For the past 20 years, "American Idol" has helped discover some of the biggest names in pop, country, R&B and beyond. As “Idol” winners and contestants have had success in the music industry, many have been awarded with GRAMMY wins and nominations.

Season 20 wraps up with the finale on May 22, when HunterGirl, Leah Marlene and Noah Thompson will compete to be the latest "American Idol" winner. This season has seen several contestants who play instruments or are also songwriters; the talent has been touted as some of the best Katy Perry, Lionel Richie and Luke Bryan have seen in their five seasons as judges.

Will any of this year's finalists end up in the GRAMMY ranks with their "Idol" predecessors? Time will tell, but for now, see how many "American Idol" winners and contestants have scored GRAMMY Awards and GRAMMY nominations.

Season 1 winner Kelly Clarkson and Season 2 winner Ruben Studdard were the first "Idol" winners to be nominated for a GRAMMY, both receiving nominations in 2004. Clarkson became the first "Idol" winner to win a GRAMMY two years later, when she scooped up two awards: Best Pop Vocal Album for Breakaway, and Best Female Pop Vocal Performance for her smash "Since U Been Gone."**

Clarkson became the first "Idol" contestant to win a GRAMMY for an album twice in 2013, when she won the Best Pop Vocal Album GRAMMY for 2011's Stronger. To date, Kelly Clarkson has won three GRAMMYs and has received 15 nominations.

Season 4 winner Carrie Underwood has won eight GRAMMYs and has received a total of 16 nominations, making her the "Idol" contestant with the most GRAMMY wins and nominations. Her most recent win came in 2022, when she won Best Roots Gospel Album for her 2021 release, My Savior.

Underwood is the only "Idol" winner (and contestant) to win Best New Artist. Until 2022, she was the only "Idol" alum to even be nominated for the coveted award, but her fellow country star Jimmie Allen joined that rare rank.

Along with Underwood, Clarkson and Studdard, Season 3 winner Fantasia Barrino and Season 6 champion Jordin Sparks are the only other winners to be nominated for a GRAMMY. Though Season 5 winner Taylor Hicks hasn't technically received a nomination, he was featured on Jimmy Fallon's 2012 album Blow Your Pants Off (on the track "Friday"), which won Best Comedy Album in 2013.

Season 8's Adam Lambert is the only "Idol" runner-up to be nominated for a GRAMMY. He was nominated for a Best Male Pop Vocal Performance GRAMMY for "Whataya Want From Me" in 2011.

Perhaps two of the most remarkable GRAMMY-winning "Idol" alums are Jennifer Hudson and Tori Kelly. Each have two GRAMMYs to their name, but clearly "Idol" viewers and judges didn't see the star within: Hudson placed seventh on Season 3, and Kelly was cut before the top 24 on Season 9.

Another GRAMMY-nominated finalist who finished outside of the top 3 is Chris Daughtry, who placed fourth on Season 5. Daughtry has been nominated for four GRAMMYs, all of which came in 2008 thanks to his eponymous debut album and its hits "It's Not Over" and "Home." (Fellow Season 5 contestant Ace Young co-wrote "It's Not Over," making him another GRAMMY-nominated "Idol" star, as the single earned a Best Rock Song nomination.) 

Mandisa, who placed ninth on Daughtry's season, is also a GRAMMY-winning finalist, as her 2013 album, Overcomer, won a Best Contemporary Christian Music Album GRAMMY in 2014. (She has received five nominations overall.)

Season 8's third place contestant, Danny Gokey, has also had a successful career in Christian music. He has been nominated for three GRAMMYs, with two of his albums receiving Best Contemporary Christian Music Album nods and his song "Haven't Seen It Yet" earning a Best Contemporary Christian Music Performance/Song nom.

A number of "Idol" alums have proven you don't have to win "American Idol" to win a GRAMMY or earn a GRAMMY nomination. Whatever the outcome of Season 20, be sure to keep watch on your favorite contestants — you might just see them on the GRAMMY stage one day.

Carrie Underwood On Creating Her First Gospel Album, 'My Savior,' Working With CeCe Winans, & Making "Legacy Music"

Ahead of the 2024 GRAMMYs, women from across the recording industry gathered at GRAMMY House in Los Angeles' Arts District on Feb. 1 to celebrate their achievements and to remind the music world that there's still much work to be done.

