Ten years after Mac Miller released one of the most important albums of his career, fans are getting another glimpse into the music he created during that period.

Mac Miller’s estate released The Divine Feminine (10th Anniversary) on Friday, Oct. 2, expanding the late Pittsburgh artist’s 2016 album with three previously unreleased recordings from its original sessions: “Grand,” “Channel 13” and “Butterflies.” The expanded edition brings the album from its original 10 songs to 13, giving listeners new material from a period when Miller was dramatically reshaping what his music could sound like.

The release is more than a conventional deluxe edition. These aren’t newly assembled remixes or contemporary artists adding verses to Mac’s old records. The estate says the three songs came from the sessions in which The Divine Feminine itself was made, placing them directly inside the creative world Miller was building in 2016.

For longtime fans, that makes the anniversary edition something closer to opening another room inside an album they have lived with for a decade.

Three Songs From the Original Sessions

The three additions appear at the end of the anniversary tracklist: “Grand,” “Channel 13” and “Butterflies.” Apple Music lists the expanded album at 13 tracks and just over an hour, while the original 10-song sequence remains intact before the unreleased material begins.

“Grand” runs just over two minutes, while “Channel 13” stretches beyond four minutes. “Butterflies,” the song fans had already been given as a preview of the anniversary campaign, closes the expanded album.

That sequencing is significant. Rather than attempting to rewrite the original album by inserting previously unheard material throughout its established tracklist, the anniversary edition preserves the record Mac released in 2016 and then opens the vault afterward.

Listeners can hear The Divine Feminine as they always have — from “Congratulations” through “God Is Fair, Sexy Nasty” — before entering the three-song archival section.

“Butterflies” Gave Fans the First Preview

“Grand” and “Channel 13” are the biggest surprises of Friday’s release because “Butterflies” had already been officially unveiled in August when Mac’s estate announced the anniversary edition.

Produced by Taylor Graves, “Butterflies” features bass from Mac’s longtime friend and collaborator Thundercat, along with trumpet from Daniel Hardaway. The dreamy neo-soul record fits naturally alongside the jazz, funk and R&B textures that made The Divine Feminine such a sharp turn in Miller’s catalog.

The song had circulated unofficially among fans before receiving a proper release, but the estate’s version finally placed it where it belonged: alongside the album-era recordings from which it originated.

And now it has company.

Until the anniversary edition arrived, the other two archival tracks were deliberately kept largely under wraps. Early versions of the digital tracklist simply identified them as “Track 11” and “Track 12,” preserving the reveal of “Grand” and “Channel 13” until the project was ready to arrive.

The Divine Feminine Was a Turning Point for Mac

The timing of these particular songs matters because The Divine Feminine represents one of the clearest transitions in Mac Miller’s artistic development.

Released Sept. 16, 2016, the album arrived roughly a year after GO:OD AM, a project that had reasserted Miller’s abilities as a rapper. Instead of repeating that formula, Mac turned sharply toward live instrumentation, neo-soul, jazz, funk and R&B while building an album around love, intimacy, relationships and what he described as the divine feminine.

His singing became increasingly important.

So did instrumentation.

So did space.

The wisecracking Pittsburgh rapper who had initially become famous through mixtapes and youthful party records was developing into an artist far less interested in fitting cleanly inside one genre.

In retrospect, The Divine Feminine sits almost perfectly between the different stages of his career.

It retains Mac’s identity as a rapper while clearly pointing toward the musical freedom he would explore more fully on Swimming two years later. The estate itself described the album’s genre-agnostic songwriting and Miller’s increasing embrace of his singing voice as foreshadowing the evolution that eventually materialized on Swimming.

That makes hearing three more recordings from those sessions particularly revealing.

They come from a moment when Mac was changing.

The Original Album Was Packed With Collaborators

The Divine Feminine also captured Mac surrounded by an extraordinary group of collaborators.

Bilal appears on “Congratulations.”

Anderson .Paak joins him on “Dang!”

Ty Dolla $ign appears on “Cinderella.”

Njomza contributes to “Planet God Damn.”

CeeLo Green appears on “We.”

Ariana Grande joins Mac on “My Favorite Part.”

And Kendrick Lamar closes the original album alongside him on the sprawling “God Is Fair, Sexy, Nasty.”

