PRINCESS IDIA GAMBLE: THE LEGACY WAS GIVEN. THE ART IS HERS.

Philadelphia has always had a sound. 

Not just a sound you could hear, but one you could feel—in the records, the voices, the horns, the strings, the streets, the churches, the radio, the dance floors and the stories passed from one generation to the next. 

Princess Idia Gamble was born right in the middle of that history. 

Her father, legendary producer Kenny Gamble, helped give the world the Sound of Philadelphia through Philadelphia International Records. Her mother, Dyana Williams, has spent decades documenting, advocating for, and championing Black music and the people who made it. For most people, that would be a remarkable family tree. 

For Idia, it was simply home. 

But here's where her story separates itself from the family name. She didn't just grow up around music. 

She grew up learning that music carries memory—and that somebody has to be willing to carry the memory forward. 

Her own journey began early. At six years old, she found herself behind a microphone during a Lonnie Liston Smith session after her aunt, Jean Carne, brought her into the studio. That moment never really left her. Neither did the feeling. 

Years later came I AM Idia, her debut album—a labor of love years in the making with producer Ben Ford and contributions from her father, released into the impossible landscape of the pandemic. Instead of being defined by the Gamble name, Idia used the project to introduce something much more personal: her pen, her voice, her perspective and her willingness to move beyond one musical box. 

And music is only one part of the equation. 

Idia is a singer, songwriter, performer, painter and jewelry designer who studied at the Gemological Institute of America, creating one-of-a-kind pieces from gold and gemstones. Put a microphone, a paintbrush, a canvas and a handful of stones in front of her, and she's still chasing the same thing—the feeling of turning an idea into something somebody else can see, hear or hold. 

That may be the real connection between everything she does. 

She builds. 

She also remembers. 

Through her Sounds of Philadelphiagatherings at The Trestle Inn, Idia has created more than a night of music. She's created a living room for a legacy—where records become stories, history becomes conversation, and generations can dance to the same songs that helped define Philadelphia in the first place. She's performed her own music on Philadelphia stages, including the Wawa Welcome America Festival, while taking her own seat in the industry as a Recording Academy member. 

And now she's continuing to push forward, bringing that Philadelphia soul foundation into new creative territory while keeping one foot firmly planted in the history that made her. 

That's the beautiful contradiction of Princess Idia Gamble. 

She comes from people who made history, but she's not content to simply inherit it. 

She's studying it. Questioning it. Celebrating it. Creating through it. 

Then she's putting her own fingerprints on the next chapter. 

Because legacy isn't a museum piece. 

It's alive when somebody has the courage to add to it. 

And Princess Idia Gamble isn't waiting for history to tell her where she belongs. 

She's writing herself into it.

You were born into Philadelphia music royalty, with Kenny Gamble and Dyana Williams as your parents. Growing up, when did you realize your family’s history wasn’t just family history—it was part of the soundtrack of a city? 

I have two older brothers who were born in Washington, D.C., at the height of Philadelphia International’s influence, and yes, you are right—I was born in Philadelphia. I’m grateful to be from here. Philadelphia is a unique and historic city, not just because of the Sound of Philadelphia, but because the Sound of Philadelphia was so political. It makes sense that it came from such a political state. 

My mother, Dyana Williams, was working as a disc jockey on Philadelphia station WDAS around the time I was born, so I realized the impact of my father’s music on a radio scale quite early. 

You made your first recording at just six years old with Lonnie Liston Smith. Do you remember that experience, and looking back, do you think that little girl already knew music was going to be part of her life? 

Working with Lonnie Liston Smith was a great experience. My Aunt Jean Carne, who was signed to my dad’s label at the time, brought me along to her session. That was one of the first times I remember being in the studio because they had me behind the mic. 

It was a great experience that I still remember like it was yesterday—the feeling is still very fresh. That session definitely propelled me toward becoming a musician. 

Having a father who helped shape the “Sound of Philadelphia” and a mother who has documented and championed music history, did you ever feel pressure to live up to the family name—or did it actually give you the freedom to find your own lane? 

My mother and father are often referred to as the mother and father of Black music. This is a credit to the foundation of the BMA (Black Music Association), which helped make Black Music Month official in 1977 with Jimmy Carter. 

So, to answer your question: yes, there is pressure. Pressure to know the facts about the history and the catalog, and to maintain a well-balanced life where I can produce, create, and find inspiration by studying every day. That’s how you get the best writing. 

