Divorce can be complicated, messy, and heartbreaking. But those feelings are prime fodder for songwriting — and it's something that artists of all genres have harnessed for decades.

Writing through the pain can serve many benefits for an artist. Marvin Gaye used Here, My Dear as a way to find closure in the aftermath of his divorce. Adele told Vogue that her recording process gave her somewhere to feel safe while recording 30, a raw account of the aftermath of her marriage ending. And Kelly Clarkson's new album, chemistry, finds her reclaiming herself, while fully taking stock of everything that happened in her marriage, good and bad. 

As fans dive into chemistry, GRAMMY.com has compiled a list of 10 divorce albums from all walks of music. Whether you need to cry, vent, or maybe even laugh, there's a divorce album that has what you need.

Tammy Wynette, D-I-V-O-R-C-E (1968)

During her life, Tammy Wynette was a prolific country songwriter and singer, releasing numerous albums exploring all aspects of love. She was also deeply familiar with divorce, with five marriages throughout her adulthood.

The most intimate album on the topic is her bluntly titled 1968 project D-I-V-O-R-C-E, which explores how sensitive the topic was to speak about. The title track is a mournful tune about hiding a separation from her children, but also conveys the general difficulty of discussing the topic with anyone. Elsewhere on the album, "Kiss Away" is a longing ballad about wishing for a more tender resolution when words have failed.

Fleetwood Mac, Rumours (1977)

After recording 10 albums together, Fleetwood Mac were in disarray. During the recording of their eleventh record, the members of the band were going through affairs, divorces, and breakups, even some with each other. Against all odds, they created Rumours — and it became the band's most successful and iconic album.

The spectrum of emotions and sounds on the album is wide. "The Chain" is all fire and bombast, while the laidback acceptance of "Dreams" seeks to find peace in the storm. Fleetwood Mac sorted out their issues and are still going strong to this day, but their heartbreak created something special in Rumours.

Beck, Sea Change (2002)

Beck has had a prolific career, with 14 studio albums to his name. One of his most affecting is 2002's Sea Change, written in the aftermath of his engagement and nine-year relationship ending.

It's a deeply insular album, even by Beck's standards. Tracks like "Already Dead" are slow and mournful, while standout "It's All In Your Mind" finds him burrowing deep into his own thoughts to parse out how exactly he's feeling with his new life.

Open Mike Eagle, Anime, Trauma, and Divorce (2020)

Divorce isn't a topic that immediately brings laughter, but rapper Open Mike Eagle seemed to find humor in his personal story with his album Anime, Trauma, and Divorce. The album title gives a pretty good rundown of what inspired the project, and Mike's laidback rapping sells how silly the aftermath of pain can be.

"Sweatpants Spiderman" finds him trying to become a functional adult again, and discovering the various ailments of his aging body and thinner wallet that are getting in the way. The fed-up delivery on standout track "Wtf is Self Care" is a hilarious lesson on how learning to be kind to yourself post-breakup is harder than it sounds.

Carly Pearce, 29: Written In Stone (2021)

Heartbreak is a common topic in all genres, but country has some of the most profound narratives of sorrow. Carly Pearce added to that legacy with 29: Written in Stone, her 2021 album centered around her 29th year — a year that included both a marriage and a subsequent divorce.

The emotional whiplash of such a quick change can be felt all over the project, from an upbeat diss track like "Next Girl" to more poignant pieces like the title track, which finds Pearce reflecting on her tumultuous year. Her vulnerability resonated, as single "Never Wanted To Be That Girl" won Pearce her first GRAMMY, and her latest single, "What He Didn't Do," scored the singer her fourth No. 1 at country radio. 

Kanye West, 808s & Heartbreak (2008)

Kanye West's fourth album 808s & Heartbreak came from a deep well of pain. Besides the end of his relationship, West was also in turmoil from the death of his mother, Donda. The result is one of the bleakest sounding records on this list — but also one of West's most impactful.