Behind the vocals, musicians including Thundercat and Robert Glasper helped deepen the record’s live, soulful atmosphere.

The guests never completely overwhelm Mac, however.

The album remains intensely personal.

Its central subject is love, but Mac approached that idea broadly — physical attraction, romance, vulnerability, spirituality, companionship and the almost impossible task of understanding another person.

That openness is part of why the album has aged differently from a straightforward collection of rap songs.

“My Favorite Part” Became One of the Era’s Defining Songs

One of the album’s most recognizable moments remains “My Favorite Part,” Mac’s duet with Ariana Grande.

The two artists had already collaborated years earlier when Miller appeared on Grande’s 2013 breakout single “The Way,” but The Divine Feminine brought them back together in a much more intimate musical setting.

By the time “My Favorite Part” arrived, their relationship had also become public, giving the record another layer of attention. Apple Music’s retrospective notes that it was their first duet released while they were officially a couple.

But reducing The Divine Feminine to an album about one relationship misses what Miller was trying to do.

The concept was considerably broader.

The record was about his understanding of love and women, and the emotional and spiritual energy surrounding those ideas. Its final moments famously move beyond Mac entirely, ending with his grandmother discussing the relationship she shared with his grandfather.

It transforms an album filled with desire and romance into something intergenerational.

Love isn’t presented as perfect.

It’s presented as something worth pursuing anyway.

“Dang!” Showed Another Side of Mac

“Dang!,” featuring Anderson .Paak, was another major indicator that Mac was entering a different musical space.

The record leaned into funk and soul rather than relying on the harder rap production listeners might have expected following GO:OD AM. Paak’s presence made perfect sense inside that environment, and the collaboration became one of the defining songs from the project.

Across the album, Mac increasingly sounded comfortable allowing melodies and instrumentation to carry songs instead of approaching every beat as something he needed to dominate with bars.

That progression becomes even more important when viewed with hindsight.

By Swimming in 2018, the line separating Mac Miller the rapper from Mac Miller the singer, producer and musician had become increasingly meaningless.

He was simply making Mac Miller records.

The Divine Feminine was one of the projects that made that evolution possible.

The Anniversary Edition Is Also Getting a Major Physical Release

The estate isn’t limiting the celebration to streaming.

The Divine Feminine (10th Anniversary) is also being released physically as a three-LP anniversary package. The expanded vinyl editions include specially designed packaging, sleeves, a miniature booklet and an art print, with different pressings available through retailers.

That approach reflects the way Mac Miller’s estate has handled much of his catalog since his death: treating individual eras as archival projects rather than simply uploading unreleased songs whenever possible.

The estate previously gave GO:OD AM an anniversary treatment as well.

For collectors and longtime fans, the physical edition turns the anniversary into something more substantial than three bonus tracks appearing at the bottom of an existing album page.

It becomes a preservation of the era.

The Estate Is Also Bringing Back a 2016 Live Performance

The anniversary celebration goes beyond the album itself.

Mac Miller’s estate also released The Divine Feminine Live, a concert special assembled from a 2016 television performance originally created during the album’s initial era. The project was produced, directed and edited by Sam Balaban and draws from footage connected to a performance originally shown through DirecTV.

The archival concert gives fans something the three unreleased songs alone cannot: Mac himself performing during that moment in his career.

That makes the anniversary campaign unusually complete.

There is the original album.

There are three recordings from its sessions.

There is archival live footage.

There is new physical packaging.

And there is an expanded digital archive surrounding the project.

Rather than attempting to manufacture a new Mac Miller era, the estate is bringing listeners deeper into one that already existed.

Mac’s Website Has Become an Archive of His Life and Work

The estate also launched a redesigned Mac Miller website as part of the broader anniversary campaign.

Created with James Musgrave and Kate Doyle for XXIX, the site was described as a years-in-the-making interactive tribute featuring archival photographs and videos contributed by Miller’s friends and colleagues.

That archival approach is especially meaningful for an artist whose fan base remains intensely connected to his evolution.

Mac’s career changed rapidly.

The teenager behind K.I.D.S. wasn’t the same artist who made Watching Movies with the Sound Off.

The artist behind GO:OD AM wasn’t exactly the same musician who created The Divine Feminine.

And the Mac Miller who made Swimming had evolved again.

