Photo: Kevin Winter/American Idol 2011/Getty Images
For The Record: The Creative Rebirth Of Beyoncé On '4'
For the 100th episode of our For The Record series, GRAMMY.com takes you inside Beyoncé's GRAMMY-winning, platinum-selling 2011 album, '4,' an ode to the classics that ignited a personal and creative rebirth for the singer and launched a new chapter
Just before the 2010s, streaming services like Spotify, Apple Music and Pandora picked up where Napster rose and fell in the late '90s, driving the music industry toward a singles-driven market. Beyoncé's 4 album showed she was clearly not having it. In her 2013 HBO documentary, Life Is But A Dream, she targeted the then-burgeoning trend.
"It's a tough time for the music industry. I'm an artist that tours, I'm an artist that makes albums," she explained in an exasperated tone. "People don't make albums anymore, they just try to sell a bunch of quick singles and they burn out and they put out a new one. People don't even listen to a body of work anymore."
Before hip-hop dominated streaming in 2017, EDM and pop wore listeners out on sticky dance floors. Everyone wanted a piece of the mainstream radio pie, with songs like Usher's "OMG," Lady Gaga's "Poker Face," Rihanna's "Only Girl (In The World)," Jay-Z's and Alicia Keys' "Empire State of Mind," and the Black Eyed Peas' "Boom Boom Pow" ruling Billboard's Top 40 chart before and during the new decade.
But rewind just a few years before the release of Beyoncé's 4, a time when she, too, was caught up in the same sonic whirlwind she seemingly resented. In 2008, Queen Bey was at the height of her career thanks to her mammoth third solo album I Am...Sasha Fierce.
She scored five GRAMMY wins at the 52nd GRAMMY Awards in 2010, including Song Of The Year for "Single Ladies (Put A Ring On It)"), becoming the first woman artist to win six GRAMMYs in one night. "Single Ladies (Put A Ring On It)," "Halo," "If I Were A Boy," and "Sweet Dreams" were inescapable Top 10 singles. Beyoncé later doubled down on her mainstream presence by collaborating twice with Lady Gaga: "Video Phone" off Sasha Fierce and "Telephone" off Gaga's The Fame Monster. Bey's growing trendiness led to I Am... World Tour, her biggest and highest-grossing international trek at the time.
"After the last tour I was a bit overwhelmed and overworked," she explained in her 2011 Year of 4 documentary. "My mother was the person that preached to me and almost harassed me every day after I was doing the last world tour: 'You really need to live your life and open your eyes. You don't want to wake up with no memories and never really being able to see the world.'"
After the tour, Beyoncé announced a year-long hiatus to catch up on sleep and rethink her life's purpose. Her worldwide exploration of places like the Great Wall of China, the Egyptian pyramids and the Red Sea gave her insight, grounded her as a human, and eventually inspired 4, whose special title signifies the date of her marriage to Jay-Z, both their birthdays and her mother's birthday.
Released in June 2011, 4 is a 12-track refocus of Beyoncé's artistry on which she disregarded making music solely for mainstream appeal. The album's heightened maturity is reflective of three life changes. Two months prior to the album's release, the artist mutually severed management ties with her father Mathew Knowles, who'd guided her career even before the birth of Destiny's Child in the '90s. Around that time, according to Jay-Z, she became pregnant with Blue Ivy Carter during a Paris trip for the album's cover shoot. And along with being a new mother, she would soon enter her 30s.
Needless to say, Beyoncé was already "Drunk In Love" before the ubiquitous 2013 hit won two GRAMMYs three years later. And what better way to celebrate romance than with R&B? But instead of modernizing the sound as she did on previous albums, the artist opted to highlight the genre's traditional roots.
4 is more stripped-down compared to the gloss of I Am...Sasha Fierce, the liveliness of B'Day, and the contemporary radio-friendliness of Dangerously in Love. Instead, 4 is an ode to the classics. "Love On Top" resurrects the vibrancy of '80s R&B, a time when all-stars like the Jackson 5 and Whitney Houston upheld the heart of Motown's past. The song's retro appeal continues in its music video, with Beyoncé going full New Edition via boy band choreography.
