & Fall of DivaGurl”. This project is designed to be a fully immersive experience—if you’re following it, you know what’s going on.
The songs “Afford It” and “Rock With You” are featured in your new films. How do you approach writing songs that need to work both as standalone tracks and as part of a film’s narrative?
The music is created first and then pitched, like with my song Bossy when I was on STAR. That song came from the recording sessions for my project Virgo Tendencies. I had already started working on the album before filming STAR, and when I came across Bossy, I pitched it to Lee Daniels. It fit perfectly with the character GiGi’s vibe. They weren’t necessarily looking for music, but because it was a music based show me pitching my music aligned. The key difference with DivaGurl is that I maintain ownership since it’s being released through my network, KeyTV.
You’re working with dancers who portray the other DivaGurl members. How much of their characters’ backstories have you developed, and how does this inform the group’s dynamic?
I had the story beats for DivaGurl mapped out before we casted the girls, and we selected them based on their personalities. LaShay brought a sporty spice energy, Monet had a baby spice vibe, and Sade embodied the business scammer role. Keyana was crafted to be the posh one of the group. As we started filming the videos, this concept evolved into a production within a production, me and Lawrence continued building on it as we went. Huge shoutout to Ariel (Sade), Dawhiya (LaShay), Maleah (Monet), and Shae (Chante) —they were amazing sports and fully embraced the campy vibe of the project.
Your journey from child star to multi-hyphenate creator gives you a unique perspective on the entertainment industry. How does DivaGurl comment on or subvert industry expectations?
The music industry has changed so much since I dropped my first album So Uncool back in 2007. Social media has made music more accessible than ever, and that shift has had huge ripple effects. As quirky as it is, DivaGurl offers a commentary on the current state of the industry. It’ll all make sense when we zoom out and tell the full saga of the group in The Rise & Fall of DivaGurl.
The project seems to balance nostalgia with contemporary elements. How do you decide which classic girl group tropes to preserve versus which ones to update or challenge?
The concept for this DivaGurl project centers around celebrating girl groups and paying homage to the music I grew up loving. In contrast, my upcoming album is about shedding the characters and sharing my personal stories with my fans. It’s a completely different vibe, rooted deeply in R&B and is sonically more progressive.
What 90’s or 2000’s R & B baddies would you want to star in pop group together if you were the Maestro?
Raven Symone, Tatyana Ali, and Asia Cruz haha.
Talk to us about your new movie with Issa Rae and Sza and what working with other strong black women in film feels like?
It was amazing because it was just us two everyday and we were working really hard and could lean on each other in a special way that u don’t always get to do at work. DivaGurl also has a song “Afford It” featured in the movie.
We are gearing up for Met Gala soon can we expect to see Diva Gurl on carpet? What designer will be dressing them?
DivaGurl isn’t ready for that. Keke Palmer made sure their invitation got lost in the mail.
What is next for you and for Diva Gurl on this epic journey?
Get ready for a music video for “Leave Me Alone“ to wrap up the DivaGurl musical saga. Once The Rise & Fall of DivaGurl is released, we’ll transition into a new chapter with the upcoming Keke Palmer album. After that, it’s tour time—DivaGurl will be opening for me, of course!
TEAM CREDITS:
Editor-in-Chief: Prince Chenoa
Feature Editor: Taylor Winter Wilson (@taylorwinter)
Interviewer: Jason Lee (@theonlyjasonlee)
Photographer & Cover Art Design: Lawrence Murray (@lawrencesmurray)
Wardrobe Stylist: Assad Tyler (@assadtyler)
Assistant Wardrobe Stylists: E’yerriah Smith (@stylesbyy.e) , Lanair Maison (@iamlanair)
Hair Stylists: Kira Dior (@kiradiorhair) , Richard Benn III (@richhairla) , Amor Chea (@_adore_amor_)
Makeup Artists: Kevin Luong (@kvn.luong) , Patrice Harris (@pattyfbabe) , Kenya Alexis (@basedkenken) , AJ Torres (@leimaje)