Mags Duval is a Nashville-based songwriter operating at the intersection of instinct and precision, known for crafting records that feel immediate, intentional, and built to last. With a sharp ear for melody and a clear command of concept, she played a defining role in Alex Warren’s debut album You’ll Be Alright, Kid (Chapter 1), including the global No. 1 “Ordinary” and Top 40 records “Burning Down” and “Carry You Home.” Her writing moves effortlessly across lanes, with recent cuts for Teddy Swims, Jelly Roll, Warren Zeiders, Benson Boone, Elizabeth Nicholls, and more, quietly shaping some of the most resonant songs in today’s pop and country landscape.
Did “Ordinary” set a new benchmark for how a demo should feel, or was it just another day in the studio trying to make the best song possible?
That’s a great question. It really did! The demo felt almost identical to the record. We spent eight hours on the background vocals alone, making ourselves sound like a choir before Alex cut the lead so he could feel that energy behind him. I’d say we spent a solid four days writing, re-writing, and making that demo.
Name a few key collaborators and something that makes each of them special.
Adam Yaron I really can’t put into words. He’s a musical genius, but also the kindest soul, and I always feel so safe to create in a room with him and trust him with ideas. Cal Shapiro will come up with these melodies that just blow your mind and is also such a genuine person, and has helped me become a more confident writer. Alex Warren is a storyteller and such a good human. He will speak in songs sometimes, and I’m just trying to capture what he says and put it into the song. He brings his whole heart and soul into the writing room, and that’s taught me so much.
Is there a story from the making of “Ordinary” that not many people know about?
Many. One funny one is that the coffee at the studio was really watered down, and Cal walked in one morning when we had already written the chorus the night before and goes, “They say the holy water’s watered down…” in the exact melody the song begins with, referring to the coffee, and we decided it must be in the song.
What routines have you developed to navigate the ups and downs of the music industry? Are there habits outside the studio that help you stay emotionally connected to your writing?
I’ve made a conscious effort over the last few years to seek out mentorship from writers who are significantly older than me and still love music. Making music is everything to me, and I felt myself starting to become jaded a few years ago, and it scared me deeply. Finding people on the other side of the hustle of it all who still have peace and love for the craft is really vital, in my opinion.
Songs like “Ordinary” feel very personal but also very universal. When you’re writing, how do you balance specific details with something everyone can relate to?
Honestly, that’s something I love about pop music. I first got my start in Nashville, which was a masterclass in storytelling. I’d had the concept in my phone, “out of the ordinary,” about a love so magical that takes you out of the ordinary. Alex and Kouvr’s love story is so incredibly true to that and inspires me so much. The process of writing it felt nothing short of that magic. I love that so many people have been able to see their own stories in it!
What’s your ideal ratio of development to pitching? Is there something that energizes you about moving between the two?
Even when I’m writing pitch, I really search for truth. I’m a strong believer that if someone in the room strongly relates to the song, others will too. I apply that to writing with artists as well!
How has your relationship with patience evolved over the years? And what habits have you developed to leave the industry side of things at the door when you show up to a session?
Nothing kills my vibe like thinking about the things I hate about this industry in the writing room. I really try to leave all of that at the door of the studio. I’ll confide in friends about things that happen on the phone afterward or over coffee, but I really try to keep the writing room sacred.
What’s the backstory behind how your Teddy Swims cut “Flames” came together?
I wrote it with Teddy, John Ryan, and Steph Jones at a writing camp years ago in Tennessee! We actually wrote it about having writer’s block and trusting we’d find that flame again.
Who’s someone in your life who helps eliminate stress and create room for inspiration to thrive?
Honestly, my mom and my fiancé. They’re both creative people and two of the most positive people I know. They really help me navigate certain situations, and I love that they are creative in different ways from me, so they understand my brain, but offer a different perspective outside the music business.
If you could put one sentence on a billboard for every young creative starting out, what would it say?
“But does it make you feel something?”
I used to get so fixated on being clever and saying something in a way no one has said it. I’m a lyrics-first writer. At the end of the day, it doesn’t matter if it doesn’t make you feel. Stay connected to the magic of that instead of getting too lost in the weeds of being different.
There are always unsung heroes behind massive success stories. Who deserves a shoutout for their role in helping “Ordinary” become what it became?
Honestly, Alex. He believed in that song so wholeheartedly and made a vow to make it known. He put everything into promoting it long before he saw support from his team to put any spend behind it. It’s rare to see that kind of dedication before any proof that it was going to be big. He believed big.
Some of the best work happens during the first sprint of intuition. How have you learned to tell when something needs to be revisited versus when it’s best left untouched?
Yes! Honestly, I love that I’ve found a crew of people that are down to turn over every stone with a song. If there’s one part one of us doesn’t feel amazing about, we always take the time to see what else it could be. Sometimes that takes you back to your first instinct. Most of the time, it ends up being so much better for it.
As someone who is so well liked in the songwriting community, what are some qualities beyond raw talent that make a writer consistently invited back to sessions?
I think being kind and present with people in general is important, in and out of the writing room. My favorite songs end up being written with people who have also become great friends, and I don’t see that as a coincidence. I look at every day with new people in the studio as an opportunity to connect and potentially make a friend. If great music comes from that, it’s a bonus.