Read: Inside The Visual World Of Beyoncé And Black Is King, Her "Love Letter" To Black Men
Nostalgia proved to be a winning formula: "Love On Top" won the GRAMMY for Best Traditional R&B Performance at the 55th GRAMMY Awards in 2013. The album then heads to '60s Philadelphia soul on "Rather Die Young," where Beyoncé uses the melodrama she picked up from her film roles in Dreamgirls and Cadillac Records to fuel the impassioned vocals and lyrics: "You're my James Dean / You make me feel like I'm 17," she whispers in the first chorus.
"Run The World (Girls)," the lead single off 4, was a total red herring. The female empowerment anthem, which samples Major Lazer's "Pon De Floor," doesn't indicate the album's time travel. (Diplo later pops in to co-produce "End of Time," a wildly addictive tribute to Nigerian Afrobeat pioneer, Fela Kuti).
The unapologetic mushiness of 4 is balanced by uptempos that remind you just why Beyoncé is a superstar. "Best Thing I Never Had," an unofficial sequel to the singer's 2006 GRAMMY-nominated anthem "Irreplaceable," finds her classily kicking a no-good man to the curb while trading Ne-Yo's pen for Babyface. The effervescent "Countdown" is wholly dedicated to her longtime boo, Jay-Z. Sampling Boyz II Men's 1991 hit "Uhh Ahh," the brass-heavy single shows off her signature rap-singing style first debuted with Destiny's Child: "Still love the way he talk, still love the way I sing / Still love the way he rock them black diamonds in that chain."
The '90s pop up on "Party," the laid-back groove dripping in "swagu" thanks to Kanye West's co-writing and co-producing credits. The album's version features Outkast's too-smooth André 3000, while the video features a then-rising J. Cole. 4 then heads back to the '80s for the bonus track "Schoolin' Life." Here, Beyoncé channels Prince as her playful vocals weave between an irresistibly funkified melody.
What makes 4 special is Beyoncé's vocal growth. There's the grit of "I Care," whose rawness cuts deep—"You see these tears falling down to my ears / I swear, you like when I'm in pain"—as she scats alongside the electric guitar solo; the infectious opening run on "Countdown"; the tenderness of "I Miss You," influenced by co-writer Frank Ocean; the emotionally unguarded "1+1," which riffs off Sam Cooke's 1960 classic "Wonderful World"; and the jaw-dropping four-key change on "Love on Top."
"Strong enough to bear the children / Then get back to business," Beyoncé affirms on "Run The World (Girls)." It's the motto of the 4 era: The album is the artist's lowest-selling LP to date, but just as she reassures in Life Is But A Dream, that was never the point. She helped revitalize the album's art form while proving that women can balance their careers and motherhood, all while taking major risks. After parting ways with her father, Beyoncé founded Parkwood Entertainment, a Columbia Records imprint and management company, which helped bring 4 to life.
Of course, this is Beyoncé, so the accolades were still impressive: The platinum-selling 4 continued her hot streak of debuting atop the Billboard 200 chart. And along with "Love On Top" winning a GRAMMY, album single "Party" earned a GRAMMY nomination for Best Rap/Sung Collaboration at the 54th GRAMMY Awards in 2012.
The album's vulnerability led to the world-stopping, industry-shifting surprise drop of Beyoncé in 2013 and the gripping Lemonade in 2016, both revealing more layers of heartache, overt sexuality, postpartum depression, socio-political injustices, feminism, trauma, infidelity, and forgiveness.
That continued intimacy worked in her favor tenfold: At the 2021 GRAMMY Awards show, Beyoncé made GRAMMY history when she became the performing artist with the most career GRAMMY wins with a total of 28, as well as the most nominated woman artist, counting 79 GRAMMY nominations overall. It all goes back to taking a chance on herself with 4, which further shaped a legacy that now matches the same legends she honored on this very album.
