On the Feb. 9 Billboard 200, for the week ending Feb. 1, the Backstreet Boys' Jan. 25 album release DNA reached No. 1 for the group's third time, assisted by their vibrant lead single "Don't Go Breaking My Heart." The song is nominated at the 61st GRAMMY Awards for Best Pop Duo/Group Performance, the quintet's 8th GRAMMY nomination.

Billboard crunches the numbers on the Backstreet Boys' chart success, raising comparisons to Paul McCartney and Sade as long-established artists riding a fresh appetite for what they do best. With sales in its debut week of 234,000 units, DNA posted the best one-week sales of any album so far in 2019.

The Backstreet Boys' third album Millennium, released in 1999, established their success, reaching No. 1 on the Billboard 200 and drawing nominations at the 42nd GRAMMY Awards for Album Of The Year And Best Pop Album. Wrapping around the millennium itself, 2000's Black & Blue reached No. 1 as well, powered by its GRAMMY-nominated hit "Shape of My Heart." 

The group is currently completing its Las Vegas residency at Planet Hollywod's Zappos Theater. Their world tour kicks off this May in Portugal, coming back to North America in July. Tickets are available at the group's website and a bundle deal for tickets-plus-DNA helped propel the Backstreet Boys' latest album's spectacular sales. Rolling Stone noted this success was also helped by the many talented collaborators contributing to the album, including Ross Copperman, Kuk Harrell, Brett James, Shawn Mendes, the Stereotypes, and Ryan Tedder.

Shawn Mendes: "Everything Revolves Around" Connecting People With Music

Seven years into their career, Switchfoot were only beginning their legacy.

On Feb. 25, 2003, the rock group released their fourth album, The Beautiful Letdown. The project marked their first on a mainstream record label, Columbia Records, an "interesting" move in frontman Jon Foreman's eyes because the album was "so spiritually driven." A Christian band at heart, Switchfoot had released their first three albums through Universal Music Group's Christian imprints Re:Think and Sparrow Records — and it was time for mainstream audiences to hear their message.

Though the album wasn't an instant success — it debuted at No. 85 on the all-genre Billboard 200 albums chart — The Beautiful Letdown has undoubtedly become Switchfoot's staple record and spawned hit singles "Meant to Live" and "Dare You To Move" (the latter of which got a second life after initial placement on their third LP, 2000's Learning to Breathe). That a Christian rock band broke through while the likes of 50 Cent and a newly solo Beyoncé dominated was inspiring to many up-and-coming acts. 

Twenty years later, some of those artists have left their own stamp on The Beautiful Letdown. Out Sept. 15, The Beautiful Letdown (Our Version) [Deluxe Edition] is a 25-track reimagining of Switchfoot's breakthrough album featuring re-recordings by the band themselves, as well as covers from hitmakers Jonas Brothers, Twenty One Pilots, Jon Bellion and more.

"We weren't so sure about it. I mean, it's a strange thing to do, revisit songs that you crafted when you were so much younger," Foreman says of the concept, which was first pitched to the band by some close friends. "But the idea was intriguing — what these heroes and friends of ours would turn these songs into if they were given complete control."

As Foreman recalls, the group initially planned on having the reimagined tracks be an EP. But before they knew it, every track on the album — including a B-side, "Monday Comes Around" — was spoken for.

Calling the project "a true honor," Foreman also notes that hearing artists his band inspired put their own spin on The Beautiful Letdown has brought new life to the songs. Like Bellion's version of "Meant To Live," which Foreman listened to while watching the sunrise in Perth, Australia: "I had tears in my eyes hearing this song that I've played a thousand times as if I was hearing it for the first time." 

Below, eight of the artists who were part of The Beautiful Letdown reimagining — Ryan Tedder of OneRepublic, Noah Gundersen, Adam Young of Owl City, Sloan Struble of Dayglow, Ingrid Andress, Ryan O'Neal of Sleeping At Last, Matt Thiessen of Relient K, and Caleb Chapman of Colony House — detail how their cover came together, and the impact that Switchfoot has made on their own careers.

Why did you choose to cover the song you did, and why is it important to you?

Ryan Tedder, OneRepublic: ["Dare You To Move"] came out right when I was trying to figure out if I wanted to be a solo artist or start a band. There hadn't been a lot of alternative-sounding bands that were having success in the mainstream, but still felt cool to me and authentic and had actual messages to their music. Also, they were raised in the church like I was. I didn't want to be a CCM [contemporary Christian music] artist because it felt too limiting, and Switchfoot was a group that I knew came from the same background, but was having success in the mainstream with just great music.  

That song came out at exactly the time I needed to hear it. Even the message behind "Dare You to Move." I was so nervous about moving to L.A. for the first time. That song came out and I literally picked up and moved. That song has a lot of meaning to me. 

Noah Gundersen: "Dare You To Move" was already taken! "This Is Your Life" has one of those timeless radio rock choruses that feels both familiar and brand new every time you hear it. I also think the sentiment of being responsible for your own happiness really resonates with me.

