graduation

When Gigi Perez took to the stage at the Austin City Limits Festival earlier this month, it felt like the universe was holding up a mirror, reflecting back all the growth she’d done in the four years since her last performance there.

Back in 2021, the Cuban American singer-songwriter had a newly-minted record deal and a handful of viral SoundCloud singles — the wistful acoustic guitar track “Sometimes (Backwood)” and the devastatingly raw “Celene.” The 2021 edition of ACL was the first festival she ever performed, and though her early afternoon slot at one of the smaller stages attracted a few dozen audience members, Perez had spent so many years dreaming of the opportunity that it didn’t matter. She was happy just to be there.

This month, Perez returned to Austin no longer an emerging artist, but as a rising star. Her mega-viral single, the lovesick folk ballad from 2024, “Sailor Song,” had topped the U.K. singles chart and earned more than 1 billion streams on Spotify. On the back of its success, she spent the first half of this year opening for Hozier in support of her 2025 debut LP, “At the Beach, in Every Life.”

So when she took the stage at ACL in October, this time it was for a coveted golden hour set, with a sea of people stretched out before her — and a chorus of voices singing along to her every word.

“It was magical,” Perez told De Los. “There were people there who were actually at my first set in 2021, standing in the front. It meant a lot to me. I think that there’s a shock that I still experience with people coming to my set at a festival.”

At 25 years old, Perez has lived more life than most. Born in New Jersey and raised in West Palm Beach, Fla., the singer grew up in a devoutly Christian Cuban household, the middle child of three sisters.

As a teenager, the religious values she’d been steeped in were beginning to clash with her own realizations about her sexuality — and music provided a lifeline. The queer artists she listened to, like Hayley Kiyoko and Troye Sivan, tapped into feelings she hadn’t been able to articulate, and inspired her to write music that would allow her to express them in her own words.

At 18, just as she was preparing to head to the Berklee College of Music in Boston, her grandmother and uncle passed away, just weeks apart from each other. These dual losses set off a wave of grief and sparked difficult questions about her faith. She was struggling to regain her footing over the next year when, just months into the pandemic, her family experienced the sudden loss of her older sister Celene.

Perez felt unmoored. Her whole life, Celene had been a north star, a guiding light who inspired her to take up music, and who wanted to be a singer herself. Perez did what she knew how: wove her pain and anger and devastation into music, writing the soul-stirring tribute, “Celene.”

“The other day, I thought of something funny, but no one would’ve laughed but you,” she sings. “And mom and dad are always crying. And I wish I knew what to do.”

(Cat Cardenas / For De Los)

Her first original songs gained traction on TikTok, getting the attention of Interscope Records. From there, her career began to take off. She opened for Coldplay and Noah Cyrus, releasing her first EP, “How to Catch a Falling Knife,” in April 2023. Then, just months into a string of performances scheduled in London that summer, the label released her from her contract.

“I remember just being dumbfounded,” she said. “It was this immediate, very deep sense of fear and failure.”

But the funny thing about grief — that all-consuming force that had dragged her out to sea multiple times over the last several years — was that as suffocating as it could be, it was also surprising and unpredictable. So despite the depth of complicated emotions washing over her, Perez was acutely aware that this news was nothing compared to the loss of her sister. “So many things that happen in my life don’t affect me in that same profound way,” she said. “That was one of the things that made me. I don’t know, it’s hard to find the words even now.”

Growing up, Celene had her sights set on Broadway. She introduced Gigi to several musicals, from a bootleg version of “Legally Blonde,” to her first live theater experience in “Wicked,” to the cast album of Lin–Manuel Miranda’s “In the Heights.” They played one song from the soundtrack, “Breathe,” on repeat. It’s sung by the character Nina, the daughter of immigrants in Washington Heights, who returns home in shame after having to drop out of Stanford University.

“That’s how I was feeling at the time,” Perez professed.

In London, she listened to the song on repeat. Then, she started writing. From the beginning, her style has always been instinctual; a freeform jam session where she sits at the piano or with her guitar and just lets her ideas flow out. The title came to her first — “At the Beach, in Every Life” — and the song poured out of her, nearly word for word.

“I remember the first time I played those chords on the piano, I had no idea what was going to happen,” she said. “I just knew something was opening up inside me, but I had no idea how deep the well was going to be, or that I was going to be an artist who gets to travel the world. I just had these desires, these visions, but to really live it is something else.”

After finishing out her commitments in the U.K., she moved back home to Florida. From her childhood bedroom, she began to rebuild. She taught herself music production and kept writing more songs. Without intending to, the puzzle pieces of the last few years of her life began to fall into place, and the grief that had consumed so much of her story finally had an outlet.