"There is room on this Earth for many queens. I have an authentic, God-given talent, drive and longevity that will always separate me from everyone else," she told Complex in 2011. "I've been fortunate to accomplish things that the younger generation of queens dream of accomplishing. I have no desire for anyone else's throne. I am very comfortable in the throne I've been building for the past 15 years."
Black Sounds Beautiful: How Beyoncé Has Empowered The Black Community Across Her Music And Art
Photos (L-R, clockwise): GAB Archive/Redferns, Ron Galella/Ron Galella Collection via Getty Images, Kevin Winter/Getty Images, Chung Sung-Jun/Getty Images
The Evolution Of The Girl Group: How TLC, BLACKPINK, The Shirelles & More Have Elevated Female Expression
From the Supremes to the Spice Girls, take a deep dive into the history of girl groups — and how their songs, performance and vocal power changed pop culture.
For more than eight decades, girl groups have harmonized their way into the collective consciousness, bringing female empowerment to the forefront — and changing culture along the way.
Of course, girl groups have come in many forms: there's the family-friendly Andrew Sisters, the funk rock-infused Labelle, and the R&B-leaning Destiny's Child. As the construct of the girl group has evolved, so has their cultural impact — while acts like the Supremes helped push popular music in a more diverse direction in America, J-Pop and K-Pop groups have helped girl groups be viewed through a global lens in recent years.
What has tied all of these groups together is their infectious and inspirational records, which have encouraged women to express themselves and feel empowered in doing so. Groups like the Spice Girls and the Shangri-Las, for instance, have helped women express all sides of themselves, reminding the world that there is joy and beauty in contrast.
As Women's History Month nears its end, GRAMMY.com celebrates all of the powerful women who have been part of the girl group evolution. (To narrow the field, we characterize a girl group as acts with a minimum of three members and a focus on vocal performance; hence why you won't see bands like the Go-Gos or the Chicks on this list.)
Below, take a look at how girl groups have changed in both construct and impact for nearly 90 years — and counting — and listen to GRAMMY.com's official Girl Groups playlist above.
Though women have no doubt sung together since the beginning of time, the formal concept of the girl group came sometime in the '20s or '30s, with the rise in popularity of tightly harmonizing family acts like the Boswell Sisters and the Hamilton Sisters (the latter of whom would become Three X Sisters). The groups really started to see a rise in popularity around the beginning of WWII — perhaps because the entrance of more women into the workforce opened peoples' minds to the idea of the pop girl group, or perhaps because the soldiers overseas sought comfort and mild excitement via the groups' smooth sounds and attractive looks.
The Andrews Sisters, who officially formed in 1937 as a Boswell Sisters tribute act, would become the most popular of the sister acts, riding tracks like "Boogie Woogie Bugle Boy,""Don't Sit Under The Apple Tree (With Anyone Else But Me)" and "Beer Barrel Polka (Roll Out The Barrel)" straight to the top of the charts. They're considered one of the most successful girl groups of all time, selling an estimated 80 million records and counting. Other girl groups followed the Andrews' act, including the Dinning Sisters, who released "They Just Chopped Down The Old Apple Tree" as an answer to their rivals' hit.
The Andrews Sisters continued to be popular well into the '50s, inspiring similar close harmony acts like the Chordettes, who found success with tracks like "Mr. Sandman" and "Lollipop," and the Lennon Sisters, who became a mainstay on "The Lawrence Welk Show."
Around the middle of the decade, girl groups started pulling a bit more from the doo-wop movement, with songs like the Bobbettes "Mr Lee" helping pave the way for a wave of all-Black girl groups to come. The Chantels — who had come up together singing in a choir — quickly followed with "Maybe," which solidified the genre's style with a blend of rock, pop, doo-wop that would act as a sonic template for years to come.
In 1961, the Shirelles found quick success with tracks like "Tonight's The Night" and "Will You Still Love Me Tomorrow," which became the first girl group cut to go to No. 1 on Billboard's Hot 100 chart. The group would have five more hit singles throughout the decade, and inspired acts like the Marvelettes, whose "Please Mr. Postman" would become the first No. 1 single for Motown Records.