808s & Heartbreak is minimalistic, dark, and brooding, with a focus on somber strings and 808 drum loops (hence the album's title). West delivers most of his lyrics in a monotone drone through a thick layer of autotune, a stylistic choice that heightens the sense of loss. Besides being a testament to West's pain, the electronic sound pioneered on 808s & Heartbreak would serve as a foundational inspiration for the next several years of hip-hop.

Toni Braxton & Babyface, Love, Marriage, & Divorce (2014)

Toni Braxton and Babyface are two stalwarts of R&B in their own rights, and in 2014, the pair connected over their shared experiences going through divorce. Their bond sparked Love, Marriage, & Divorce, a GRAMMY-winning album that intended to capture the more universal feelings the life of a relationship conjures up.

Each artist has solo tracks on the record — Babyface wishing the best for his ex on "I Hope That You're Okay" and Braxton sharing her justified anger on "I Wish" and "I'd Rather Be Broke" — but where they shine is on their collaborations. The agonizing "Where Did We Go Wrong?" is heartbreaking, and the album ends with painful what-ifs in the soulful "The D Word."

Adele, 30 (2021)

Divorce is hard no matter the circumstances, but it gets even more complicated when children are involved. That was the reality for Adele, and it served as major inspiration for her fourth album, 30.

Like every album on this list, there's plenty of sorrow on the record, but what really sets it apart is just how honestly Adele grapples with the guilt of putting her son Angelo through turmoil as well. The album's GRAMMY-winning lead single "Easy On Me" addresses it in relation to her son, and standout track "I Drink Wine" is a full examination of the messy feelings she went through during her divorce.

Kacey Musgraves, star-crossed (2021)

As many of these albums prove, divorce triggers a hoard of emotions, from anger to sadness to eventual happiness. On star-crossed, Kacey Musgraves goes through it all.

There's the anthemic "breadwinner" about being better on her own, "camera roll" looking back on happier times with sorrow, and "hookup scene" about the confusion of adjusting back to single life. Star-crossed sees Musgraves continue to evolve sonically — incorporating more electronic sounds into her country roots — but ultimately, she comes out the other side at a place of renewed acceptance and growth.

Kelly Clarkson, chemistry (2023)

Kelly Clarkson's tenth album chemistry was born out of her 2020 divorce. In true Kelly fashion, she addresses the subject with thoughtful songwriting and a pop-rock vibe fans have adored for 20 years on. 

Chemistry focuses not just on the pain of divorce, but on the tender feelings that many couples still have for each other even after the end. Tracks like "favorite kind of high" mirror the euphoria of love, juxtaposed with ballads like "me," in which Clarkson finds comfort in herself and her inner strength — an inspiring sentiment for anyone who has had their heart broken.

Kacey Musgraves' Road To 'Star-Crossed': How The Breakup Album Fits Right Into Her Glowing Catalog

A chance meeting changed Rihanna's life.

The singer was just 15 years old when she met producer Evan Rogers, who was vacationing with his wife in Barbados. Rogers recognized Rihanna's potential, and invited her to an audition in his hotel suite. 

Shortly after her 16th birthday, Rihanna left her home country for the U.S. to record a demo, which included her breakthrough hit "Pon de Replay." The demo found its way into Jay-Z's hands, and Hov signed the teen artist to Def Jam and the label expedited her 2005 debut album, aptly titled Music of the Sun.

"When I left Barbados, I didn't look back," Rihanna told Entertainment Weekly in 2007. "I wanted to do what I had to do [to succeed], even if it meant moving to America." 

Twenty years later, Rihanna is a renowned entertainer-turned-mogul. She has sold over 40 million albums worldwide, garnered over 12 billion Spotify streams, achieved 14 Billboard Hot 100 chart-toppers, and won nine GRAMMY Awards. Even her business ventures have been a massive success, as her Fenty Beauty brand is worth $2.8 billion.

Though it's been close to a decade since Rihanna's last studio album, 2016's ANTI, she reminded the world of her reign with her 2023 Super Bowl halftime show — which also marked her first time taking the stage in five years. Performing hit after hit while unveiling a baby bump, her 13-minute set became one of the most-watched halftime shows of all time with over 121 million viewers. 

