On Fight, Lynn’s goal was to speak to women in their 20s, 30s, and 40s — women who have lived a bit of life. “They aren’t out on their first date or having their first kiss,” she says. “There’s depth to their stories and experiences. I know these women because I’m around them every day. On my new songs, I wanted to continue to pay attention to the inner voice and show the struggles we deal with as women in relationships.”

Lynn plans to release her new music in stages this year instead of all at once because she feels like that’s how the mind works after a break-up. “Especially with a relationship you cared deeply about,” she says. “You’re scattered. You’re missing the person. You’re mad at them, and at yourself. You’re dissecting every good and bad thing that went on. ‘What could have been different? Were they actually ‘the one’?’”

To help her express her vision both lyrically and sonically, Lynn enlisted such heavyweight songwriters as Shane McAnally, Caitlyn Smith, and Gordie Sampson, as well as Grammy Award-winning producer-engineer Ben Fowler, who also produced Fight. “Ben is able to capture a vulnerability in my voice, honing in on the raw and vocally defining moments and capitalizing on them,” she says. “He truly has a keen ear for finding those takes that carry the emotion just enough without getting lost in it, but also conveying the story of the song. You feel like you're standing right in front of the listener and singing in their ear.”

Lynn’s new songs are a welcome addition to the catalog of music she has released since launching herself as an independent artist in 2014. She has established herself as one of country music’s sweetest rising voices thanks to a string of singles — “Afterparty,” “Bar Hoppin’,” “Hey California,” and “Somebody Kissed Me At A Bar” — that reflect both her love for country music and her roots as a California girl. Lynn grew up in a rural part of Chino, California, in “a neighborhood full of horses, horseback trails, and ranch-style homes,” she says. “There was a dairy farm down the street from our house, next to my elementary school and church, and no shortage of cows everywhere.” Lynn has a clear memory of the first time she heard one of her favorite country songs as a child. She and her mother were in the car driving through Chino when Deana Carter’s languid ballad “Strawberry Wine” came on the radio. “She was singing about ‘the ‘hot July moon’ and the ‘green on the vine’ — all this vivid imagery that resonated with me on a very deep level,” Lynn says. “The loss of innocence in that song is so relatable. Whenever I hear it now it reminds me of times during my childhood when everything was more simple. That’s what I love about country music. The best songs are so powerful that they actually can define moments in people’s lives.”

Lynn began singing at the age of seven, right before her family moved to Brea, CA, in Orange County. She spent hours watching the country music TV networks, gravitating toward such artists as Trisha Yearwood and Dixie Chicks, as well as Shania Twain and Faith Hill. Of the latter two, she says, “Aside from the fact that I loved their music and dynamic voices, they came across as wholesome, yet sexy and glamorous at the same time. They seemed like the girl next door you wanted to be best friends with; the kind of artist I aspired to be someday.” While attending Pepperdine University, Lynn was gifted a copy of Patsy Cline’s Ultimate Collection by her aunt, which sparked her interest in other classic country artists like The Judds and Alan Jackson. Inspired by their timeless storytelling, she began looking for people she could write and record demos with after graduating. “I had always written, whether it was journaling in a poetic way or coming up with my own lyrics,” she says, “but after college I put my focus on setting lyrics to melodies.”

Since then, Lynn has traveled between Los Angeles and Nashville (where she now spends half her time) to work with some of Nashville’s hottest songwriters and hit-makers, including Rascal Flatts’ Jay DeMarcus (who produced her self- titled debut EP), Dave Brainard (“Hey California,” debuted on Radio Disney Country), Ross Copperman (“Afterparty,” which was picked up by SiriusXM’s The Highway, and “Bar-Hoppin’,” which has racked up over 668K plays on Spotify), Jeremy Spillman (who co-wrote her debut track “You Belong” with Lori McKenna), Hall of Famers Gary Burr and Tom Schuyler, Tia Sillers, Victoria Banks, Paul Brandt, Mike Mobley, Travis Meadows, Bonnie Baker, and Bobby Hamrick. Lynn has also made a name for herself on the live circuit, opening for Brad Paisley, Kenny Chesney, Cole Swindell, Kenny Rogers, Jana Kramer, and Josh Thompson, as well as performing during CMA Fest and Milwaukee’s Summerfest, and playing local Nashville venues, including 3 rd and Lindsley, The Listening Room, and the Wildhorse Saloon.

Over the holidays, Lynn released her first Christmas song, an original entitled “My Christmas Wish For You,” written by Richard Marx and Linda Thompson. She debuted it live at Nashville’s legendary Ryman Auditorium at the “Christmas 4 Kids Benefit” concert alongside such acts as Shenandoah, Mitchell Tenpenny, and Halfway to Hazard. “It was my first time performing at the Ryman — a rite of passage for any country music artist to hit the stage of the Mother Church for country music,” she says.

Of her most recent release centering on the second chapter in her Fight couple’s story Lynn has been anticipating how people will receive the music. “I hope people will feel like they can relate to the story,” she says. “Some of these songs are lyrically heavy, and they deal with vulnerable emotions. A lot of us have minds that are always running, dissecting, and overthinking things, and that’s what these songs reflect. But I feel like our minds race over these things so that we can process and grow from them, which is why I aspire to bring hope and comfort through my music.”