“At the Beach, In Every Life” details a breaking down of Perez’s walls. Her sadness and regret washes over tracks like “Sugar Water” and “Crown,” building into fiery passion on “Chemistry” and “Sailor Song,” before cresting into the haunting resolution of the title track that closes it out. It’s a portrait of loss and yearning, made up of vivid recollections from her childhood, her family, and her previous relationships. In short, it’s the album she wishes she could’ve listened to five years ago when her pain seemed insurmountable.

“I had just been operating blind for so long,” she said. “Being able to share my experience of loss in this specific way, it’s something that my 20-year-old self would be in disbelief of. At the time, it was like being without air, the isolation was so suffocating.”

Not long ago, Perez’s sadness could sometimes make her self-conscious. She wanted to share what she was going through, but she also didn’t want to be defined by it. “I didn’t want to be that girl who was always talking about her sister, but there was this very genuine desire to cry out for help, or acknowledge her,” she said. “Everyone is different, but for me, I needed to acknowledge her in order to be well.”

Fans of Gigi Perez at the barricade during her performance at this year’s Austin City Limits Festival in Austin, Texas.

(Cat Cardenas / For De Los)

Now, not even five years later, it feels like she’s finally turned the page and started a new chapter. “I’ve been able to build a life around my grief, and honor the loss of my sister in a way that’s helped me,” she said. “I don’t know exactly what healing should look like, but her death affected me and continues to affect me in these very profound ways. This is the best case scenario for me, because I get to share it with others — that’s one of the things that makes it so difficult to navigate: the feeling that no one understands you.”

“Knowing that we’re not alone has really saved my life,” she said. “I used to be the person thinking, ‘What’s the point of being alive?’ But knowing there are other people with the same question, I know now that we can hold each other’s hands through that. That’s given me a purpose and that helps me continue to move through it.”

In the process of writing the album, Perez found ways to bring both of her sisters along for the ride. There are voice memos from Celene, along with a snippet of her singing on “Survivor’s Guilt.” But there’s also “Sugar Water,” a track she co-wrote with her younger sister, Bella, who joins her onstage to perform the song on tour. “Anyone who has two sisters knows the chaos and intensity that can bring,” she said. “But we loved each other, and we still do. My relationship to what it means to be a woman was shaped by having sisters, and Celene and Bella are the closest reflection that I have of myself.”

Amid this wild, almost unbelievable year, Perez has been grounded by her family’s presence. Her mom is part of her management team, and her dad has joined them on the road.

“There’s something to be said about being in it so much that it’s almost hard to physically feel it on the level you want to,” Perez said. But over the last few weeks, as she’s gotten the opportunity to revisit the places where she first found her footing as a performer, she’s had the opportunity to reflect on just how much she’s grown since then.

For now, she plans on heading back home to Florida once her tour is over to spend time reflecting on everything. “I think that’s when I’ll start to see the confetti fall,” she said. “Life is uncertain, and we never know what it’s going to throw our way, but this was a year that I prayed for. And I think it was a year that a lot of people who love me prayed for too. So for that, I’m very grateful.”

Individuals training to become U.S. Navy tactical jet pilots are no longer required to take off and land from aircraft carriers before being winged as Naval Aviators. This is a huge change in training requirements and has important ramifications for the service’s plans to replace its current carrier-capable T-45 Goshawk jet trainers.

Our colleagues at Task & Purpose first reported the elimination of carrier landing qualifications from the graduation requirements for the Tactical Air (Strike) aviator training pipeline earlier today. This pipeline currently produces new pilots to fly the Navy’s F/A-18E/F Super Hornet and F-35C fighters, as well as EA-18G Growler electronic warfare aircraft.

“The final strike carrier landing qualification occurred in March of 2025,” a Navy official told Task & Purpose. “Students in the strike pipeline, those training to fly F/A-18s, F-35s, and EA-18Gs, are no longer required to qualify by landing on a carrier prior to graduation.”

Naval aviators who come out of the Tactical Air pipeline will now conduct their first carrier qualifications when they reach a Fleet Replacement Squadron (FRS). These units provide initial training on the specific type of tactical jet that those individuals have been assigned to fly.

TWZ has reached out to the Navy to find to what degree Field Carrier Landing Practice (FCLP) landings and touch-and-goes on aircraft carriers are still part of the undergraduate Tactical Air training syllabus. FCLPs are conducted at bases on land, but are structured in a way that “simulates, as near as practicable, the conditions encountered during carrier landing operations,” according to the service.

As noted, just eliminating carrier qualifications from the undergraduate training requirements is a fundamental change in how the Navy produces new Naval Aviators to fly tactical jets. The procedures for taking off from and landing on an aircraft carrier bobbing up and down at sea are significantly different from those when operating from an airfield ashore.

