meta-scriptBarbara Martin, Original Singer For The Supremes, Dies At 76 | GRAMMY.com
The Supremes

Barbara Martin (L)

Photo: GAB Archive/Redferns

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Barbara Martin, Original Singer For The Supremes, Dies At 76

As a member of the legendary Motown group, she sang on the band's 1962 debut album, 'Meet The Supremes'

GRAMMYs/Mar 6, 2020 - 11:56 pm

Barbara Martin, best known for her work as one of the original singers in the legendary Motown group The Supremes, has died. She was 76. 

According to NME, Martin died earlier this week (March 4). While details surrounding the cause of her death have yet to be released, the group confirmed her passing yesterday (March 5) in a post shared on The Supremes' official Facebook page, writing, "Our hearts go out to Barbara's family and friends. Once a Supreme, always a Supreme."  Founding Supremes member Mary Wilson also confirmed Martin's death on Twitter.

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Born in Detroit, Martin joined The Supremes in 1960, replacing founding member Betty McGlown, when the group was still known as the Primettes. One year later, the group, featuring the original lineup of Martin, Wilson, Diana Ross and Florence Ballard, changed its name to The Supremes when they signed to the iconic Motown Records, which celebrated its 60th anniversary last year.

While only an official member of the group for two years, Martin sang on multiple early Supremes singles. She shared lead vocal duties with Diana Ross on "(He's) Seventeen," featured on the band's 1962 debut album, Meet The Supremes. Although she contributed lead and background vocals on the album, Martin is not featured on the cover art

In 1962, Martin left The Supremes after she got pregnant. The group continued as a trio, filtering through numerous lineup changes throughout the years, and did not replace Martin.

10 Unsung Heroes Of Motown: The Funk Brothers, The Velvelettes & More

Prince performing in 2004
Prince performing at the Rock and Roll Hall of Fame Induction Ceremony in 2004

Photo: Kevin Kane/WireImage via Getty Images

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7 Legendary Prince Performances You Can Watch Online In Honor Of 'Purple Rain'

Fans of the Purple One, unite: it's time to celebrate 40 years of 'Purple Rain.' Crank up these classic Prince performances in tribute to that epochal album, and beyond.

GRAMMYs/Jun 21, 2024 - 02:35 pm

Have we really been living in a Princeless world for eight years? It doesn't feel like it. With every passing year, Planet Earth feels more of the magnitude of the Purple One's unbelievable accomplishments. Which includes the sheer body of work he left behind: his rumored mountain of unreleased material aside, have you heard all 39 of the albums he did release?

Yes, Prince Rogers Nelson was an impressive triple threat, and we'll likely never see his like again. In pop and rock history, some were wizards in the studio, but lacked charisma onstage, or vice versa: Prince was equally as mindblowing in both frameworks.

His iconic, GRAMMY Hall of Fame-inducted 1984 album Purple Rain — a soundtrack to the equally classic film — turns 40 on June 25. Of course, crank up that album's highlights — like "Let's Go Crazy," "When Doves Cry," and the immortal title track — and spin out from there to his other classics, like Dirty Mind, 1999, and Sign o' the Times.

To get a full dose of Prince, though, you've got to raid YouTube for performance footage of the seven-time GRAMMY winner through the years. Here are seven clips you've got to see.

Capital Centre, Landover, Maryland (1984)

Feast your eyes on Prince, the year Purple Rain came out. With guitarist Wendy Melvoin, keyboardist Dr. Fink, drummer Bobby Z., flanking him, even suboptimal YouTube resolution can't smother the magic and beauty. Check out this killing performance of Purple Rain's "I Would Die 4 U," where Prince's moves burn up the stage, with Sheila E. as much a percussion juggernaut as ever.

Read More: Living Legends: Sheila E. On Prince, Playing Salsa And Marching To The Beat Of Her Own Drum

Carrier Dome, Syracuse, New York (1985)

"Little Red Corvette," from 1982's 1999, has always been one of Prince's most magical pop songs — maybe the most magical? This performance in central New York state borders on definitive; bathed in violet and maroon, caped and cutting a rug, a 26-year-old Prince comes across as a force of divine talent.

Paisley Park, Minnesota (1999)

"I always laugh when people say he is doing a cover of this song… It's his song!" goes one YouTube commenter. That's absolutely right. Although "Nothing Compares 2 U" become an iconic hit through Sinead O'Connor's lens, it's bracing to hear the song's author nail its emotional thrust — as far fewer people have heard the original studio recording, on 1985's The Family — the sole album by the Prince-conceived and -led band of the same name.

Watch: Black Sounds Beautiful: Five Years After His Death, Prince’s Genius Remains Uncontainable

The Aladdin, Las Vegas (2002)

Let it be known that while Prince could shred with the best of them, he could equally hold down the pocket. This Vegas performance of "1+1+1=3," from 2001's The Rainbow Children, is a supremely funky workout — which also shows Prince's command as a bandleader, on top of the seeming dozens of other major musical roles he'd mastered by then.