Keen to seize on that success, Motown invested heavily in creating more girl groups, crafting trios and quartets out of various singers that they might have previously eyed for solo work or even passed on signing. That kind of business-minded molding is what yielded Martha and the Vandellas, the Velvelettes, and a little act called the Supremes, who would go on to become the most successful American vocal group of all time, according to CNN. The success of the Motown acts — the majority of whom were all Black — was also a sign of American culture's increasing acceptance of the integration of popular music.
Having seen the success that Motown had in consciously crafting its girl groups, other producers and small, independent labels sought to capture some of that lightning in a bottle for themselves. The Philles label cashed in on the sound of the Crystals and the Ronettes, while Jerry Lieber and Mike Stoller signed the Shangri-Las and the Dixie Cups to their Red Bird label. Tracks like the Shangri-Las' "Give Him A Great Big Kiss" offered a surprisingly real perspective on teen girl crushes, while "Leader Of The Pack" helped bring female perspective to a subgenre of songs about macabre teenage tragedies previously dominated by all-male acts like Jan And Dean and Wayne Cochran And The C.C. Riders.
First formed in the '60s as Patti LaBelle and the Bluebelles, Labelle pushed the genre out of the sock hop and into the nightclub, becoming one of the premiere girl groups of the '70s. Their funky, rock-infused singles were unlike anything girl group aficionados had heard before, and in 1974, the group captured America's heart with "Lady Marmalade," a slightly suggestive song that broke out of the discos and into the collective consciousness. Other acts originally formed in the '60s found similar success, like the Three Degrees, who had a number of hits, including the sunny and soothing "When Will I See You Again."
Sister Sledge also capitalized on the disco boom, crafting lasting hits like "We Are Family" and "He's The Greatest Dancer." The Pointer Sisters went through a rainbow of genres, including R&B (1973's funky "Yes We Can Can") and country (1974's "Fairytale," which won a GRAMMY for Best Country Performance By A Duo Or Group With Vocal in 1975), before finding their biggest success at the beginning of the next decade with tracks like the sultry "Slow Hand" and the more frantic "I'm So Excited."
Girl groups went through a bit of a lull in the '80s, as the culture trended toward hair metal and hip-hop. Some acts still managed to break through, capturing listeners' hearts with dance-friendly cuts imbued with Latin freestyle flair. Full of synths and syncopated percussion, freestyle burst out of clubs and parties in New York and Philadelphia, finding a particular hold amongst Hispanic and Italian-American audiences.
Miami's Exposé was one of the decade's biggest freestyle acts, blending girl group harmonies with synthetic sounds for hits like "Point Of No Return" and "Seasons Change." Two New York groups, Sweet Sensation and The Cover Girls, had freestyle success that bridged the '80s and '90s. Sweet Sensation's "Never Let You Go" tore up the dance charts, and while the Cover Girls' "Show Me" and "Because Of You" weren't quite as popular, they still hold a special place in the hearts of freestyle fans.
Girl groups roared back in a big way in the '90s, thanks in part to the emergency of new jack swing and a renewed interest in R&B's smooth vocal stylings. En Vogue was one of the first groups to go big in the '90s, with debut single "Hold On" first hitting the Billboard charts in 1990. Their biggest tracks came later in the decade, with the powerful "Free Your Mind" and "Giving Him Something He Can Feel" showcasing the quartet's vocal range and character.
Two groups from Atlanta also came to prominence around the same time as En Vogue. First was the street-savvy quartet Xscape, who harnessed the sounds of 1993 with tracks like "Just Kickin' It."
TLC had a more dynamic arc, first bursting into the collective consciousness with the new jack swing-infused "Ooooooohh… On The TLC Tip," which featured three top 10 singles, including "Ain't 2 Proud 2 Beg." The group's baggy pants and hip-hop aesthetic pushed girl group boundaries, in part because its members actually acknowledged their sexual desires, as well as the need for everyone to have safe sex. Later in the decade, TLC would rise to even higher heights with tracks like "Waterfalls" and the GRAMMY-winning "No Scrubs," the latter of which was actually co-written by two members of Xscape.