A Celebration Of Women In The Mix Presented by PEOPLE and Sephora brought together musicians, agents, producers, engineers, managers, and more for three hours of food, drinks, speeches, and general revelry. 

Hosted by People Magazine Editor-At-Large Janine Rubenstein, the event featured a keynote speech by Friends At Work CEO Ty Stiklorius — best known for her years managing John Legend, among others — as well as performances by Sephora Sounds' artists Beth Million and Rawan Chaya, and 2024 GRAMMYs Best R&B Album nominee Emily King. 

"We wanted to make sure that we were driving representation and providing opportunities for all women in music from studio professionals to artists and beyond," said Tammy Hurt, the Chair of the Board for the Recording Academy, while detailing the creation of Women In The Mix in 2019. She noted that her team set a goal of recruiting 2,500 new women members to the voting body of the Academy by 2025.

An event Presenting Sponsor, Sephora had makeup artists set up next to the stage, giving guests some glam. Participating sponsors Dyson and The Hartford also had activations for guests to enjoy; Dyson provided styling stations for hair touch-ups and curated an immersive listening experience with the Dyson Zone™ noise-canceling headphones, while The Hartford hosted an interactive, augmented reality graffiti wall.

As Sephora's SVP of Personalization, Anna E. Banks explained on stage, the brand is committed to creating "the world's most inclusive beauty community." She added that Sephora supports individuals' creativity and ingenuity — whether it's through the products they choose to sell or the looks they feature in their campaigns. As one of the brand's new programs, Sephora Sounds will work to "continue to push for more diversity and representation" across the industry, "breaking down barriers and ushering in marginalized voices."

Keynote speaker Ty Stiklorius brought much of the room to tears with tales of sleazy record execs, thwarted dreams, and how she took the road less traveled to decades of success in the music industry. Donning a stunning maroon suit, Stiklorius detailed how she became not only John Legend's manager, but also his film and TV producing partner, his business partner in several companies, and the co-founder of several social impact groups working to reduce incarceration and level the playing field in terms of universal opportunity. 

"It's literally impossible to be a woman," Stiklorious said, quoting America Ferrera's powerful speech from the Barbie movie. She expressed frustration at the fact that women are always expected to be extraordinary — whether it's as a wife, a mother, or in the workplace — and dismissed antiquated notions that women can't be leaders in the music industry while having a family. To wit, Stiklorious created her company, Friends At Work, to give more women and more marginalized people a place to thrive in the industry, to be appreciated, recognized, and paid appropriately.

After all, Stiklorious reminded the room, women still have a long, long way to go to achieve any sort of parity in the music industry. While women dominate the major categories at this year's GRAMMY Awards, a recent study by the USC Annenberg Inclusion Initiative found that, while women make up more than half the population and the market for music, they only take up about 35 percent of the Billboard Hot 100. Only 6.5 percent of music producers are women, and less than 20 percent of the songwriters of last year's top songs were women. In fact, Stiklorious said, "nearly a quarter of the most popular songs of the last 12 years were penned by just 12 men." 

"Think about how those 12 men are shaping audience perfections and beliefs about romantic relationships, wealth, health, and any number of topics," Stiklorious said, before referencing a story she recently wrote for the L.A. Times in which she makes the case that, if the top women performers added just two women songwriters to some of their sessions and some of their songs, we'd reach gender parity in the songwriter space in just four years. 

"It's not that big of an ask, actually," she said. "With the growing power of female performers, those who routinely top the charts can change the lives of women songwriters and our culture, because the status quo isn't good for anyone, regardless of their gender identity, we all lose out on untapped and underappreciated talent."

The end of Stiklorious' speech was met with a rousing standing ovation.

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After performances from Beth Million and Rawan Chaya, People Executive Editor Melody Chiu took the stage for the event's panel, which featured recording engineer Marcella Araica, GRAMMY winning country artist Carly Pearce, and GRAMMY nominee Jordin Sparks. They talked about role models, the barriers they've faced in the industry, becoming mothers, and how they learned that "no" is actually a complete sentence.

Singer/songwriter Emily King won the room over with tracks like "Medal" and "This Year." After King's set, Ruby Marchand, the Recording Industry's Chief Awards and Industry Officer, wrapped up the event by thanking members of the Recording Academy staff and board in the audience for their hard work on the event and in driving new membership. 