Read More: Bobby Z. On Prince And The Revolution: Live & Why The Purple One Was Deeply Human

Rock And Roll Hall Of Fame Induction (2004)

Words can't describe Prince's universe-destroying solo over the Beatles' "While My Guitar Gently Weeps," in front of an all-star band of classic rockers including Jeff Lynne, Tom Petty, and George Harrison's son, Dhani. At song's end, Prince's guitar wails for a few more rounds, he tosses his Telecaster into the pit, and he struts offstage. We'll never see his like again.

Super Bowl Halftime Show (2007)

If you're the type of Super Bowl devotee who skips the Halftime Show, please — make time for Prince. When he digs into the trusty "Let's Go Crazy," it's hard not to follow suit. With fireworks blazing, and the Love Symbol brightly illumined, Prince arguably outshined the football game — as he tumbled through inspired cover after cover, by CCR, Dylan, and more. Naturally, he crescendoed with "Purple Rain," augmented by the drummers of the Marching 100.

Read More: Behind Diamonds and Pearls Super Deluxe Edition: A Fresh Look At Prince & The New Power Generation’s Creative Process

Coachella (2008)

At Coachella 2008, Prince offered a bounty of karaoke-style yet intriguing covers — of the B-52's ("Rock Lobster"), Sarah McLachlan ("Angel"), Santana ("Batuka"), and more. Chief among them was his eight-minute take on Radiohead's (in)famous first hit, "Creep," with a few quixotic twists, including flipping the personal pronoun I to a very Prince-like U.

"U wish U were special, / So do I," he yelps in the pre-chorus. Oh, Prince: to quote the radio-edited, de-vulgarized chorus of "Creep," you were so very special.

8 Ways Musicology Returned Prince To His Glory Days

Avril Lavigne Press Photo 2024
Avril Lavigne

Photo: Tyler Kenny

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15 Avril Lavigne Songs That Prove She's The "Motherf—in' Princess" Of Pop-Punk

As Avril Lavigne celebrates a major career milestone with the release of her new 'Greatest Hits' compilation, rock out to 15 of the pop-punk icon's signature songs, from "Complicated" to "Bite Me."

GRAMMYs/Jun 20, 2024 - 02:17 pm

"Hey, hey, you, you!" There's simply no debate: when it comes to the world of pop-punk, Avril Lavigne has always been the people's princess. Bursting onto the scene with her 2002 debut Let Go, the then-teen singer/songwriter was dubbed an overnight sensation with hits like "Complicated," "Sk8er Boi" and "I'm With You."She soon became one of the primary artists driving the pop-punk explosion of the 2000s — and remains one of the genre's primary legends more than 20 years later.

Lavigne's appeal went far beyond the mass of skaters and suburban kids who devoured her early music. Within months of Let Go's release, she had earned five GRAMMY nominations (tying fellow newcomer Norah Jones for the most nods of 2003) and a year later, she racked up three more. 

As pop-punk's first wave began to crest, the singer broadened her sights beyond the genre she'd helped pioneer, exploring everything from power pop to confessional alt-rock to Christian rock, as well as collaborations with artists as varied as Marilyn Manson and Nicki Minaj. And when pop-punk's second wave hit at the start of the 2020s, Lavigne made a triumphant return to the genre with 2022's Love Sux and the 20th anniversary reissue of Let Go

Now, she's set to release her first-ever Greatest Hits compilation on June 21, spanning more than two decades, seven albums and nearly two dozen hits on the Billboard Hot 100. To commemorate the album (and its coinciding Greatest Hits Tour), dive into 15 tracks that assert Lavigne's undeniable title as the "motherf—in princess" of pop-punk — from hits like "Sk8er Boi" to deep cuts like "Freak Out."

"Complicated," 'Let Go' (2002)

What better way to begin than with the song that started it all? Released as her debut single in the spring of 2002, "Complicated" declared a then-17-year-old Avril Lavigne as a major talent to watch.

Eventually, the pop-rock ode to teenaged authenticity became one of the biggest songs of the year, and led to her debut full-length, Let Go, becoming the third highest-selling LP of 2002 in the U.S. (It's since been certified 3x platinum by the RIAA and sold more than 16 million copies around the world.)

It's hard to overstate just how influential Lavigne's breakout year was, starting with "Complicated." The track peaked at No. 2 on the Hot 100, helping the newcomer earn nominations for Best New Artist, Song Of The Year, Best Female Pop Vocal Performance and Best Pop Vocal Album (for Let Go) at the 2003 GRAMMY Awards. Its runaway success also helped launch pop-punk's explosion into the mainstream, and the proliferation of artists and female-fronted bands that followed — from Paramore, Ashlee Simpson and Kelly Clarkson to Gen Z hitmakers like Olivia Rodrigo, Billie Eilish and Meet Me @ The Altar — are indebted to Lavigne's trailblazing success with the song.

Read More: Why 2002 Was The Year That Made Pop-Punk: Simple Plan, Good Charlotte & More On How "Messing Around And Being Ourselves" Became Mainstream

"Sk8er Boi," 'Let Go' (2002)

"He was a boy, she was a girl, can I make it any more obvious?" From those 15 words, Lavigne spun a pop-punk fairy tale for the ages.