“It’s what makes naval aviation unique,” Sterling Gilliam, a retired Navy captain who is now the director of the National Naval Aviation Museum in Pensacola, Florida, told Task & Purpose when asked about the change. “Audacity has kind of defined Naval Aviation, and the uniqueness of carrier operations, specifically fixed wing launches and recoveries, requires a fair amount of skill and practice and professionalism.”

At the same time, the change does not come as a complete surprise. In 2020, the Navy announced that the requirements for a future Undergraduate Jet Training System (UJTS) jet trainer to replace the T-45 would no longer include the need to be able to land on or take off from an aircraft carrier. In the past year or so, service has also moved to cut demands for the forthcoming UJTS aircraft to have features needed to conduct FCLP landings.

All of this has come on the back of Navy investments in virtualized training and automated carrier landing capabilities, such as Magic Carpet, in recent years. Those developments have already proven to be controversial, prompting concerns and criticism about potential impacts down the line from cutting what have long been considered essential naval aviation training requirements.

“Carrier qualification is more than catching the wire. It is the exposure to the carrier environment and how an individual deals with it,” an experienced U.S. Navy strike fighter pilot told TWZ back in 2020. “The pattern, the communications, the nuance, the stress. The ability to master this is one of our competitive advantages.”

The UJTS requirements still have yet to be firmed up, at least publicly, ahead of the start of a formal competition, which is expected to kick off next year. The Navy has said in the past that the goal is for the first UJTS aircraft to enter service by 2035 and for the T-45 to be completely phased out by 2040.

The removal of carrier qualifications from the Tactical Air pipeline already shows the Navy is not waiting for the arrival of UJTS to make major changes to its naval aviation training requirements. This would seem to make it increasingly less likely that the service will reverse course on the related changes to the UJTS requirements, at least when it comes to what is needed from the aircraft landing-wise, which will have significant ramifications for the upcoming competition.

Just last week, the Sierra Nevada Corporation (SNC) announced its intention to compete for UJTS with a proposal that puts heavy emphasis on still being able to perform FCLP landings and touch-and-goes, as you can read more about in detail here.

“You want … your – I call it your lizard brain – to be trained to do the things you are going to do when things go south on you, because the way a [former Air Force pilot] like me lands an airplane is 180 degrees different than a carrier guy,” Derek Hess, Vice President of Strategy at SNC, told TWZ‘s Jamie Hunter on the sidelines of the Tailhook Association’s main annual symposium last week. “I touch down, go to idle. He touches down, slams down, goes to MIL [maximum non-afterburner thrust], and is ready to take off again.”

“This is why FCLPs are so important,” Ray “Fitz” Fitzgerald, Senior Vice President of Strategy and Technology at SNC, also said while speaking alongside Hess. “On that dark, stormy night, and everything’s just going bad, you rely on muscle memory, right? So when you think about muscle memory, as a carrier aviator, you’re on speed, so you’re on the right AOA, so the hook and the gear are the right AOA to trap, and everything hits at the same time. If I’m at a slow AOA, it means my nose is up, which means the hook grabs first and slams you down. You can break a jet like that. If I’m at a fast AOA, the nose is lower, hook is up, you skip across, and you go flying again, which is not good either.”

“So that muscle memory, I mean, it’s what will save lives,” He added.

Boeing, Lockheed Martin (in partnership with Korea Aerospace Industries), and Textron (together with Italy’s Leonardo) are also set to join the competition, but with aircraft based on existing land-based jet trainer designs that were not built for carrier operations, real or simulated.

More clarity on the Navy’s future vision for training future naval aviators will come when the final UJTS requirements are released. In the meantime, a major watershed moment has already occurred with the end of carrier qualifications as a graduation requirement for future tactical jet pilots.

Update, 3:30 PM Eastern:

A U.S. Navy official has now provided TWZ with the following additional statement:

“Students in the strike pipeline, those training to fly F/A-18s, F-35s, and EA-18Gs, are no longer required to qualify by landing on a carrier prior to graduation. However, future E-2 [Hawkeye airborne early warning and control aircraft] pilots and international military students will complete carrier landing qualifications on a ship in the T-45 while in student training. Field Carrier Landing Practice (FCLP) landings ashore are still required for graduation. The strategic decision of moving carrier qualifications from the training syllabus to their fleet replacement squadrons was driven by increased technological capabilities in the fleet, as well as the need to reduce training pipeline times, enabling the fleet to receive qualified pilots faster. After earning their initial qualifications after graduation, naval aviators in the strike pipeline are required to complete touch-and-goes and carrier landings at sea during their assignment at the Fleet Replacement Squadrons (FRS).”

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