Diving into her thoughts on the concept of trust, Marchand said women in the music industry "have to learn to trust each other, because we're here to help and guide and support, and sometimes even help somebody through some critical thinking and get back on track." 

Women in the industry also have to learn to trust themselves, Marchand said. If women can all learn to be fearless and to trust in themselves, their decisions, and their strength, the sky's the limit. 

The Recording Academy's GRAMMY House Returns For GRAMMY Week 2024; Immersive Pop-Up Experience To Feature The Third Annual #GRAMMYSNEXTGEN Party

Hundreds of music professionals gathered Jan. 27 for the Los Angeles Chapter of the Recording Academy’s annual nominee celebration, held at NeueHouse Hollywood. Hailed by Academy CEO Harvey Mason Jr. as the "unofficial kickoff to GRAMMY Week," the event featured performances by three of this year’s nominees from the chapter: Gaby Moreno, Robert Glasper, and Jordin Sparks. 

Chapter Board Vice President Lynne Earls said that the unofficial theme for both the board and the chapter this year is "belonging," and those vibes certainly trickled down to the nominee celebration. People from every part of the recording industry came together to enjoy brunch, have some drinks, and mix and mingle. 

Groups of attendees called out friendly greetings to each other, catching up over mimosas and waffles, and attendees exchanged hugs while clad in everything from cocktail dresses to platform combat boots. Not unlike at the actual GRAMMY Awards, fashion was truly on parade at the nominee celebration. Attendees rocked fully bedazzled suits, bespoke leather jackets, and plush safari print hoodies; at least one crystal-covered clutch resembling an old school cassette was spotted.

While many attendees at the event undoubtedly hope to take home a golden gramophone on Feb. 4, Mason took pains to remind the room that being nominated for the award is just as life-changing. "Being a GRAMMY nominee… that goes with you for your entire life and your entire career. On your bio, it's always going to say ‘GRAMMY nominee,’ and hopefully it's going to say ‘GRAMMY winner.’"

In his remarks, Recording Academy President Panos Panay agreed with Mason but made a special effort to remind attendees that being a member of the GRAMMY family is more than just attending an awards show once a year. 

"We're known for the GRAMMYs, which are the big graduation ceremony … but what's important to know is that the Academy works 365 days a year," he said. "We're here to advocate for the creative class." He encouraged non-member attendees to join the Academy, saying "We really would love to have you become a member of this incredible group of professionals." 

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Qiana Conley Akinro, the Senior Executive Director of the Recording Academy Los Angeles Chapter, also encouraged attendees to stop into the D.R.E.A.M. Lounge on the second floor of NeueHouse, which had been set up in partnership with Pacific Bridge Arts, Paper Magazine, and Netflix and featured a gifting suite full of Hallmark Mahogany items and a bloom bar by Postal Petals. Several panels were held in the space, which was given the D.R.E.A.M. acronym from the phrase "Diversity Reimagined Engaging All Musicians." Earls talked about her work with Women In The Mix and Academy Proud, while Academy Governor Kev Nish hosted a panel talking about the Gold Music Alliance, which aims to boost the impact of Pan-Asian people within both the GRAMMY organization and the recording industry.

After the panels, various nominees stopped by the D.R.E.A.M. video studio to give testimonials about how they found out they’d been honored. Best Jazz Arrangement, Instrument and Vocals nominee Maria Mendes relayed the importance of being the first Portuguese person nominated for a GRAMMY in the category, as well as her pride in repping her country’s music. Mendes even shouted out the jewelry and fashion designers behind her upcoming GRAMMY ceremony look, both of which are from Mendes’ home country. 

Colombian singer and Best Latin Pop Album nominee AleMor said she’s proud to represent her home country and independent artists. "I'm honored that I get to be here, and I am grateful that I'm alive at the same time as all of the people that are alive now," she told onlookers. "I think music is like invisible medicine, you know, like you listen to a song and it might make you feel good and you have no idea why. We are little magicians in the world, We get to change people's moods, and we get to change the way people see life."

2024 GRAMMY Nominations: See The Full Nominees List

The Los Angeles Chapter Nominee Celebration was made possible by generous support from Premier Sponsor Netflix, Co-Presenting Sponsors Pacific Bridges Arts, Paper Magazine, Official Sponsors SESAC Latin and NeueHouse Hollywood, and Gifting Sponsors Hallmark Mahogany, HYPNO, Fox Dog Productions, the Canadian Consulate, and VYDIA.