If "Complicated" was an introduction to her talent, "Sk8er Boi" was the new star's real coronation as the reigning princess of the genre. Everything about Let Go's second single is nothing short of iconic, from the star-crossed love story between a skater destined for punk rock greatness and the ballet dancer who wasn't brave enough to love him, to the lip ring and striped tie Lavigne sported in the music video (the latter of which you can still purchase to this day from her official store). 

"Sk8er Boi" dispelled any notion that the teenage upstart would be a flash in the pan relegated to one-hit wonder status. In fact, the song notched Lavigne a second consecutive Top 10 hit on the Hot 100, and landed her a fifth GRAMMY nomination at the 2003 ceremony, for Best Female Rock Vocal Performance. But the cherry on top of it all? The eleventh hour twist in the track's bridge that the ballet dancer's loss was Avril's gain.

"My Happy Ending," 'Under My Skin' (2004)

After all the commercial success and critical acclaim showered on her in the wake of Let Go, Lavigne chose to forgo taking the easy road with another pop-infused mainstream win. Instead, she plunged into the darkness for 2004's Under My Skin, exploring post-grunge, nu metal and even hard rock influences on the punk-infused LP. The biggest hit from the album was second single "My Happy Ending," which became Lavigne's fourth No. 1 at Top 40 radio and spent four weeks in the Top 10 of the Hot 100, peaking even higher on the latter than "Sk8er Boi" had two years prior.

The downcast breakup anthem was the first time Lavigne put her broken heart on display ("All this time you were pretending/ So much for my happy ending," she lamented as the piano-driven verses swirled into a guitar-heavy chorus), and the result was an electric kiss-off delivered with equal parts anger, shock and a tinge of bitter sarcasm. 

The singer may not have gotten her happily ever after, but turning the doomed relationship into a scathing goodbye certainly earned her the last laugh: the song helped propel Under My Skin to becoming one of the top-selling albums of the year worldwide.

Read More: Loving Olivia Rodrigo's "Vampire"? Check Out 15 Songs By Alanis Morissette, Miley Cyrus & More That Reclaim The Breakup Narrative

"Girlfriend," 'The Best Damn Thing' (2007)

It wasn't all doom, gloom and angry tears on Under My Skin, however. Lavigne proved she was equally adept at bouncing back from a particularly disappointing Sk8er Boi with a devilish grin and a chip on her shoulder on the bouncing "He Wasn't."

While the brash ditty wasn't officially released as a single in the U.S. — instead being pushed to radio in Europe, the United Kingdom, Australia, and her native Canada — it quickly became a fan favorite from the album. Nearly 20 years on, the song and its rowdy music video (come for Avril wearing fairy wings and a bright pink tutu, stay for her shattering a camera with the butt of her guitar) rather perfectly encapsulate the singer's place as one of the rare female voices at the forefront of the second-wave post-grunge movement. 

"Freak Out," 'Under My Skin' (2004)

Giving authority figures the middle finger has long been a hallmark of Lavigne's brand, and nowhere is that more clear than on Under My Skin deep cut "Freak Out." "Try to tell me what I shouldn't do/ You should know by now I won't listen to you," she scowls before ratcheting up the lyrical drama on the booming chorus. 

The track's second verse serves as a veritable manifesto for an entire generation of emo kids, as Lavigne offers the following advice to her fans: "You don't always have to do everything right/ Stand up for yourself and put up a fight/ Walk around with your hands up in the air/ Like you don't care." When in doubt? "Just freak out, let it go."

In retrospect, Under My Skin is often rightfully credited as one of the defining albums of pop-punk's 2000s heyday. And it's clear Lavigne is proud of the album's impact on both her career and the genre she helped pioneer, considering four of its singles — including "Don't Tell Me" and "Nobody's Home" — are included in the 20 tracks featured on her upcoming Greatest Hits compilation.

"Girlfriend," 'The Best Damn Thing' (2007)

Lavigne turned the power pop up to 11 for her third album, 2007's The Best Damn Thing, and traded the myopic grunge of her previous era for a blast of sugar-coated, self-confident sass. Lead single "Girlfriend" let the singer unleash her inner pop-punk princess like never before, as she played a mean girl with a flirtatious streak who somehow made stealing another girl's man seem lovable.

The unabashed bop was the first time Lavigne proudly declared herself "the motherf—in' princess," and the song's relentless sing-song hook was so addictive that it became the star's first single to top the Hot 100. Lavigne broke several records with "Girlfriend," which became one of the best-selling songs of 2007 and the most-viewed YouTube video of 2008 — as well as the first to ever reach 100 million views on the platform. 

Still can't get enough of "Girlfriend"? Hardcore fans know that the official remix with Lil Mama might even outdo the fizzy perfection of the original. 

"The Best Damn Thing," 'The Best Damn Thing' (2007)

For the title track off The Best Damn Thing, Lavigne doubled down on the bright and bubbly persona she'd donned on "Girlfriend." In fact, the song's opening rallying cry of "Let me hear you say hey, hey, hey!" and a call-and-response bridge are so downright peppy that it seems almost hard to believe they came from the same artist who thrashed her way through Under My Skin.