In honor of Rihanna's 36th birthday on Feb. 20, GRAMMY.com is revisiting the monstrous hits, ambitious projects, brow-raising visuals, and iconic collabs that propelled her to international stardom — and why it's all put her in a league of her own.

A New Island Girl In Town

True to her Carribean heritage, Rihanna's dancehall-inspired debut single "Pon de Replay" earned the then 17-year-old Barbados native her first entry on the Hot 100 at an impressive No. 2. Her official introduction to the world also hit No. 1 on the Billboard Dance Club Songs chart; she boasts 33 on the tally, second behind only the Queen of Pop herself, Madonna.

Follow-up single "If It's Lovin' That You Want" stalled at No. 36 on the Hot 100, but still whetted fans' appetite — as did her debut album, Music of the Sun, which is mostly comprised of dance-pop and dancehall tracks with hints of R&B (like "Willing to Wait"). Plus, her reimagining of Dawn Penn's 1994 reggae classic "You Don't Love Me (No, No, No)" is still so fun to listen to after all these years.

A mere eight months later, Rihanna's sophomore effort, 2006's A Girl Like Me, arrived to an eager audience. Defying the sophomore slump, she celebrated her first No. 1 with the ubiquitous lead single "SOS," which famously samples Soft Cell's 1981 hit, "Tainted Love." While A Girl Like Me is filled with high-energy, danceable tracks (including the nostalgic "Break It Off" with Sean Paul), Rihanna's second single was the melodramatic ballad "Unfaithful." 

Penned by then-labelmate Ne-Yo, "Unfaithful" peaked at No. 6 on the Hot 100. More importantly, it showed a different side to Rihanna, proving that she could channel deep emotion when the performance calls for it. It also marked Rihanna's first time veering away from her "girl next door" image, as the song's subject matter deals with infidelity.

A Girl Like Me contains many fan favorites, from the laid-back "We Ride" to standouts "Dem Haters" and "Kisses Don't Lie." The latter is a reggae-rock hybrid that sounds like a catalyst for some of Rihanna's edgier tunes like "Breakin' Dishes" from 2007's Good Girl Gone Bad era. Touching ballads"Final Goodbye" and "A Million Miles Away" showcase her voice beautifully, foreshadowing later big-vocal numbers like "Love on the Brain."

An Icon In The Making

Rihanna was a familiar face by 2007, but with the arrival of her third studio album, Good Girl Gone Bad, she graduated from cookie-cutter pop star to bonafide icon.

Produced by Tricky Stewart, the LP's juggernaut lead single "Umbrella" featuring Jay-Z skyrocketed to No. 1 in 17 countries. Between striking images of Rihanna's silver-painted silhouette in the accompanying video and the now-iconic "ella-ella, eh, eh, eh" hook, "Umbrella" thrust the then 19-year-old into another stratosphere. Her confident delivery also commanded attention in a way fans and critics hadn't heard before.

The transformative era also birthed the gritty "Shut Up and Drive," on which Rihanna channels her inner rock star. The next two singles cracked the top 10: an affectionate duet with Ne-Yo,  "Hate That I Love You," which showed off Rihanna's softer side, and the party-starting, Michael Jackson-sampling "Don't Stop the Music," which cemented her place in the digital era. 

The melancholy "Rehab" is a clever metaphor for lost love, co-written by Timbaland and Justin Timberlake. Despite being Good Girl Gone Bad's lowest-charting single, Timberlake heralded the song as "the bridge for her to be accepted as an adult in the music industry."

Good Girl Gone Bad remains Rihanna's best-selling album and marks her greatest reinvention as she adopted a more rebellious sound. She also won her first GRAMMY in 2008 (Best Rap/Sung Collaboration for "Umbrella") and scored four other nominations, including Record Of The Year. The album's reissue spawned two more No. 1s: "Take a Bow" and "Disturbia," the latter of which acts like a prelude to Rated R, which saw Rihanna exploring darker themes.