Adam Young, Owl City: I really relate to the fact that the physical things on planet Earth that we as humans desire are ephemeral. Fame, wealth, beauty, success… those can make you happy for a time, but none will ultimately satisfy you because they don't last forever. I think the point of "Gone" is that the only thing that does last forever is your soul, so ensuring that you store your treasures in heaven, where moths and rust can't get at them, is an enduring piece of wisdom. It's a truth that inspires me. 

Sloan Struble, Dayglow: When I was about 5 years old, my older brother showed me Switchfoot. I'd listen to his (probably illegally burned) copy of The Beautiful Letdown every day on his portable CD player. I remember thinking this record just embodied "cool." 

"Adding to the Noise" was always a favorite to me because of its stick-it-to-the-man undertone. What 5-year-old doesn't love poking fun at consumerism and big tech?

Ingrid Andress: The guys actually picked “On Fire” for me to sing — it worked out great, because that's one of my favorite songs on the album. It's such an emotionally vulnerable song, and I've always been drawn toward that kind of music. I remember singing along to it in my room when I was growing up, so it was a really amazing full-circle moment for me when Jon asked me to sing it!

Ryan O'Neal, Sleeping At Last: When Jon called to invite me to sing on "Monday Comes Around," I think I blurted out a "yes" before he finished asking. I am a forever Switchfoot fan. "Monday Comes Around" is a great song with a gorgeous melody and I was beyond honored to be welcomed into the reimagining of it!

Matt Thiessen, Relient K: Switchfoot requested that we cover "Ammunition" specifically. However, [Relient K's lead guitarist Matt] Hoopes and I were talking about it in the car the other day, and we said we would have picked it over any other number from TBL. I always loved the energy of the song. It has a tinge of pop-punk flavor that especially appealed to me at the time the album was released.

Caleb Chapman, Colony House: Well, I got a phone call from Jon asking if we'd be up for recording "Redemption" specifically, so the song chose us, I suppose. We just couldn't believe we were going to get to be part of such an iconic project celebrating an album that impacted our whole band so profoundly.

Any fun memories from reimagining the song and/or recording it?

Tedder: I recorded on a tour bus, so my most fun memory was that we had to turn the air conditioning off. It was in the summer and we were in Texas or something. We had to kill the generator so there wouldn't be the sound of an engine running in the background. I probably lost three pounds from sweating while I was recording the song because it was unbearably hot. We were trying to keep the laptop from overheating and all my gear from shutting down. It was kind of a feat to pull that off [Laughs]. 

Gundersen: It was a lot of fun digging through the original stems for this tune. Hearing Jon's solo'd vocals, along with some of the cool and weird little ear candy that got buried in the original mix. Imagining what the process was for each one of those little parts, knowing that they are all significant in their own way.

Young: I recorded a lot of random objects around my house and cut them up into tiny microscopic samples and used them as layers in the drum sounds on the track. Silverware, door handles, ice chunks, an antique Victrola. I cut down most of the sounds I recorded and only left the attack in each sample. This left me with a palette of extremely short click sounds that made great layers for snare drums, kick drums, clap sounds, etc. I had a lot of fun with this during the recording process.

Struble: Tim [Foreman, Switchfoot's bass guitarist] and I met through a mutual friend, and we got to hang out for the first time in San Diego while I was passing through on tour. That was the first time I ever went surfing, and it was with a childhood hero of mine. If that wasn't already an epic day enough, he asked me after if I'd want to cover a song for the record. It was such a personal full-circle, mind-blowing moment.

Andress: I just remember thinking the whole time Sam Ellis and I were making it, "Don’t f— it up. Don’t f— it up." The song was already perfect. I'm glad we found a way to still keep the integrity of the song while adding my own spin on it. Once I got past the nervous part, I had so much fun diving in!

O'Neal: It was an instant joy to get to sing. Jon and Tim recorded the track and I couldn't help but smile during my entire vocal recording session.

Thiessen: Oh yes. First of all, the assignment was a catalyst for Relient K getting together for the first time in over a year. What a gift. We were able to rehearse and record in conjunction with Dark Horse Academy in Franklin, Tennessee. Basically, there were students helping, observing, and hanging throughout pre-production and the recording. We had a blast working in that environment. We also used the opportunity to record an additional cover of Switchfoot's song, "Home," from their Legend Of Chin LP. 

Chapman: Funny enough, we were in the studio working on some music to celebrate the 10-year anniversary of our first album, When I Was Younger, when I got the call from Jon. It was perfect timing because we were already in the headspace of looking back fondly on the music that has brought us to where we are today.

What does Switchfoot and their music mean to you?

Tedder: I think aspirational is the term. They were a great, cool band with huge, cool songs right when I needed an example of just that to justify my own pursuit. Obviously I'm a fan of U2 and the Beatles and a lot of bands from decades before me, but Switchfoot was early 2000s — right when I was like, What do I do with my life? Can you be successful in a band in 2003 and what would it sound like? I needed a band like that at that exact moment in time. 