Released as The Best Damn Thing's fourth and final single, the song of the same name is more melodic than its chart-topping predecessor, with Lavigne unapologetically laying out the type of treatment she expects from a man in cheerleader fashion ("Gimme an A! Always give me what I want!/ Gimme a V! Be very, very good to me!"). After all, a pop-punk princess deserves a Cinderella story of her own. 

"What the Hell," 'Goodbye Lullaby' (2011)

Riding high off the commercial success of The Best Damn Thing, Lavigne kicked off the rollout for her fourth studio album, 2011's Goodbye Lullaby, with "What the Hell," a playfully bratty banger that found her toying with a love interest and vowing, "All my life I've been good/ But now I'm thinking, 'What the hell!'"

Produced and co-written by pop impresarios Max Martin and Shellback, "What the Hell" melded Lavigne's snarky songwriting sensibilities and penchant for bucking authority with a catchy, singalong refrain. But the lead single actually proved to be something of an outlier on the pop-punk princess' fourth go-around, as the rest of the album utilized a stripped-back sonic palette to lay her heartbreak bare in the wake of divorcing Sum 41 frontman Deryck Whibley.

"Bad Reputation," 'Goodbye Lullaby' (2011)

Goodbye Lullaby may have been Lavigne's first foray into a more acoustic sound — complete with introspective lyrics and surprisingly sincere song titles like "I Love You" and "Everybody Hurts" — but she couldn't resist adding a little snarl to the album's softer, more sensitive proceedings. So for the deluxe edition of the album, she featured her take on Joan Jett's classic 1980 single "Bad Reputation" as a bonus track. 

Lavigne had originally recorded "Bad Reputation" for the soundtrack to the Japanese anime feature film One Piece Film: Z (it even reached the top 10 on Japan's Hot 100!). But she apparently liked the cover so much that it ended up on the track list of not one, but two of her albums, as the song was also included on 2013's Avril Lavigne.

"Here's to Never Growing Up," 'Avril Lavigne' (2013)

Even as she approached her thirties, Lavigne wasn't about to give up her spot as pop-rock's resident wild child. Case in point: "Here's to Never Growing Up," the lead single off her fifth album, 2013's Avril Lavigne. Over a peppy stomp-clap rhythm, the singer shouts out an undying love of Radiohead, dancing on bar tops and making late-night memories with your best friends as the boombox blares all your favorite songs.

There's a thread of bittersweet nostalgia running through the midtempo jam — one that's sure to pierce the heart of any millennial listening as Lavinge sings, "Say, won't you say 'forever'?/ Stay, if you stay forever/ Hey, we can stay forever young." It's not that the singer's refusing to acknowledge the cruel act of getting older on the track, she's just rebelling against the notion that adulthood should be a dreary slog of, you know, taxes and laundry and all of those lame adult responsibilities. 

"Rock N Roll," 'Avril Lavigne' (2013)

Lavigne once again put her middle finger to the sky and re-upped her rock star credentials on the appropriately titled "Rock N Roll," the second single off her self-titled album. The spirited singalong finds the singer reveling in her eternally bad attitude as she wails, "I don't care if I'm a misfit/ I like better than the hipster bulls–/ I am the motherf—in' princess/ You still love it."

Though "Rock N Roll" didn't make quite as much of an impact on the charts as some of the other hits on this list, it remains one of the most underrated bangers in her entire discography. Plus, the song gifted fans with the campy, comic book-inspired music video starring Lavinge, Danica McKellar, a drunk-driving Doberman and one very unlucky lobster as they race across a dystopian wasteland to save rock and roll from the clutches of an evil bear-shark. (Billy Zane shows up on a rocket-powered Segway at some point, too — just go with it.)

"Head Above Water," 'Head Above Water' (2019)

Proving that pop-punk doesn't always have to come with an in-your-face, "f— you!" attitude, Lavigne released "Head Above Water" — the lead single and title track to her 2019 album — five years into an often confusing, devastating and all-consuming battle with Lyme disease.

"One night I thought I was dying, and I had accepted that I was going to die," she revealed at the time of the song's unveiling. "My mom laid with me in bed and held me. I felt like I was drowning. Under my breath, I prayed, 'God, please help to keep my head above the water.' In that moment, the songwriting of this album began."

Lavigne taps into a truly admirable well of resilience and hope on the spiritual ballad as she sings, "Yeah, my life is what I'm fighting for/ Can't part the sea, can't reach the shore/ And my voice becomes the driving force/ I won't let this pull me overboard." Unlike anything that's come from the singer's catalog either before or since, "Head Above Water" remains a powerful testament to the beloved pop-punk princess' inner strength.

"Bite Me," 'Love Sux' (2022)

As the 2010s gave way to a new decade, pop-punk made a surprise resurgence in popularity while Lavigne was making major moves of her own; she left BMG after just one album to sign with Travis Barker's DTA Records in 2021 (about which she fittingly declared, "Let's f— s— up!"). Partnering with the blink-182 drummer sparked some serious magic in the studio, as her seventh studio album, 2022's Love Sux was a wildly entertaining return to her pop-punk roots after the emotional catharsis of Head Over Water.