Destiny's Child initially emerged from Houston in the late '90s as a quartet, though they'd later lose some members and gain new ones, ending up as a trio. While it was hard to ignore the sheer star power of Beyonce, the threesome did generally function as a group, producing a string of danceable earworms, including "No, No, No," and "Bills, Bills, Bills." By the time they disbanded in 2006, Destiny's Child sold tens of millions of records and earned three GRAMMY Awards (and a total of nine nominations).
Out west, Wilson Phillips' Chyna Phillips, Wendy Wilson and Carnie Wilson were channeling the sounds of their respective parents, who had been members of the Beach Boys and the Mamas & The Papas. Their songs featured vocal harmonies and were largely about emotional longing, pushing back against the dance and funk that ruled much of the radio dial throughout the '90s.
Girl groups were also gaining major traction in the U.K during the '90s, spurred by a boy band boom in the country around the same time. Two groups — All Saints and the Spice Girls — were actually assembled by managers, something that didn't help allay naysayers' concern that much of pop music at the time was wholly manufactured. (Another U.K. mainstay, Ireland's B*Witched, came together organically.)
Regardless, both All Saints and the Spice Girls found commercial success, with the latter becoming absolutely massive not just because of catchy pop romps like "Wannabe," but because of the quintet's singular personas and the strength of their "girl power" messaging. The Spice Girls even starred in their own movie, "Spice World," which came out at the height of Spice-mania in 1997 and drew instant comparisons to the Beatles' "A Hard Day's Night."
Girl groups continued to reign in the early part of the 2000s. A number of 2000s girl groups formed on television as part of reality programming, with U.K. sensation Girls Aloud forming on the ITV show "Popstars: The Rivals" and Danity Kane both forming and developing over three seasons of Sean Puffy Combs' "Making The Band." TV acted as a great launching pad for these pop acts, as fans were often emotionally invested in the group's success from watching the show so when a new single dropped, they were quick to get on board.
Girls Aloud and Danity Kane — as well as their peers, like Dream, 3LW, and Blacque — made pop music that was sexy, confident, and larger than life, with expensive-looking music videos to match. The songs also often crossed over from pop to urban radio.
Another of the most successful (and sexiest) girl groups of the 2000s also formed in a fairly roundabout way. The Pussycat Dolls found success with tracks like "Don't Cha" and "Buttons," but the actual origin of the Pussycat Dolls name and brand came almost 15 years earlier when an L.A. based choreographer named Robin Antin launched a burlesque troupe. After her club events and dancers became more and more popular (even posing for Playboy), she was urged by Interscope Records' Jimmy Iovine to attach the name to a pop group.
Antin recruited five singers who could hold a tune and looked the part, including Nicole Scherzinger — who initially got her start in Eden's Crush, another group formed on a TV show, the U.S. iteration of "Popstars" — and the Pussycat Dolls quickly strutted onto radio dials and Billboard charts with their catchy multi-tracked (and often risqué) hits.
Girl groups were also getting huge around the globe in the '00s, with Spain's Las Ketchup producing the insanely catchy pop ditty conveniently named "The Ketchup Song," Sweden's Play crossed over to commercial success in the American market, and the U.K.'s Atomic Kitten formed purely as a songwriting vehicle for Orchestral Maneuvers In the Dark's Andy McCluskey and Stuart Kershaw. Members of the latter would come and go throughout its career, but songs like "Whole Again" (which was also recorded by Play) have stood the test of time.
Though modern K-pop culture had begun in South Korea in the late '90s, it started to really pick up steam in the '00s, with both boy bands and girl groups benefiting from the surging Hallyu or Korean wave. One of those, Wonder Girls, found quick success in the late '00s with genre-spanning tracks like "Tell Me" and "Nobody," thanks in part to the pop act's ability to perform English versions of their songs while on tour with the Jonas Brothers.
Two of the 2010s biggest girl groups also came from televised reality competition shows. Little Mix, a quartet, was formed on the U.K.'s "The X Factor" and came to redefine the girl group era in Britain, selling more than 60 million records and topping the charts with high octane singles like "Cannonball" and "Shout Out To My Ex."