Preserving those eras separately allows fans to see that progression rather than flattening his catalog into one posthumous collection.

His Posthumous Catalog Has Been Handled Carefully

Posthumous music is complicated.

Artists leave behind unfinished songs, demos, alternate versions, ideas and recordings that they never personally chose to release. Once an artist dies, every decision about that material raises an unavoidable question: Would they have wanted people to hear this?

Mac Miller’s estate has generally taken a measured approach.

His first posthumous album, Circles, arrived in 2020 and completed the companion project Miller had been developing alongside Swimming. In 2025, the estate officially released Balloonerism, a project rooted in recordings Mac had made years earlier.

The anniversary edition of The Divine Feminine is different again.

The estate isn’t presenting “Grand,” “Channel 13” and “Butterflies” as a newly constructed Mac Miller album.

It is identifying exactly where the songs came from: the sessions for an album Mac himself completed and released.

That context matters.

Mac Miller Died in 2018 at 26

The celebration is inevitably bittersweet.

Mac Miller died Sept. 7, 2018, at age 26 from an accidental drug overdose, only weeks after releasing Swimming.

His death froze a career that had been moving forward at extraordinary speed.

He had already lived through several musical identities before reaching 27, and Swimming suggested he was nowhere close to finished changing.

That is one reason unreleased material from Mac carries unusual weight.

Fans aren’t simply hearing an artist repeat a familiar formula.

They’re hearing pieces of a creative evolution that was interrupted.

With The Divine Feminine, that feeling is particularly strong because the album itself was about transition.

Ten Years Later, The Divine Feminine Still Sounds Like a Bridge

Listening to The Divine Feminine a decade later makes its place in Mac’s catalog even clearer.

The album wasn’t a complete abandonment of hip-hop.

It wasn’t a full R&B record.

It wasn’t jazz.

It wasn’t neo-soul.

It borrowed from all of them.

That refusal to stay inside a category eventually became one of Miller’s defining qualities.

His music grew increasingly difficult to summarize with a genre label because he kept absorbing new influences, working with different musicians and becoming more confident behind instruments and production equipment.

The three anniversary tracks now offer additional evidence of what was happening during that transformation.

They’re not recordings from some unrelated period being attached to a famous album for marketing purposes.

They’re songs from the room.

From the sessions.

From the same creative period that produced the album.

“Grand” and “Channel 13” Are the Real Surprises

For fans who closely follow Mac’s unreleased catalog, “Butterflies” isn’t entirely unfamiliar.

“Grand” and “Channel 13” are where the anniversary release carries the biggest sense of discovery.

Both were withheld from the initial anniversary announcement under placeholder titles, and both are now officially part of Mac Miller’s released catalog.

That alone makes Oct. 2 an important release day for his fans.

Ten years after The Divine Feminine, there are suddenly two more songs from those sessions to absorb, dissect and place alongside an album people thought they already knew completely.

It is rare for an anniversary edition to actually change the listener’s understanding of an era.

This one has the potential to do that.

A Celebration Instead of a Reinvention

There is something fitting about the estate’s decision to center the anniversary around the music Mac actually made during that period.

There is no attempt to turn The Divine Feminine into something it wasn’t.

The original 10-song album remains intact.

The new material follows it.

The live footage comes from the same era.

The website collects archival material from people who knew and worked with him.

The physical edition commemorates the original artwork and project.

Everything points backward toward Mac’s own creative decisions rather than forward toward an imagined version of what his career might have become.

For an artist whose absence is still deeply felt throughout hip-hop, that restraint matters.

Three More Mac Miller Songs Are Now Here

For fans, however, the emotional reality of Friday’s release is much simpler.

There are three Mac Miller songs they can hear now that they couldn’t officially hear before.

“Grand.”

“Channel 13.”

“Butterflies.”

All three were created during the sessions for an album that became one of the defining projects of Mac’s career.

Ten years after The Divine Feminine introduced listeners to a warmer, more vulnerable and increasingly genreless version of Mac Miller, his estate has returned to that moment without trying to rewrite it.

Instead, it opened the archive and gave fans a little more of what was already there.

For a catalog that millions of listeners have continued carrying with them since Mac’s death, three unheard songs don’t feel like ordinary bonus tracks.

They feel like three more pieces of Mac Miller.