On lead single "Bite Me," Lavigne effortlessly dusted off her crown and reclaimed her throne with an octave-jumping vocal performance. Along with proving she still has the chops, the singer simply sounds like she's having a hell of a lot of fun as she snaps back at an ex-flame who made the mistake of crossing her. Pop-punk's reigning princess? Try queen.

Read More: How 'Love Sux' Led Avril Lavigne To True Love, Her First Fangirl Moment And An Album Process That Was 'Just Stupid Fun'

"All I Wanted" feat. Mark Hoppus, 'Love Sux' (2022)

Lavigne collaborated with plenty of special guests on Love Sux, from blackbear (on love-drunk single "Love It When You Hate Me") to eventual tourmate Machine Gun Kelly (on delicious battle of the sexes "Bois Lie"), but no other duet on the album holds a candle to "All I Wanted" featuring blink-182's Mark Hoppus

The supercharged deep cut features the two trailblazers rocking out in a whirling dervish of escapist bliss, playing a sort of pop-punk Bonnie and Clyde as they bust out of the town they're stuck in. And in doing so, they proved they're more than happy to show the new kids at the rock show just how it's done.

"Breakaway," 'Let Go (20th Anniversary Edition)' (2022)

And finally, a proper celebration of Lavigne's status as pop-punk royalty wouldn't be complete without including the biggest song she ever gave to another artist. As the story goes, the singer/songwriter originally penned "Breakaway" for her debut album, but the hope-filled anthem didn't quite fit with the vibe of Let Go tracks like "Complicated," "Sk8er Boi," "Losing Grip," and "I'm With You." So instead, she gave it to a fresh-faced newcomer by the name of Kelly Clarkson, who had just come off of winning a little reality TV experiment called "American Idol." 

After being featured on the soundtrack to The Princess Diaries 2, "Breakaway" became the centerpiece and title track of Clarkson's 2004 sophomore album, which helped turn her into a bonafide superstar — and the rest, as they say, is history. 

Lavigne started performing the song live for the first time on her 2019 Head Above Water Tour, which naturally left fans clamoring for a studio version. Blessedly, the pop-punk icon gave them exactly what they wanted by revisiting "Breakaway" in the recording studio for the 20th anniversary edition of Let Go in 2022. She even reinstated her original lyrics in the opening stanza ("Grew up in a small town/ And when the snow would fall down/ I'd just stare out my window") for a personal touch that connected back to her roots in Greater Napanee, Ontario. 

Clarkson may have made the song famous, but the beating heart of "Breakaway" will always be Lavigne's story — one of a small-town girl who bet on herself, only to become a trailblazing artist whose legacy is forever cemented in the pop-punk history books. 

The State Of Pop-Punk: A Roundtable Unpacks The Genre's Past, Present And Future

Kehlani press photo
Kehlani

Photo: Mia André 

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Crashing Into The Present: How Kehlani Learned To Trust Their Instincts And Exist Loudly

"I want this next batch of music to feel like the most fiery parts of me," Kehlani says of her new album, 'Crash.' The singer/songwriter speaks with GRAMMY.com about embracing the moment and making an album she can headbang to.

GRAMMYs/Jun 20, 2024 - 01:07 pm

After finishing the first mixes of their new album, Kehlani knew exactly what she needed to do: head to Las Vegas. 

The L.A.-based, Oakland-born singer/songwriter had always identified with Sin City: "I’m full of juxtapositions," she tells GRAMMY.com. "Vegas is this crazy bright light city in the middle of a vacant desert that has weddings and also strippers." Fittingly, Kehlani harbored a very Vegas-like image in their head while creating Crash, a record built on blaring neon, glowing smoke, and the highest highs.

Crash drops June 21, and is Kehlani's fourth solo album. She burst onto the scene in 2009 as a member of teen sextet PopLyfe, but their 2014 debut solo mixtape Cloud 19 announced a far more complex character. Their debut full-length, SweetSexySavage, was released three years later to critical acclaim, with two more albums and a handful of platinum-certified singles following. As if that weren’t enough, Kehlani added acting, appearing in "The L Word: Generation Q" and a cameo in Creed III. 

And while Crash embodies the evolution and growth through all those experiences, the record builds a hyper-real language all their own. Beyond any sense of R&B or pop, soul or hip-hop, Crash finds Kehlani chasing passions that refuse to fit in any box, shifting multiple times within a track — refusing to focus on anything but the moment. 

"A crash isn't anything from the past. It isn't the anxiety of what's about to happen," she says. "It's the height of the moment. It's right now."

Nearing the release of Crash, Kehlani spoke with GRAMMY.com about finding inspiration from international music, getting their five-year-old to sing on the album, and their need to stage dive.

What’s it like living in Los Angeles after growing up in the Bay Area?

I moved to L.A. when I was about 17. I had already left the house. I left the house at 14, and by the time I was almost 18 it was the appropriate time for me to situate in a new place. L.A. and the Bay are like cousins. Do we have differences? Absolutely, things that are fundamental to us, but when you leave California, you can really see that we're just like a big family.