Stateside, Fifth Harmony was birthed on "The X Factor," where all five members had competed individually the season before but failed to advance. But after producers brought them back to compete as a group, Fifth Harmony was born, with viewers picking the name and ultimately helping them take third place in the competition.
The quintet emerged from the show signed to judge Simon Cowell's record label, Syco, and like so many great girl groups before it, embarked on a tour of malls and talk shows before eventually releasing a pop record tinged with both hip-hop and R&B. Fans latched on to songs like "I'm In Love With A Monster" and "Work From Home," the trap-laced monster hit that has garnered billions of hits on YouTube since its release.
The K-pop wave also continued in the 2010s, with groups like Girls Generation and Twice, both of whom broke the mold of a traditional girl group by having eight and nine members, respectively. At the same time, a J-Pop act, AKB48, rose to popularity, with a structure girl groups hadn't seen before — it has 80 members in total, with the group being divided into different "teams" that members are elected into by rabid fans. All three acts were literally and figuratively massive, selling tens of millions of highly produced bubblegum pop LPs and larger than life dance singles.
The success of K-pop girl groups shot to a new level when BLACKPINK entered the scene in 2016, forming after its members joined a girl group academy and underwent what amounts to girl group boot camp. The result is a fine-tuned musical machine that's produced pop hit after pop hit — including "Boombayah" and "DDU DU DDU DU" — as well as music videos that have been viewed billions of times online.
Spurred by the devotion of their fans (known as the BLINKs), BLACKPINK has also managed to rack up an impressive roster of accolades. They were the first Asian act to headline Coachella, the first female K-Pop artists on the cover of Billboard, and have amassed the most subscribers of any musical act on YouTube. But they're not the only female K-Pop act helping girl groups stay alive: Groups like Mamamoo and Red Velvet released hit after hit in the 2010s, and 2NE1 captured hearts everywhere with tracks like "Lonely" and "I Am The Best." In 2012, 2NE1 set out on what many consider to be the first world tour by a K-pop girl group, visiting 11 cities in seven countries.
A British girl group whose members pull from their individual cultures to create a unique, hip-hop influenced sound, Flo was also influenced by artists like Ciara and Amy Winehouse. Though they've only been together for a few years, their unique retro sound became almost instantly popular in the UK, with debut single "Cardboard Box" racking up almost a million views on YouTube within days of its release in early 2022. Other hit singles, like "Immature" and "Summertime" have followed.
Another thoroughly modern girl group, Boys World, was formed after managers found videos of five different women singing online and then contacted them to see if they wanted to team up. They said yes, launched a TikTok account, and moved into a house together in Los Angeles. Their thoroughly online approach to becoming a girl group has captivated audiences, along with their empowering anthems.
The K-Pop wave has continued to surge as well, with BLACKPINK headlining Coachella in 2023 and the quickly rising NewJeans earning the distinction of being the very first female Korean act to play Lollapalooza later this summer. Like so many girl groups before them, both acts continue to break boundaries and impact the culture at large, proving that the genre is as vital as ever.
While they may not be as abundant as in decades past, the girl group movement certainly hasn't shuttered. And with a diverse array of women still captivating audiences around the globe, girl groups will likely continue to spice up your life for years to come.
Listen To GRAMMY.com's Women's History Month 2023 Playlist: Swim In The Divine Feminine With These 40 Songs By Rihanna, SZA, Miley Cyrus, BLACKPINK & More
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GRAMMY Rewind: Beyoncé Strives For Accountability And Change After Winning A GRAMMY For 'Lemonade' In 2017
As Beyoncé accepted the GRAMMY for Best Urban Contemporary Album in 2017, she stressed that it's vital to "learn from the past and recognize our tendencies to repeat our mistakes."
At the height of America's tense political climate, Beyoncé's Lemonade brought confidence to Black women nationwide silenced by misogynoir. It was a celebration of unapologetic femininity and southern culture while also taking back the power in relationships stained by infidelity and generational trauma. As Beyoncé explained in her 2017 GRAMMY acceptance speech, the intention of Lemonade was "to give a voice to our pain, our struggles, our darkness, and our history."
