Mac Miller’s estate announces a 10th-anniversary reissue of ‘The Divine Feminine’ with three unreleased songs, led by ‘Butterflies’
Mac Miller’s estate is reopening one of the most pivotal chapters in the late rapper’s catalog. On August 21, the estate announced a 10th-anniversary reissue of “The Divine Feminine“ Miller’s 2016 album, and released the first of three previously unreleased songs from the era, “Butterflies.” The expanded edition arrives October 2, available digitally and as a 3LP vinyl set, and it lands alongside a new interactive website built as a tribute to the artist born Malcolm McCormick.
For anyone tracking Miller’s story, the choice of album matters. “The Divine Feminine” was a turning point. Where 2015’s “GO:OD AM” doubled down on his rap-forward instincts, his fourth studio album pivoted toward a warmer, R&B-soaked concept record about love and the sacred energy of women. It debuted at No. 2 on the Billboard 200 and topped the Top Rap Albums chart, and its guest list, from Anderson .Paak on “Dang!” to CeeLo Green on “We” and Ariana Grande on “My Favorite Part,” signaled an artist stretching well beyond the frat-rap reputation of his early years.
A New Song With A Familiar Friend
The first of the three unreleased tracks is the headline draw. “Butterflies” features production from Taylor Graves and bass from Thundercat, Miller’s close friend and longtime collaborator. That pairing carries weight. Thundercat’s low end was central to Miller’s late-period sound, and the two shared a creative bond that outlived Miller himself. It also echoes February 2026, when Thundercat shared “She Knows Too Much,” a groove-driven track the pair began before Miller’s death in 2018, released only after he sought the estate’s blessing.
The reissue’s full tracklist keeps the original album intact, from “Congratulations” with Bilal through the Kendrick Lamar-featuring “God Is Fair, Sexy, Nasty,” while adding the new material. The estate also unveiled macmillerswebsite.com, designed in conjunction with James Musgrave and Kate Doyle for XXIX. Years in the making, the site functions as an interactive archive, gathering media and remembrances from the friends and colleagues who orbited Miller’s world.
Why It Hits Now
The timing is not lost on anyone paying attention to the charts. “The Divine Feminine” has enjoyed a striking second life in 2026, powered by TikTok. Its Ty Dolla $ign-featuring cut “Cinderella“ re-entered charts a full decade after release, riding more than 13 million posts built around its aching hook, many of them fan edits reflecting on Miller’s relationship with Grande. A record about devotion has found a new generation living inside it.
That resurgence sits within a carefully stewarded posthumous run. Miller’s estate has become a model for handling a legacy with care rather than exploitation, from 2020’s “Circles,” the Jon Brion-completed companion to “Swimming,” to January 2025’s long-shelved “lost album” “Balloonerism,” which debuted at No. 3 on the Billboard 200 and earned Miller his third No. 1 on the Top Rap Albums chart. Each release has deepened the portrait of an artist who was still evolving when he died at 26.
A 10th-anniversary edition of “The Divine Feminine” extends that mission into its most emotionally resonant territory yet. This was the album where Miller learned to sing about love without armor, and hearing three more songs from that headspace, with Thundercat’s bass threading underneath, is a reminder of everything the culture lost. “Butterflies” is out now, with two more unreleased tracks to follow ahead of the October 2 reissue.