Had you been dreaming of L.A. as a place where you could pursue art? Were you already set on that goal?

It was the closest place that a young, very broke person could go and work in music. I'm sure there were other places with musical homes, musical cities, but if all I had to do was get on a $15 bus and go find someone to stay with in L.A., I was gonna do it for sure.

That’s the same ambition that I feel drives this new record, which is just so dense and full of surprises. That includes the lovely retro radio intro to "GrooveTheory," where you move from this ‘60s pop feel to the present. That’s such a smart way to foreground your evolution.

I think the second that we made that song and then turned it into ["GrooveTheory"], I was like, This feels like it encompasses where I'm headed, this whole new sound. 

Once that radio dials in and it comes in with R&B elements, it's producing where I'm headed, but also remembering that my core hasn't changed. Especially the energy of what I'm saying in the song, like, "I'm kind of crazy," it's introducing this energy difference on this album. I feel like that's the biggest change, and that's what's so prevalent in this whole rollout. Energetically, I'm on a whole different type of time.

You can sense it. 'Crash' feels really rooted in self-expression and personal growth, and when you listen to it as a whole, it really does seem like an evolution story. Beyond just the genre and style, how do you feel the way that you've expressed your true self has shifted over the years?

Thank you! That's been the feedback I've gotten from pretty much everyone who's listened, and I don't know what I expected, but it wasn't this. I have realized the public's understanding of me and the general consensus for so long, and I also realized how multi-faceted I am to people. 

People get really confused when I express all the sides of my personality. They’re either, like, "Okay, she makes really sweet love songs," or "We've seen you be political, we've seen you come out, we've seen you be a family member." And then there's a lot of people who are, like, "I feel like she's f—ing crazy. I've seen her in multiple relationships. I've seen her be angry. I've seen her get online and cuss people out." 

I want this next batch of music to feel like the most fiery parts of me. I want it to feel like the most present and energetic parts of me. I don't want anything to feel somber. I don't want anything to feel reminiscent. I think a lot of my albums in the past have been me looking back, and sitting in that feeling and detailing it. I just wanted [this album] to feel right here, right now, which is why the title came about. A crash isn't anything from the past. It isn't the anxiety of what's about to happen. It's the height of the moment. It's right now.

That’s unfortunately a story you hear too often about artists of color — that essentialization, where you can only be seen as one thing. R&B often gets hit with those same issues. Throughout your career you’ve stood up to those expectations, and "Better Not" on this album is such a good example of that. It’s a left turn, a stylistic contrast and an open conversation with the listener. You cleverly fuse that intentionality with a voice that’s stronger than ever.

In the past, I have had moments where I would make the song and [start recording], and there would be so many versions of each song on different microphones, recorded in different places.

"Let me try vocal production. Let me try to go back and work with this version again." I went back and did vocal production with Oak Felder, who did all the vocal production on SweetSexySavage. When I come back to some of my favorite vocal production moments, it was moments like "Distraction" or "Advice" or "Escape" — songs on my very first album — and I wanted to get that feeling again. Where it's lush where it needs to be, but also that I really mean what I'm saying. 

That started with the approach in the songwriting. Once I had the songs and I had to go back and deliver them, I had enough time to listen and listen, to learn the songs and identify with them. We would make music all day and then go out, and we would be in this sprinter van on the way to going out, and, like, bang, the songs we just made, the energy was just different. It allowed me to be present in a different way where my voice is able to show up like that.

Learn more: R&B Isn't Dead: Listen To 51 Songs By Summer Walker, Josh Levi & More Artists Who Are Pushing The Genre Forward

Which again ties perfectly to crashing into the present. As someone from South Africa, I love that the other guests that you included represent different cultural viewpoints. You worked with Young Miko from Puerto Rico, Omah Lay from Nigeria. Having that musical dialogue is so powerful.

We had so many conversations about how America's in the backseat often when it comes to music. We have our moments, and it's fantastic, like Beyoncé’s Cowboy Carter. There's a culture that is super American, that is Black, that historically needs to be dived into. It needs to be shown that we do have something here. 

So many people that don't speak Spanish bang Bad Bunny all day. Amapiano’s taking over; Tyla’s going up. It's really not here. So that wasn't a conscious choice. It's just what we've all been listening to, what we've been loving.

Read more: 11 Women Pushing Amapiano To Global Heights: Uncle Waffles, Nkosazana Daughter, & More

Speaking of guests, I wanted to ask about your daughter, whose voice is on "Deep." Was she just in the studio and you got her singing?

So those vocals on that, that’s actually my little sister and my goddaughter. And [my daughter] was in the room and she started singing along. She has perfect pitch; she's always freestyling or singing or making something up. 

I was like, "You want to just go sing on it?" What's on there is her first take. Literally. She did it the first time, all the way through, perfectly. I was like, "Well, that's it, guys. I can retire." 

That track is so lush. It feels so alive. Were you working with a full band?

[Producer] Jack Rochon, who I did a lot of the music with, he just is a freaking genius music whiz. Honestly, he's one of the most humble people that I know, and deserves credit for how amazing a lot of this album is.