Gundersen: Growing up in a conservative religious home, Switchfoot was one of those bands who's message and identity was just vaguely Christian enough so as not to scare my highly sensitive parents, while still being far enough outside of the bland vanilla Christian music industry to actually be interesting. And the hooks are undeniable. There's also a kind of innocent hopefulness of the early 2000s that The Beautiful Letdown in particular seems to embody. 

Young: I have fond memories of Switchfoot's music all the way back 20 years ago. I was in high school at the time The Beautiful Letdown came out, and I remember I'd just gotten my first car. Having my own car meant my world got exponentially bigger, and I rejoiced at the new freedom made available to me. I listened to Switchfoot's music a lot in that car, and when I think back to that season of my life, which was very pivotal, I always think of Switchfoot.  

Struble: There was a time in my life when Switchfoot was one of three bands, probably, that I knew existed on the planet. Their music is just so core to my childhood and my upbringing. It lives deep in my brain. I've been a fan always, but it won't ever not feel nostalgic to me no matter what new music they make — it's like watching grunge-Mister Rogers or something for me. It will always remind me of learning to skateboard in my driveway and just being a little prepubescent punk.

Andress: I grew up in a conservative family that only allowed me to listen to Christian music. I would get so bored with all of it, so when Switchfoot came on the map, it truly changed my world sonically. A Christian band that plays cool rock music? I mean, come on. That was pretty different at the time, so it gave me inspiration to think outside the box when it comes to genres.

O'Neal: Back in 2000, Sleeping At Last had the privilege of being the opener at a Switchfoot show at a small venue in Illinois. Already a fan of their work, it was a huge opportunity to get to open up for a band I so admired. They were instantly lovely to me and my band and in some miracle of kindness, [Switchfoot's drummer] Chad Butler videotaped our set and shared it with his friends at record labels. 

I was — and still am — entirely blown away by such kindness to share some local band's music with others. A few years later, Switchfoot was sweet enough to extend an invitation to open up for them on their Beautiful Letdown US Tour. It was a first-ever Sleeping At Last tour and was such a pivotal and wonderful experience. 

Forever grateful to the Switchfoot family for their friendship over the years, and the incredibly generous encouragement they've given from the start of Sleeping At Last. To have the encouragement of your heroes is such a rare and special gift.

Thiessen: We met the guys in a gymnasium in Toledo back in '97. I can still remember the warmth in their eyes as they approached us and shook our hands for the first time. I've never known a band that are as kind, loving, and nourishing to everyone they touch. They've impacted RK and my life more than I'll ever know. 

Getting to play shows, festivals, and entire tours with them, while watching them intensely impact the world, has to be one of the most gratifying blessings of God that I've ever witnessed. I am so honored to be their friend and a big fan. 

Chapman: I could write a book with this kind of prompt. Since my brother and I were kids, we have dreamed of being in a band together. When Switchfoot's first album came out, my dad brought it home, put it in the CD player, and explained that there were two brothers in the band and that they made rock 'n' roll music! 

About a year later, we ran into Jon, Tim and Chad at a mall in Nashville and got to meet them and tell them that they were our favorite band. Fast forward to The Beautiful Letdown... I had a pre-release copy of the album and remember being in the locker room before PE class one day asking all my friends if they knew who Switchfoot was. Most of my friends had not heard of them yet. To anyone who said no, I simply responded with, "You will know who they are soon."  

Each one of us in the band has unique and powerful memories attached to this album and to this band. We are honored to now call Switchfoot friends and mentors. They have led a life and career full of artistic and personal integrity that has laid the groundwork that so many of us have tried to emulate. Their kindness is their legacy, and their intentionality is like a superpower. Their music is a reflection of their heart: bold, uncompromising, disarming, and powerful. You know what they say, right? "Never meet your heroes" — unless it's Switchfoot.

What is your favorite Switchfoot song and why?

Tedder: "Dark Horses" because it's an underdog anthem and I've felt like an underdog my whole life. 

Gundersen: "Dare You To Move." As a kid who struggled with depression and anxiety, this song was a sort of self-talk anthem for me. I think it instilled something in me and my own music, something about the duality of hope and struggle and one's own choice in how to engage with life. This feels like the essence of Switchfoot: hope, pain, and potential. 

Young: I'd have to say "Chem 6A." It was the first Switchfoot song I heard back in 1997, and I remember learning it on guitar. Memories like that are priceless to me.

Struble: I freaking love "Gone." I was hooked after the first time I heard that for years. And the fact that Owl City is covering it! That is so satisfying to me. Owl City and Relient K were both bands that I admired alongside Switchfoot, so to be on this record with them is just beyond special to me. I don't think I'll ever acknowledge it as reality! Maybe it's not, who knows!