In this episode of GRAMMY Rewind, we turn back the clock to the evening Beyoncé made her empowering speech after winning Best Urban Contemporary Album at the 59th GRAMMY Awards. Fresh off of her iconic, nine-minute performance of Lemonade's vulnerable deep cuts, "Love Drought" and "Sandcastles," Beyoncé was glowing as she took the stage to accept her golden gramophone.
"Thank you to everyone who worked so hard to beautifully capture the profundity of deep southern culture," Beyoncé proudly praised before acknowledging her husband, kids, and fans.
"It's important to me to show images to my children that reflect their beauty, so they can grow up in a world where they look in the mirror... and have no doubt that they're beautiful, intelligent and capable," Beyoncé said. "This is something that I want for every child of every race. And I feel it's vital that we learn from the past and recognize our tendencies to repeat our mistakes."
Press play on the video above to watch the entirety of Beyoncé's thoughtful acceptance speech for Best Urban Contemporary Album at the 2017 GRAMMY Awards, and keep checking back to GRAMMY.com for more new episodes of GRAMMY Rewind.
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Listen To GRAMMY.com's Women's History Month 2023 Playlist: Swim In The Divine Feminine With These 40 Songs By Rihanna, SZA, Miley Cyrus, BLACKPINK & More
Who run the world? Harness positive energy during Women's History Month with this immersive playlist honoring Beyoncé, Rina Sawayama, Kim Petras, and more female musicians.
In the words of recent GRAMMY winner Lizzo, it's bad b— o'clock. To kick off Women's History Month, GRAMMY.com is celebrating with an extensive playlist spotlighting women's divine musical artistry. Perpetually shaping, reinvigorating, and expanding genres, women's creative passion drives the music industry forward.
This March, get ready to unlock self-love with Miley Cyrus' candid "Flowers," or hit the dancefloor with the rapturous Beyoncé's "I'm That Girl." Whether you're searching for the charisma of Doja Cat's "Woman" or confidence of Rihanna's "B— Better Have My Money," this playlist stuns with diverse songs honoring women's fearlessness and innovation.
Women dominate the music charts throughout the year, but this month, dive into their glorious energy by pressing play on our curated Women's History Month playlist, featuring everyone from Dua Lipa to Missy Elliott to Madonna to Kali Uchis.
Listen below on Amazon Music, Spotify, Apple Music, and Pandora.
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GRAMMY Rewind: Destiny’s Child Celebrates Their First Win For “Say My Name” At The 2001 GRAMMYs
Destiny’s Child were beaming with excitement as they took the stage for their Best R&B Performance by a Duo or Group with Vocals win at the 2001 GRAMMYs.
Twenty-five years after the release of their debut album, Destiny's Child prevails as one of the most iconic and prolific girl groups in history, paving the way for the future of manufactured girl group stardom. Today, Destiny's Child remains the most nominated girl group in GRAMMY history, with 14 GRAMMY nominations.
In this episode of GRAMMY Rewind, GRAMMY.com turns back the clock to 2001, when Destiny's Child took home their first golden gramophone for "Say My Name" in the Best R&B Performance by a Duo or Group with Vocals category. Destiny's Child also won a GRAMMY that same night for Best R&B Song.
The three women were bursting with joy as they approached the stage. "Oh gosh, I can't believe we're winning a GRAMMY, ladies," Beyoncé cheered before praising God, their management team, Columbia Records, and their fanbase alongside groupmates Kelly Rowland and Michelle Williams.
Before exiting the stage, they took a moment to show appreciation for each other. "Thank you, Michelle, for blessing Destiny's Child," Beyoncé said; "Say My Name" was Williams' first involvement with the group after the departure of Le Toya Luckett and LaTavia Roberson.
Press play on the video above to watch Destiny's Child's entire acceptance speech for Best R&B Performance by a Duo or Group with Vocals at the 2001 GRAMMYs, and keep checking back to GRAMMY.com for more episodes of GRAMMY Rewind.
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