Talking about touchstones, there's a Prince energy to the title track. Did you have any new inspirations or influences for this record?

Thank you! My main focus for this album came from going on tour for my last one and making such a pretty, sweet, intimate album, and then playing some of the biggest venues of my career. At some point I had to rearrange the setlist to add in a lot of the album before that one, because it was just more energy on the stage. By week two of tour, the setlist had completely changed. I knew that I was playing venues on this next tour that I've dreamt about, places that I can't fathom that I'm playing, like Barclays Center. 

I do a lot of things for, like, my inner child, and this is such a move for my inner child. Like, You're about to go play Barclays. Do you want to look back and say, ‘I rocked out and played Barclays’? I'm a person who headbangs on stage. I stage dive. I wanted to create an album that would ring through a venue like that. I want people to be engaged again. I'm not looking for the lighters and the somber, holding each other — which will occur regardless, because it's a me show. 

But I really wanted people to be in their bodies, and their heart’s exploding and the ground’s shaking. So that's what we accomplished. I wanted to have fun. This album is so fun to me. It’s a place of fire in my heart.

It took me a second to get the word play on "Eight." I loved the track, and then suddenly I was like, 'Oh… I knew there was something raunchy going on here.'

[*Laughs.*] "Eight" was super fun, and shoutout to the boys that I did it with, because they made it everything for me. 

I didn't come up with the wordplay. My boys did. Like, "This is how you talk!" I was like, "It is! This is perfect." Once I got in to fix things, add things, add my own spin, and finish writing, my favorite part was that it sounds like a Brandy song. She's my favorite.

I also wanted to ask about the Nina Sky sample on "After Hours."

That was mine. I was like, "What can we flip that when it comes on, my generation loses their mind?" And for me, every single time that Nina Sky comes on in the club, everybody's like "Woo!" And then you see how many songs were made from that same sample, and they're all songs that make us lose our minds. 

I went into the room with the producers, and I was like, "So, I want to flip this, but I want you to make it to where it doesn't become one of those where the whole thing is just a sample."

Similarly, "Lose My Wife" balances breeziness with high emotional stakes. Is finding a balance like that just natural for someone so capable of juxtaposition?

The second that we established that [the record] felt like Vegas, I knew what components were missing from the energy of how I feel the second my car crosses the line into the city of Las Vegas. I knew I was missing that feeling of the next morning when you realize you went on this high and you come down. I wanted to create these scenarios that weren't necessarily applicable to me, but captured that emotion. I've been there before, and I want people to be like, Damn, I've been there before. I know this feeling. 

I recorded that song at 4 in the morning with a sinus infection. The second that we finished it, everybody was like, "You can never re-sing that. Don't try to make another version, you're not gonna be able to sound like that again." All the chatter in the background of that song is really everybody who was in the studio that stayed up to just hang out. We had the tequila out, it was perfect. That was probably one of my favorite moments of making the album.

It takes a while as an artist to reach a place where you can capture those moments. You said before that people try to figure you out, and I mean this in the best possible way, but it feels like now you don’t care if they can’t figure you out.

I don't give a f—anymore, yeah. And that was a very important thing for me to learn. I used to care so much, and I would spend so much time explaining myself online, in music, in interviews, on stage. I realized that you're damned if you do, damned if you don't. 

I've been so forward-facing with my heart my entire career that I've left a lot of room for people to consistently pedestal me and then critique me, for people to want to tear me down. I realized I'm just being present, here, existing loudly in front of a billion people, and whichever way that goes is how the cookies gonna crumble. Me giving a f—? I'm the only one it's affecting at this point, for sure.

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Sam Smith performing in 2014
Sam Smith performs at Q102's Jingle Ball in Philadelphia in 2014.

Photo: Taylor Hill/WireImage

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How Sam Smith's 'In The Lonely Hour' Became An LGBTQIA+ Trailblazer

As Sam Smith’s massive debut album turns 10, revisit some of the ways it broke ground for the LGBTQIA+ community — from supporting same-sex marriage to making GRAMMY history.

GRAMMYs/Jun 17, 2024 - 04:11 pm

Before launching their own solo career, Sam Smith had already teased their pop prowess by guesting on two bonafide dance classics, Disclosure's deep house anthem "Latch" in 2012 and Naughty Boy's two-step garage throwback "La La La" in 2013. And upon debuting their own work in 2014 with In The Lonely Hour, Smith instantly cemented themselves as the master of the heartbreak ballad — and one of pop's new pioneers.

Self-described as the "diary from a lonely 21-year-old," the record was inspired by the love Smith felt toward an unnamed man which, it seems fair to say, wasn't exactly reciprocated. "I don't have that many sad things going on in my life and it was the only thing that was really affecting me last year," they explained to Digital Spy ahead of In The Lonely Hour's release. "So, it's my way of defining what is love, and how unrequited love is just as painful, just as powerful, as what we call 'normal' love." And audiences both in their homeland and across the pond immediately latched on to its overarching theme.