Andress: It's hard to pick, but "This Is Your Life" is probably my favorite Switchfoot song. It gave me a sense of agency over my life when I was growing up and how important it is to be present in the moment. It was pretty high-concept for me at 10 years old, but it inspired me to go after things in life because it's the only chance we have to do it.

O'Neal: There are so many that I adore, but "Only Hope" is one of my favorite songs of all time. A rare song where every single element feels in its right place. The production somehow feels intimate and expansive at the same time, and the lyrics express a deeply personal and yet completely universal story. This song perfectly captures what Switchfoot does best.

Thiessen: "The Shadow Proves The Sunshine" is definitely one of 'em. "Company Car" always makes me really happy. I'm not a big "favorite" picker, but Switchfoot as a whole is definitely one.

Chapman: It's an impossible question. Too many songs over too many years. Switchfoot is not just another band to us. It goes deeper than what is our favorite song. In our eyes, their career is an arch that doesn't exist without every piece playing its part. Every song serves a purpose, and without it, the arch collapses. That's what makes them different. That's what makes them Switchfoot. 

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When thinking of defining artists of the 21st century, it doesn't take long for Adele to come to mind. Since her rise in the late 2000s, the London-born singer has captured the hearts of millions with her disarming wit and a powerful voice that is practically unmatched.

In the 15 years since her debut album, 19, introduced her to the world, Adele has reached heights few others ever achieve. She's one of the best-selling artists of all time, she has collected countless awards (including 16 GRAMMYS), and she has sold out arenas around the globe. Between the unabashed honesty of her lyrics and the gravity of her voice, Adele's music has earned her enduring adoration.

Adele's charm and cultural impact have most recently come to life through her sold-out Las Vegas residency, Weekends With Adele. The shows — which initially ran from November 2022 through this March — are a journey through many of the mega-hits fans love, and a celebration of her illustrious career so far. They've seen such acclaim and high demand that Adele added 34 more dates through Nov. 4, kicking off June 16.

As Adele begins the second leg of her Vegas residency, GRAMMY.com looks back at some of the defining songs from beloved superstar's discography.

"Hometown Glory," 19 (2007)

Technically the fourth single from 19, "Hometown Glory" is actually the first song Adele wrote. It was originally released as an introductory standalone single in 2007, giving a glimpse into Adele's relatable songwriting.

While there are elements that make it unique — like an extended piano intro before Adele begins to sing — it's still easy to pick up on the traits that would later make her a star. The vocal intensity is already there, as is her love for human connection. "The people I've met are the wonders of my world," she sings on the chorus, a sentiment that would carry on throughout her career. 

"Chasing Pavements," 19 (2008)

The single that put Adele on the map, "Chasing Pavements" contains many of the elements that define 19. It leans more heavily into the singer/songwriter world than Adele's later work, with verses scored by mellow and understated guitar — a contrast to the big, powerful chorus that incorporates soulful melodies and jazz-like horns.

"Chasing Pavements" gave Adele early success and recognition, becoming her first entry on the Billboard Hot 100 and her first Platinum single. It also snagged the singer her first GRAMMY (for Best Female Pop Vocal Performance) as well as nominations for Record and Song Of The Year.

"Rolling in the Deep," 21 (2010)

Adele cemented her staying power with her sophomore album, 21. The first offering from the LP, "Rolling in the Deep," perfectly introduced the more expansive sound and power of the new record. Driving, forceful production from Paul Epworth is matched by a more confident, determined Adele, as she lays into a terrible ex: "Think of me in the depths of your despair/ Make a home down there, as mine sure won't be shared."

Adele's assertiveness spoke to listeners: "Rolling in the Deep" became her first No. 1 single and helped her win the trifecta of Record, Song, and Album Of The Year at the 54th GRAMMY Awards.

"Rumour Has It," 21 (2011)

Coming right after "Rolling in the Deep" on 21, "Rumour Has It" arrives with a bang. Co-written and produced by Ryan Tedder, the track is all soul and blues, built on looping vocal harmonies and a funky guitar line.

More than anything, this track showcases Adele's writing range, proving that she can pen an uptempo pop pleaser alongside her slower ballads and heartstring tuggers. The rhythmic clapping, vocal flourishes on the bridge, and piano outro all helped Adele unleash her feisty side that audiences hadn't seen much of at that point.

"Someone Like You," 21 (2011)

The new musical elements introduced on 21 undoubtedly helped Adele reach new levels of success and artistry. Even so, one of its standout tracks is a reminder that she doesn't need a lot of help to shine.

"Someone Like You" is as simple as it comes — nothing else but Adele and a piano. The result is perhaps her most well-known ballad, which laments on the ending of a relationship with intense emotion. Its connection with listeners and massive success — another No. 1 spot on the Hot 100, a GRAMMY, and six-time platinum certification — on the heels of "Rolling in the Deep" were instrumental in propelling Adele's career forward.

"Skyfall" (2012)

Writing a theme song for a James Bond film is a big deal — and means you're a big deal. One of the most storied franchises in film history, the Bond movies have included themes written by stars like Paul McCartney and Madonna. Adele joined that list in 2012 with "Skyfall," the titular theme for Bond's 23rd adventure.