A quick Google search of "top 2004 songs" can be summarized simply: What a time to be alive.

While it was arguably the year of Usher — who scored four Billboard Hot 100 chart-toppers in 2004, including the year's biggest song, the Lil Jon- and Ludacris-assisted "Yeah!" — there were countless hits that have aged impeccably. Even 20 years later, there isn't a dance floor or karaoke bar that wouldn't go wild for J-Kwon's "Tipsy" or Kelly Clarkson's "Since U Been Gone."

Whether you were jamming to them on your iPod Mini or ripping them off of Limewire, revisit 24 tracks that made an impact — and still serve up the vibes 20 years later.

Listen on Spotify, Amazon Music, or Apple Music below.

There's arguably only one way to sum up pop music in 2023: it belonged to the women.

Whether SZA or Olivia Rodrigo were revealing the cracks in their relationships through catchy hooks, or Taylor Swift was taking over stadiums around the globe, female artists dominated genre charts and trends. And even a fictional female figure helped spawn some of the year's biggest pop tracks.  

It was also a big year for legends and classic hits; pop mainstays showed just why they became superstars in the first place, and TikTok helped resurface some pop songs of old.

Below, take a deeper dive into some of 2023's biggest moments in pop.

Ex-Lovers Were Called Out

Nothing burns more than a woman scorned. This year, pop stars and rising artists were both shameless in calling out their exes for their wrongdoings.

One of the biggest moments came courtesy of SZA. The artist is known for wearing her heart on her sleeve, and SOS album highlight "Kill Bill" was a buffet of toxic "what if" scenarios. The singer let jealousy overcome her emotions as she couldn't stand to see her ex-lover move on: "I might kill my ex, I still love him though/ Rather be in jail than alone." On a similar note, Olivia Rodrigo's "vampire" finds the pop star tapping into a new level of fury. The lead single from her sophomore album, GUTS, "vampire" shoots bloody daggers at a manipulative boyfriend.

But it wasn't all about vengeance. In Miley Cyrus' case, her best form of revenge came in the form of forgiveness. Her "Flowers" anthem was thought to be inspired by Cyrus' divorce from Liam Hemsworth, but its messaging is relatable to anyone who had to learn how to move on from a broken heart. "I can take myself dancing and I can hold my own hand/ I can love me better than you can," Cyrus assures.

All three singles topped the Billboard Hot 100 this year, marking SZA's first solo No. 1, Cyrus' first in a decade and Rodrigo's first from her new album era. The singles also all earned 2024 GRAMMY nominations for both Song Of The Year (alongside Billie Eilish's "What Was I Made For?", Dua Lipa's "Dance the Night", Jon Batiste's "Butterfly", Lana Del Rey's "A&W" and Taylor Swift's "Anti-Hero") and Record Of The Year (next to Billie Eilish's What Was I Made For?", Boygenius' "Not Strong Enough", Jon Batiste's "Worship", Taylor Swift's "Anti-Hero" and Victoria Monét's "On My Mama"). 

Rising stars also joined in on the fun. After Tate McRae scored her biggest hit to date with the playful “greedy,” she delivered a fiery kiss-off anthem with “exes.” Elsewhere, Benee called her ex a "waste of f—king time" on the rowdy "Green Honda," British singer Mae Stephens contemplated all of her options on "If We Ever Broke Up," RAYE brooded over "dumb decisions" and booze on "Escapism," and Los Angeles alt-pop singer Leah Kate's jam-packed her debut album Super Over with advice on cutting off toxic relationships.

Classic Songs Made A TikTok Resurgence

TikTok has proved its social media dominance over the past few years. But aside from pop's new generation enjoying viral success, the genre's OGs also found their classic hits reborn.

Colbie Caillat's "Bubbly" single warmed our hearts when it debuted in 2007, and in true Gen Z fashion, it reemerged thanks to a meme trend. TikTok users placed the song over high-energy performance videos like those of Travis Scott, Justin Bieber and Tyler, The Creator which made for a hilarious juxtaposition. Caillat kept the momentum by making TikTok duets and even sharing an acoustic version of the song on her YouTube page.