Largely produced by hitmaking extraordinaire Jimmy Napes (Clean Bandit, Mary J. Blige), In The Lonely Hour reached No. 1 in the UK and No. 2 on the Billboard 200, spawned five hit singles, and, in an era when the album format was commercially struggling, sold a remarkable 8.5 million copies across the globe. And alongside the chart success, the sold-out tours, and the four GRAMMY wins on the same night, the blockbuster LP also became a force for good, and a force for change, within the LGBTQIA+ community.

A decade on from its stateside release (June 17), we take a look at why In The Lonely Hour was such a landmark album for the music industry as a whole, but especially for a new queer generation.

It Made GRAMMY History

Smith famously put their foot in their mouth while picking up Best Original Song at the 2016 Academy Awards for Bond theme "Writing's On the Wall," wrongly declaring — much to Milk screenwriter Dustin Lance Black's disdain — that they were the first ever openly gay Oscar winner. However, the Brit can lay claim to being an LGBTQIA+ trailblazer at the GRAMMYs.

The year before his acceptance speech faux pas, Smith became the first member of the LGBTQIA+ community to win Best New Artist. The singer also won Best Pop Vocal Album for In the Lonely Hour, while "Stay With Me" was crowned both Record and Song Of The Year. (Eight years later, Smith then made history again as the first ever non-binary GRAMMY winner when their Kim Petras collaboration "Unholy" scooped Best Pop Duo/Group Performance in 2023.)

It Used Gender Neutral Pronouns

The use of pronouns has played a big part in Smith's career. And though they officially announced their they/them change in 2019, the singer refused to commit to a particular gender on their debut album. While In The Lonely Hour was based on their infatuation with an uninterested man, the Brit purposely left things ambiguous, as they explained to Fader at the time of its release.

"[It's] important to me that my music reaches everybody. I've made [it] so that it could be about anything and everybody — whether it's a guy, a female or a goat — and everybody can relate to that." This inclusive approach has also been adapted by several other artists, including singer/songwriter Bruno Major, whonoted how Smith's material "can be listened to by anybody of any sexuality and gender and still apply."

It Advocated For Same-Sex Marriage

While Smith kept all pronouns neutral on record, they were far more specific when it came to In The Lonely Hour's visuals. In the tearjerking video for "Lay Me Down," a flashback shows the Brit getting hitched to their boyfriend in the same church where the latter is later laid to rest. Although gay marriage had been made legal in the UK a year prior to the video's 2015 release, it was still illegal for same-sex couples to wed within the Church of England.

In a Facebook message posted to coincide with its premiere, Smith said, "This video shows my dreams that one day gay men and women and transgendered men and women all over the world, like all our straight families and friends, will be able to get married under any roof, in any city, in any town, in any village, in any country." Smith later performed the album's biggest hit, "Stay With Me," in front of President Joe Biden at the 2022 signing of the Respect for Marriage Act.

It Ventured Into Cishet Territory

Before Smith came along, the modern heartbreak ballad — the kind of emotionally devastating anthem that can reduce an entire stadium crowd to a blubbering wreck — had typically been the domain of heterosexual/cis-identifying artists such as Adele and Ed Sheeran.

However, thanks to radio-friendly chart hits such as "Lay Me Down," "Stay With Me," and "I'm Not The Only One," In The Lonely Hour proved mainstream audiences, no matter their sexual orientation or gender, could be equally moved by candid tales of queer love. Smith's lyrical themes may have been specific to their own situation, but they could just as easily be interpreted on a universal level. Soon after, LGBTQIA+ singers such as "Britain's Got Talent" graduate Calum Scott and Eurovision Song Contest winner Duncan Laurence were mining a similar tragi-romantic path to hugely commercial effect.

It Channeled A Feminine Energy

The tactile way Smith addressed their unrequited love — not to mention, how much it was embraced by the mainstream — meant that In The Lonely Hour wasn't considered an explicitly LGBTQIA+ album at the time. Yet, the singer insists they were deliberately trying to challenge notions of gender, sexuality and masculinity.

Speaking to Out five years after the album's release, Smith revealed it was, in fact, partly influenced by one of the all-time gay icons. "I'm in a suit and in that suit, I was channeling Judy Garland. I look back on those videos of me when I was 20, and I see a feminine energy." They further explained they were surprised when the record wasn't initially interpreted as intended. But thanks to Smith's non-binary journey, the album's inherent queerness has unarguably now become more apparent.

It Opened The Door For Several LGBTQIA+ Artists

Smith confirmed they were gay in the same week In The Lonely Hour hit the shelves, acknowledging the record was "about a guy that I fell in love with last year, and he didn't love me back." And the matter-of-fact way they spoke about their sexuality inspired several other artists to follow suit.

In 2017, Troye Sivan cited Smith as a role model for coming out without making any grand gestures. Years and Years frontman Olly Alexander has also applauded his fellow Brit for refusing to hide their true identity. Even some of Smith's collaborators, including Petras and Cat Burns, have touted the singer's self-assurance.

Indeed, while artists in less enlightened times often felt compelled to keep their sexuality under wraps, Smith has been able to express their true self from the outset. As a result, a generation of artists have seen that queerness needn't be a barrier to commercial success — and that celebrating it can change culture in a powerful way.

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