The track allows Adele to lean more into her theatrical side, with dramatic lyrics soundtracked by swelling strings and horns. It's a thrilling listen, and gave Adele an Oscar for Best Original Song — the first Bond theme to ever win the award.

"Hello," 25 (2015)

After the massive success of 21 and "Skyfall," Adele went on hiatus for three years. While rumors swirled about an album in early 2015, she didn't confirm her third record, 25, until a month before its November release. Along with confirmation came "Hello," an earth-shattering return that portended 25's acclaim and success.

The album's opening track, "Hello" finds Adele revisiting an old flame in signature fashion: a soaring chorus that puts her towering vocals on display, amplified by awe-inspiring percussion instrumentals from producer Greg Kurstin. The single remains one of her most successful, hitting the top spot on charts around the world, going seven times platinum, and earning her Record and Song Of The Year at the 59th GRAMMY Awards.

"Water Under the Bridge," 25 (2015)

By this point in Adele's career, it was clear that she could master any song or production you give her. While 21 expanded the number of genres she pulled from, 25 introduced maximalist pop production to embellish her bluesy tone.

"Water Under the Bridge" is a perfect example of one of Adele's sonically densest tracks. Another Adele/Kurstin collaboration — with help from another new collaborator and pop mastermind, Max Martin — the upbeat track features a chorus that fills the senses with piercing drums and layered backing vocals, all of which beg to be played at full volume.

"River Lea," 25 (2015)

Alongside pop delights and powerful ballads, Adele tapped into gospel on 25 with "River Lea.". While Adele dabbled with gospel influences before, it was never as openly as the haunting keys that comprise the main instrumental.

Production is provided by the multi-instrumental Danger Mouse, who sprinkles a hip-hop beat into the otherwise haunting track. The result is one of Adele's most arresting tracks, with a sound that's equal parts old-school dirge and pop hit.

"Easy on Me," 30 (2021)

In the six years between 25 and Adele's fourth album 30, her world fell apart. Besides the impact the pandemic had on the world, she and her longtime partner Simon Konecki divorced. Much of 30 finds Adele coming to terms with life after marriage. This includes lead single "Easy on Me," which sees her asking for grace as she figures out how to move on.

The piano-backed track is full of pain and sadness, with the hurt evident in her voice as sings lyrics like "I changed who I was to put you both first/ But now I give up." It set an early picture of Adele's emotional state, and offered poignant foreshadowing to 30's journey of healing and moving forward.

"My Little Love," 30 (2021)

Adele has never shied away from being vulnerable, but "My Little Love" may be the most open she's ever been on a track — and perhaps that has to do with the song's subject, her son Angelo. A slow burning, jazzy piano tune, "My Little Love" Adele continues to explore her feelings over how the divorce has impacted her child.

What really sets the song apart is the inclusion of voice notes that contain Adele's own musings in the immediate aftermath of her divorce, as well as snippets of conversation between her and Angelo. ("Mummy's been having a lot of big feelings recently," she tells Angelo on the bridge; "I feel a bit frightened that I might feel like this a lot," she admits at the song's close.) It's a stunningly raw look at Adele's personal life unlike anything she had delivered before.

"Can I Get It," 30 (2021)

Anyone who has watched an Adele interview or seen her live knows that, despite being known for singing sad tales, she has a charmingly funny personality. As clips of her Vegas show highlight, she loves to tell jokes, and has a bright, lively presence — and "Can I Get It" is a musical depiction of that.

In the middle of a rather heavy album, "Can I Get It" is straight fun, with a groovy production from Martin. It showcases Adele's jovial side, with some of her flirtiest lyrics ("You tease me with your control because I long to live under your spell.") It's one of many ways Adele has shown both her emotional range and musical versatility — a combo that has made her an incomparable pop legend.

GRAMMY Rewind: Adele Urges That Beyoncé's "Monumental" 'Lemonade' Should've Won Album Of The Year In 2017

The 60-plus years of the GRAMMY Awards encompasses some of the most awe-inspiring and breathtaking moments in music history — and it should be noted that queer performers have produced some of the most dazzling highlights. From Elton John’s 1999 GRAMMY Legend Award to Sam Smith and Kim Petras’ 2023 performance of "Unholy," there is no shortage of iconic queer moments in GRAMMY history.

But more than merely honoring and showcasing queer artists, the ceremony is also the only major award to have moved beyond the outdated gender binary in its categories, an important step in ensuring that every artist feels welcomed. And as queer stars continue to deliver stunning performances in addition to award wins on Music's Biggest Night, young artists have meaningful representation and inspiration. 

​​In celebration of Pride Month, GRAMMY.com has collected nine of the most meaningful and thrilling performances by queer artists from the ceremony’s history. These moments commemorate some of the most impressive artists of the last few decades and helped uplift members of the LGBTIQA+ community around the world. 