Nine months before the release of 2009's Rated R, Rihanna was assaulted by then-boyfriend Chris Brown. On the deeply personal album, she translated her pain into art. Through lead single "Russian Roulette" and bitingly catchy anthems "Stupid in Love," "Fire Bomb," "Photographs," "Cold Case Love," and "The Last Song," Rihanna explored her angst and confusion.

But to focus solely on the domestic violence incident undermines Rihanna's artistic vision. 

Following three multi-platinum albums in a three-year span, Rihanna's rebranding as a rebel at heart reached its apex. The singer had grown in leaps and bounds while taking musical risks, even penning nine of Rated R's 13 tracks (she had no writing credits on Good Girl Gone Bad).

The road to Rihanna's most badass anthems — including "Bitch Better Have My Money" — can be traced back to Rated R. Case in point: Her bravado is loud and clear on "Hard," "Wait Your Turn," and "G4L." On "Rockstar 101," which features legendary rocker Slash, Rihanna declares her power: "Six inch walker/ Big sh— talker/ I never play the victim/ I'd rather be a stalker."

Badgal RiRi returned to her dancehall roots on her fifth No. 1 "Rude Boy," which offsets the album's harrowing motif. Final single "Te Amo" didn't chart, but garnered a great deal of attention as the Latin-infused Stargate production depicts Rihanna being enticed by a female love interest. 

Rated R showcased Rihanna's undeniable star power, and allowed her to shed her good-girl image once and for all.

A Partygoer's Dream

Following the career-pivoting Rated R, 2010's Loud offered a welcome return to the West Indian artist's earlier sound. The album feels like one big celebration of life, as evidenced by Rihanna's fire-engine red hair and No. 1 singles "Only Girl (In the World)" and "What's My Name?" (the latter of which was Rih's first collaboration with Drake).

Best described as "Don't Stop the Music" 2.0, the effervescent "Only Girl" marked her eminent return to the dance floor and took home a GRAMMY for Best Dance Recording in 2011. While "What's My Name?" may not outshine Rih and Drizzy's other collabs — including 2011's "Take Care" or 2016's "Work" — the second she sings, "Hey, boy, I really wanna see if you can go downtown with a girl like me," it's impossible not to whine your waist to the riddim.

Easily one of Rihanna's most overlooked hits, "Cheers (Drink to That)" is built around an unexpected sample of Avril Lavigne's 2002 hit "I'm With You," but it works surprisingly well as a party anthem. That same carefree spirit can be heard in the feminist track "Raining Men," which features Nicki Minaj — their first of two collabs, as they joined forces again for "Fly," the final single off the rapper's iconic Pink Friday album. 

A playful ode to sadomasochism and bondage, "S&M" contains some of Rihanna's most provocative lyrics: "Sticks and stones may break my bones/ But chains and whips excite me," she declares on the chorus. 

Banned in 11 countries upon its release, the accompanying video features Rihanna tied up in pink rope, dancing with a blowup doll, and donning a Playboy bunny-esque costume as damning newsreels about herself flash across the screen. But Rihanna's love of kink made her an even bigger star: "S&M" produced a remix with Britney Spears and earned Rihanna her 10th No. 1 single. With this feat, she became the youngest artist to attain the most chart-toppers in a five-year span.

On "Man Down," Rihanna's patois is in full effect as she takes listeners through a gripping tale about murdering her abuser. "What started out as a simple altercation/ Turned into a real sticky situation," she laments in the opening verse, amplified by siren noises in the background. There's something so satisfying about Rihanna's Bajan accent as she unfurls "Rum-pum-pum-pum" repeatedly over an intensifying reggae beat that would make Sister Nancy and Bob Marley proud.

Nominated for Album Of The Year at the 2021 GRAMMYs, Loud is Rihanna's second most commercially successful LP — and for good reason. It was especially refreshing to see Rihanna emerge from one of the darkest periods of her life as exuberant as ever.

An Unapologetic Queen

Sonically and thematically, Talk That Talk doesn't break new ground, but Rih's DGAF attitude is front and center with plenty of sexual innuendos: Songs like "S&M" and "Rude Boy" seem pretty tame next to "Cockiness (Love It)," which features longtime friend-turned-boyfriend A$AP Rocky on its remix. "Suck my cockiness/ Lick my persuasion/ Eat my poison/ And swallow your pride down, down," she commands in the tantalizing chorus.