Your debut album I AM Idia arrived during the pandemic, a pretty unusual time to introduce yourself to the world. What did making that album reveal about who you were as an artist beyond being Kenny Gamble’s daughter? 

It was super difficult having the album released at that time. I had been working on it for years with my producer, Ben Ford; it was a labor of love. My father and I wrote five songs together, and I wrote on 14 of the 16 songs. 

Before the pandemic, I was rehearsing with my band for a promotional tour, which I obviously couldn’t do after everything happened. Still, I’m grateful to have created that project. I wouldn’t take it back, and I learned so much about the business. 

I think the album revealed that I operate across many genres and prioritize lyrics and writing. It was a success because I got to display that. 

Philly has such a distinct musical identity—from Gamble & Huff and soul to jazz, funk and hip-hop. What parts of that Philadelphia DNA naturally show up in your voice and songwriting? 

Philadelphia has a tremendous history, and I’m heavily influenced by singers like Billie Holiday, Jazmine Sullivan, Jill Scott, Lady Alma, Bilal, and Phyllis Hyman. I consider myself a stylist when it comes to my singing. 

I’m also heavily influenced by early hip-hop, and a lot of that transfers into my communication style when recording. 

You’re also a jewelry designer who studied at GIA and creates one-of-a-kind pieces. What connects the woman who builds a song from emotion with the woman who builds jewelry from stones, shapes and imagination? 

It’s all building. Jewelry is tangible, whereas recorded music only becomes tangible once you hear it back—otherwise, it’s an idea. The art of it is to try, because once you do, you create results. Jewelry works the same way. 

I found a great connection to gemology because of its natural elements from the Earth and its process of refinement. 

Then there’s the visual side—your abstract painting in oils and acrylics. Do you see music, jewelry and painting as three different languages, or are they really just different ways of expressing the same Idia? 

I really do think they are different ways of expressing the same thing. I love the authenticity of art—it’s like a fingerprint, a teardrop, or a snowflake. 

When doing an oil painting, you have to be very precise, layering texture whether painting on duck canvas or a Five Below board. So, while they are different languages with different layers, I look for beauty in everything. I see these expressions as fun. 

Your jewelry has found its way into the collections of notable people. What does it mean to create something completely original that someone else connects with enough to make it part of their personal world? 

I’m in the private collections of some great people, which is a big honor. Earrings, necklaces, and charm bracelets are very personal, and as a woman, I rarely change my jewelry. 

If I can help someone express themselves through a conversation piece and make them feel good when they wear it, that’s the best feeling for both of us. 

You created and hosted a Sounds of Philadelphia gathering at The Trestle Inn. Why was it important for you to create that space and keep Philly soul conversations—and the people behind that history—alive? 

We had a great time at The Trestle Inn. They made a super-glittery, beautiful sign for TSOP. The night was full of trivia, giveaways, and history. 

We did an hour of sample songs and an hour of the regular catalog while people danced. It’s very important to my personal mission to keep this legacy and its history alive for my generation and beyond. 

You’re a voting member of the Recording Academy, so you’re not just observing the music industry—you have a seat at the table. What do you think today’s industry gets right about honoring music history, and what still needs fixing? 

I am honored to be a part of the Recording Academy and to have a seat at the table. The industry works on standards, rules, and regulations, so anyone involved should be very literate about their contracts and keep an eye on the numbers. 

I don’t think the industry gets everything right, so it’s good to have a voice and vision for preserving Black music and honoring its pioneers. 

Now you’re working with Agallah Don Bishop, bringing your Philly-soul foundation into a more hip-hop-driven space. What happens when your family’s musical legacy meets the sound of a new generation? 

Working with Agallah Don Bishop has been a dream come true. I’ve always respected his work ethic—he puts out a song a day. 

My father was very clear four years ago that he was happy with our collaboration. I like a more hip-hop-driven sound for myself, and we’re experimenting in the lab like a science. 

At the perfect time, I think it will add to the legacy and teach people about Philadelphia Soul. 

Your name carries history, but your work is clearly about adding another chapter. When people look back years from now, what do you want them to say Princess Idia Gamble added to the Sound of Philadelphia—and to the culture in her own right? 

When people look back at my life and career, I’d like them to view me as a sister soldier for legacy. I hope to serve their minds with golden thoughts of history, energy, and style.