Elton John & The Backstreet Boys - "Philadelphia Freedom" (2000)

When one LGBTIQA+ icon writes a song that honors another queer trailblazer, it’s bound to make for a special moment on stage. 

Performed at the 42nd GRAMMY Awards — the same night the Rocket Man was honored as MusiCares Person Of The Year, and a year after taking home the Legend Award — Elton John performed the bright and swinging "Philadelphia Freedom." With backing from the Backstreet Boys, the performance filled the room with sunshine.

The song was inspired by John’s close friend, tennis icon Billie Jean King. His piano flanked by the five Boys, John delivers a rollicking take on the number one hit, the mythic megastar in top form from every swaggery vocal growl to each thumping piano chord.

Melissa Etheridge & Joss Stone - "Piece Of My Heart" (2005)

Melissa Etheridge has always been an incredibly vulnerable artist, but when she walked onto the stage during the 47th GRAMMY Awards, her head bald due to chemotherapy treatment for breast cancer, her legend of raw strength reached a new level. 

A loving grin plastered on her face and chopping out an explosive guitar riff, Etheridge didn’t waste a second, joining soul pop star Joss Stone for a tribute to queer icon Janis Joplin. Every syllable of "Piece of My Heart" coming out of Etheridge’s mouth shines sharply like a rough-cut gem, but her explosive howl as the song comes to its climax is the stuff of legend. 

The fact that Etheridge made it through her cancer treatment and can still rock stages to this day is only further testament to just how powerful this moment of defiance turned out to be.

Lady Gaga - "Born This Way" (2011)

While the conversation surrounding Lady Gaga’s early ‘10s award ceremony run will always center on her extravagant and boundary-pushing attire and stagecraft, she made sure to put her queer advocacy at full volume during her take on "Born This Way." 

Sure, she entered the 53rd GRAMMY Awards in an egg and took time in her performance to play a snippet of Bach made famous in "The Phantom of the Opera" on a keyboard topped with mannequin heads. But in the very next moment, she ensured that the whole track slowed to a righteous halt to deliver a core message: "No matter gay, straight or bi/lesbian, transgender life/ I’m on the right track/ I was born to survive." 

The white latex and space egg are important, but Lady Gaga wants to make sure you understand that the art is all in support of a message of inclusion, that stripped down to our strangest basics we’re all human.

Frank Ocean - "Forrest Gump" (2013)

Frank Ocean has proven to be one of the most mercurial stars in R&B, releasing just two studio albums since 2011 despite some of the most rabid anticipation in the music world. His changed plans, canceled performances, and vague updates only fuel that fire — but it’s performances like "Forrest Gump" that encapsulate that whole fandom experience. 

The 55th Grammy Awards were a big night for Ocean, with six nominations and two golden gramophones coming his way, but his tender, raw love song was perhaps the most memorable of a night full of impressive tributes and star power. Homosexual love songs don’t get televised too often, and that’s what "Forrest Gump" is: pure, unabashed and straightforward; a young, mesmerizing vocalist and songwriter laid bare, playing a keyboard and backed by a video screen. There’s nothing to distract from his voice and his words: "You run my mind, boy/ Running on my mind, boy/ Forrest Gump."

Macklemore, Ryan Lewis, Mary Lambert, Madonna & Queen Latifah - "Same Love/Open Your Heart" (2014)

There may not be a bigger performance of queer love in awards history than Macklemore and Ryan Lewis’ elaborate staging of "Same Love" from the 56th GRAMMYs. Their performance of the anthem included lesbian vocalist Mary Lambert and queer icon Madonna — oh, and Queen Latifah literally overseeing marriage ceremonies for 33 couples of varying sexual identities and orientations, when same-sex marriage hadn’t yet been federally recognized. 

Macklemore and Lewis won big at the ceremony, thanks in large part to inescapable upbeat hip-hop like "Thrift Shop" and "Can't Hold Us." But instead of getting everyone in the room with some easy fun, the duo opted for "Same Love" — a track in support of marriage equality and a protest to a tendency towards homophobia in the genre. Together, they provided a powerful statement of acceptance and love that surely opened eyes for audiences around the world.

Kesha, Camilla Cabello, Cyndi Lauper, Julia Michaels, Andra Day, and Bebe Rexha - "Praying" (2018)

The whole world was changing for Kesha on the runup to the 60th GRAMMY Awards. After years of struggle against her alleged abuser and an attempt to fully reclaim her career and life, she had not only taken powerful steps in that direction — she was doing so on Music's Biggest Night. 

Her new album, Rainbow, had netted two nominations, and she was asked to perform. She opted for "Praying" (co-written by Ryan Lewis), a paean to the power of change and hope, even in the darkest hours. Surrounded by a cadre of powerful women and clad in white and embroidery of blooming flowers, Kesha’s performance shows a moment of new life and transformation, an inspirational moment that continues to grow with promise of even more new music.