Bridgit Mendler's 2013 single "Hurricane" also got a second wind for its 10th anniversary where female users placed it over humorous self-deprecating videos about being delusional over men. Jessie J's 2011 "Price Tag" hit sparked a dance trend with a sped-up version of the song and Lana Del Rey's "Radio" (a deep cut from 2012's Born To Die debut) inspired users to make videos that showcased how "sweet like cinnamon" their lives are.

Career-Spanning Tours Took Over The World

What better way to celebrate a decorated career than with a massive tour? Pop stars from all corners of the genre commemorated their many years (or in some cases, decades) in the music industry by going down memory lane with their fans worldwide.

The most notable trek was, of course, Taylor Swift's Eras Tour, which kicked off on March 17 and will conclude on Dec. 8, 2024. The pop star — who is arguably bigger than she's ever been, nearly 20 years into her career — used the stadium tour to pay homage to her extensive discography with a nonstop three-hour spectacle. Swift's impact quickly made history: the Eras Tour surpassed $1 billion in revenue in early December, already making it the highest-grossing music tour of all time, according to Guinness World Records. Its accompanying concert film, Taylor Swift: The Eras Tour, also became the highest-grossing concert film of all time with $250 million earned globally as of press time.

But Swift wasn't the only star celebrating their music milestones on the road. After a thrilling reunion in 2019, the Jonas Brothers continued to shock fans with what's possibly the most challenging tour of their career. Titled "Five Albums. One Night. The World Tour," the trio featured their entire discography in a set list that included over 60 songs. 

Another artist who rode the ambitious train was Madonna. The pop icon's Celebration Tour was, well, a celebration of a genre-defining career spanning over four decades. Kicking off in October in London, the tour features a retrospective setlist that is a treat for diehard fans, featuring singles she hasn't performed live in decades including 1990's "Justify My Love," 1998's "Nothing Really Matters" and 2002's "Die Another Day."

On the pop-rock end, The Maine's "Sweet Sixteen Tour" highlighted the band's growth over the past 16 years through nine albums, while Boys Like Girls' anchored their comeback after an 11-year hiatus with the North American Speaking Our Language Tour.

Movies Had Major Music Moments

While music has long been a driving force in films, this year saw the pairing excitedly take over pop culture. Greta Gerwig's Barbie movie notably had the world seeing pink, with the iconic doll infiltrating everything from fashion to real estate.

Not surprisingly, the accompanying soundtrack was a pop-filled joyride. Featuring production from pop mastermind Mark Ronson, the 17-song Barbie: The Album featured the likes of Lizzo, Charli XCX, PinkPantheress, Sam Smith, GAYLE and FIFTY FIFTY. But perhaps most notably, the album dominated the Best Song Written For Visual Media category at the 2024 GRAMMYs: Dua Lipa's disco-laced "Dance The Night," Ryan Gosling's TikTok-trending "I'm Just Ken," Ice Spice's and Nicki Minaj's sparkly collaboration "Barbie World," and Billie Eilish's gripping ballad "What Was I Made For?" compete with Rihanna's Black Panther hit "Lift Me Up."

The year also called for reunions and revivals, with the biggest shock arguably belonging to NSYNC. Many fans were impatiently waiting for the boys to make a return, and they did so with "Better Place." The Trolls soundtrack highlight marked the boy band's first song after a two-decade-long music hiatus (which was accompanied by an appearance at the MTV Video Music Awards, where they presented with Best Pop Video). Under the sea, Halle Bailey refreshed a Disney classic with The Little Mermaid live-action reimagining, while the nostalgia train continued with movie musicals Wonka and Mean Girls (out in January).

Pop Titans Were Inescapable

Thanks to social media, it may seem like Gen Z artists have overthrown their elder pop counterparts. But make no mistake, the veterans are showing they aren't so easily shakeable.

This year, many preserved their legacies through various mediums. Taylor Swift wasn't the only superstar proving her staying power on the road (and in stadiums); Beyoncé's Renaissance World Tour cemented her legendary status as the highest-grossing tour by a Black artist, while Ed Sheeran's The Mathematics Tour broke attendance records worldwide.

Adele and Usher ruled Sin City with their Las Vegas residencies, with the latter set to perform at the 2024 Super Bowl halftime show. The pop titans even showed their dominance on television, with Kelly Clarkson (who also had a Vegas stint) and Jennifer Hudson gaining a new audience with their respective talk shows.

After a year filled with viral moments and comebacks, we're eager to see how artists will continue to uplift pop music in 2024.

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