Janelle Monáe - "Make Me Feel" (2019)

Janelle Monáe’s performance at the 61st GRAMMY Awards felt like a celebration of her quest to share her truest self. During a performance of the sensual, stylized, sci-fi epic take on "Make Me Feel," Monáe incorporated snippets of other Dirty Computer highlights into the breakdown — including the line "let the vagina have a monologue" from "Pynk" (probably the first time that request had been made on the GRAMMYs stage). 

Her black-and-white clad synchronized backup dancers gave shades of Robert Palmer, but Prince (another Black icon comfortable in gender-fluidity) was the true touchstone. But that’s in no way to say that Monáe is anything but an unparalleled icon of her own, whether on the guitar, in her dance steps, or on the mic.

Lil Nas X - "Dead Right Now"/"Montero (Call Me By Your Name)"/"Industry Baby" (2022)

After years of controversy and criticism (notably from talking heads and members of the public who had or would not listen to his music), Lil Nas X’s performance at the 65th GRAMMY Awards had a real sense of catharsis. 

Not that the Georgia-born rapper necessarily needed it — he’s proven plenty capable of pushing back and insisting on his identity on the daily, in social media and interviews. Still, the wide range of styles (both musical and visual) and performance versatility on display that evening felt special. His interstellar take on "Dead Right Now" proved he was capable of rising above all the noise; the hip-swiveling dazzle of "Montero (Call Me By Your Name)" showed he was unafraid to show his sensual side; and the stomp-along "Industry Baby" (complete with an appearance from Jack Harlow) demonstrated that Lil Nas X is just flat-out one of the most exciting vocal talents in hip-hop.

Kim Petras and Sam Smith - "Unholy" (2023)

Trans representation on the GRAMMYs stage took a big step forward at the most recent ceremony, thanks to Kim Petras. Not only did the German-born pop star become the first openly trans woman to win a GRAMMY Award, but her blistering performance of "Unholy" with Sam Smith likely ignited more than a little bit of inspiration, intensity, and passion in the viewing audience. 

Cast in a red glow, the duo embraced the fires of lust, Petras playing the fiery cage dancer to Smith’s devilish ringmaster. Every second of the performance dripped with sweat and sex, refusing to bow to any expectation or censure, Petras humping a corner of the cage as Smith gyrated around a cane. The smoking hot fever dream more than earned the FCC complaints and the zealous fans who went on to devour more of Smith and Petras’ music. 

Listen To GRAMMY.com's LGBTQIA+ Pride Month 2023 Playlist Featuring Demi Lovato, Sam Smith, Kim Petras, Frank Ocean, Omar Apollo & More

Sharing mental health issues with close family or specialized medical professionals can be challenging enough. Add in the pressures of fame and being in the public eye, and any struggles are exponentially more difficult to cope with.

In recent years, though, mental health has become a much more widely discussed topic in celebrity culture. Several artists have used their music and their platform to open up about their own struggles with depression, anxiety and the like, from Bruce Springsteen to Selena Gomez.

In honor of Mental Health Awareness Month this May, GRAMMY.com highlights the inspirational impact of music superstars who speak out about what they're going through, and how they manage their challenges. These 10 performers are making change through their courage and candor.

Ed Sheeran

Ed Sheeran takes fans behind the curtain of his personal life and struggles with mental health in Ed Sheeran: The Sum of It All. The four-episode docuseries, which is now streaming on Disney+, details the pain of losing his best friend Jamal Edwards and his wife Cherry Seaborn receiving a cancer diagnosis while she was pregnant with their daughter Jupiter.

"What I think is really great about the documentary is the themes that it explores, everyone goes through," Sheeran said at the New York City premiere on May 2, according to the Hollywood Reporter. "Everyone goes through grief. Everyone goes through ups and downs of their mental health."

Sheeran dives deeper into his struggles — and is more vulnerable than ever before — on his latest album Subtract, which arrived on May 5. "Running from the light/ Engulfed in darkness/ Sharing my eyes/ Wondering why I'm stuck on the borderline," he sings on album cut "Borderline," which touches on battling suicide thoughts.

Lewis Capaldi

Like Sheeran, Scottish singer Lewis Capaldi also gave fans an incredibly upfront look at his mental health challenges in a documentary, How I'm Feeling Now. The new Netflix release details his experience with anxiety and Tourette's syndrome, taking viewers to physical therapy with Capaldi and discussing how his medication both helps and hurts the quality of his life.

Capaldi's second album, Broken By Desire To Be Heavenly Sent (due May 19) will further explore his anxieties and vulnerability. While he has admitted it wasn't easy to be so raw in his music and on screen, Capaldi wants to make a difference in other people's lives. "If people notice things that are concurrent with what's going on in their life, then it's all been worth it," he told Variety.

Billie Eilish

While Billie Eilish's music has been raw and real from the start, her music has become increasingly more vulnerable throughout the years. Whether in her music or in interviews, the star has opened up about dealing with body dysmorphia, depression and thoughts of self-harm — hoping to inspire fans to speak up when they are hurting, and to know that it gets better.

"It doesn't make you weak to ask for help," she asserts in a 2019 video for Ad Council's Seize The Awkward campaign, which features stars discussing mental health.

"Kids use my songs as a hug," she told Rolling Stone earlier that year. "Songs about being depressed or suicidal or completely just against-yourself — some adults think that's bad, but I feel that seeing that someone else feels just as horrible as you do is a comfort. It's a good feeling."

Selena Gomez

As one of the most-followed stars on social media, Selena Gomez has often used her formidable presence to discuss her mental health and connect with others. In 2022, the singer launched a startup called Wondermind, which is focused on "mental fitness" and helping users maintain strong mental health.

Just a few months later, Gomez further chronicled her own mental health journey in an Apple TV+ documentary, Selena Gomez: My Mind and Me, which shows extremes she's suffered with her depression and bipolar disorder. She has said she was initially hesitant to share the film, but ultimately reflected on how many others could be helped if she did.

"Because I have the platform I have, it's kind of like I'm sacrificing myself a little bit for a greater purpose," she explained in a 2022 cover story with Rolling Stone. "I don't want that to sound dramatic, but I almost wasn't going to put this out. God's honest truth, a few weeks ago, I wasn't sure I could do it."

Shawn Mendes

In 2019, Shawn Mendes first publicly addressed his struggles with anxiety in the dynamic — and GRAMMY-nominated — hit "In My Blood." Three years later, the singer postponed his 2022 tour in order to focus on his mental health, opening up an important conversation to his legion of fans.

"The process was very difficult," he said in a February interview with Wall Street Journal. "A lot of doing therapy, a lot of trying to understand how I was feeling and what was making me feel that way. And then doing the work to help myself and heal. And also leaning on people in my life to help a little bit. 

"It's been a lot of work, but I think the last year and a half has been the most eye-opening and growing and beautiful and just healing process of my life," he continued. "And it just really made me see how culture is really starting to get to a place where mental health is really becoming a priority."

Bruce Springsteen

Even an artist as successful and celebrated as Bruce Springsteen has faced depression. In his 2016 autobiography Born to Run, the 20-time GRAMMY winner cites a difficult relationship with his father and a history of mental illness in the family, sharing that he has sought treatment throughout his life.

"I was crushed between 60 and 62, good for a year, and out again from 63 to 64," he wrote in the book. In that time, he released his 2012 album, Wrecking Ball, which featured a raw track called "This Depression." "Baby, I've been down, but never this down I've been lost, but never this lost," he sings on the opening verse.

As his wife, Patti Scialfa, told Vanity Fair in 2016, "He approached the book the way he would approach writing a song…A lot of his work comes from him trying to overcome that part of himself."

Janet Jackson

The physical and emotional abuse suffered by the famous Jackson family is well-documented in books, documentaries and TV dramatizations. But it's only been in recent years that Janet Jackson has talked about her own depression, which she has referred to as "intense." Her son Aissa has helped her heal from mental health challenges that have followed her all of her life.

"In my 40s, like millions of women in the world, I still heard voices inside my head berating me, voices questioning my value," she wrote in a 2020 ESSENCE cover story. "Happiness was elusive. A reunion with old friends might make me happy. A call from a colleague might make me happy. But because sometimes I saw my failed relationships as my fault, I easily fell into despair."

Elle King

After seeing global success with her debut single, "Ex's & Oh's," Elle King experienced the woes of sudden fame as well as a crumbling marriage. Her second album, 2018's Shake the Spirit, documented her struggles with self-doubt, medicinal drinking and PTSD.

"There's two ways out," she told PEOPLE in 2018, describing her marriage as "destructive," physically abusive and leading her to addiction. "You can take the bad way out or you can get help. I got help because I knew that I have felt good in my life and I knew I could get there again."

Brendon Urie

Certain public situations can trigger crippling anxiety attacks for Brendon Urie, who has been open about mental health concerns throughout his career. He can perform in front of thousands of fans, but he's revealed that being in the grocery store or stuck in an elevator for too long with other people are among some of his most uncomfortable scenarios in his life.

"You would never tell on the surface, but inside it's so painful I can't even describe," the former Panic! At The Disco frontman — who disbanded the group earlier this year to focus on his family — said in a 2016 interview with Kerrang.

Big Sean

Rapper Big Sean and his mother released a series of educational videos during Mental Health Awareness Month in 2021 — two years after the Detroit-born star started talking about his own long-held depression and anxiety publicly.

"I was just keeping it real because I was tired of not keeping it real," he said in an interview with ESSENCE in 2021. "I was tired of pretending I was a machine and everything was cool and being politically correct or whatever. I just was like, I'm a just say how I feel."

Like many of his peers, he hopes that his honesty will help others. "Whatever they can apply to their life and better themselves and maybe it just even starts a whole journey in a different direction as far as upgrading and taking care of themselves and bossing up themselves," he added. "Whatever they're trying to do, I hope it helps them get to that place."

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