At just over a minute long, "Birthday Cake" leaves nothing to the imagination ("It's not even my birthday, but he wanna lick the icing off"). Rihanna controversially released a full-length version in the form of a remix with Chris Brown.

On an album that mostly sees Rihanna singing about her sexual fantasies, "We All Want Love" pulls back the curtain as it reveals her desire for true love: "And some say love ain't worth the buck/ But I'll give my last dime/ To have what I've only been dreaming about." 

Her longing continues in "Where Have You Been," which flaunts Rihanna's versatility, flipping Geoff Mack's 1959 country song "I've Been Everywhere" into an infectious EDM banger. Lead single "We Found Love" is undeniably the biggest hit to stem from the Talk That Talk era, spending 10 consecutive weeks atop the Hot 100. 

Boosting Calvin Harris' career, "We Found Love" presents one juxtaposition after the other: dark yet gleaming, euphoric yet sobering, fraught yet hopeful. Rihanna relies on more than just evocative lyrics to tell her story; accompanying synthesizers and alarm bells help to paint a picture as well. Met with controversy, its intense visuals portraying a drug-fueled, toxic relationship — and featuringwhat many speculated was a Chris Brown look-alike — earned RiRi a GRAMMY for Best Long Form Music Video in 2013.

Seven years into an already extraordinary career, 2012's Unapologetic became Rihanna's first album to debut at No. 1 on the all-genre Billboard 200 chart. Its lead single "Diamonds" resonated in an equally major way, giving Rih her 12th No. 1 on the Hot 100.

Written by Sia, the power ballad kicked off another exciting era for the Barbadian singer, who unleashes an impassioned vocal performance. One of Rihanna's most precious offerings to date, "Diamonds" emerged as a self-love mantra due to its uplifting "Shine bright like a diamond" chant.

Vocally, Rihanna's strength lies in her ability to evoke raw emotion à la "Stay." Featuring Mikky Ekko, the stripped-down, slow-burning piano ballad narrowly missed the top spot on the Hot 100 but gave Rihanna her 24th top 10 hit, surpassing Whitney Houston's record of 23 in 2013.

Her swagger is boisterous in "Phresh Out the Runway," "Jump," and strip club anthem "Pour It Up," but "Nobody's Business" really drives home the album's theme of being unbothered. Her decision to join forces with Chris Brown yet again perplexed fans and critics alike, though the track itself is an irresistible production that features a genius interpolation of Michael Jackson's "The Way You Make Me Feel."

Further down the track list, "Love Without Tragedy / Mother Mary" is as autobiographical as it gets, and further taps into Rihanna's emotionally vulnerable side. "Mr. Jesus, I'd love to be a queen/ But I'm from the left side of an island/ Never thought this many people would even know my name," she pleads in the seven-minute two-parter.

Unapologetic spawned fewer hit singles compared to Rihanna's previous efforts. Its win for Best Urban Contemporary Album at the 2014 GRAMMYs, however, proved that Rihanna's reign wasn't letting up anytime soon.

While recording her then-forthcoming album, ANTI, Rihanna delivered what is arguably the single most unapologetic moment of her career: "Bitch Better Have My Money." The backstory is almost inconceivable given Rihanna's awe-inspiring billionaire status, but in 2009, Rihanna faced bankruptcy due to her accountants mishandling her funds — and thus "Bitch" was born six years later in 2015.

With lyrics like "Your wife in the backseat of my brand new foreign car" over a cryptic-sounding trap beat and an accompanying video depicting kidnapping and torturing her debtors, "Bitch" is not for the faint-hearted. The one-off single is so quintessentially Rihanna that it notably kicked off her Super Bowl halftime show.

An In-Demand Collaborator

While bestowing hit after hit on her own, Rihanna generously lent her distinct voice to some of her biggest peers. 2008 marks one of the earliest instances of her Midas touch: She flirts with funk in Maroon 5's underappreciated "If I Never See Your Face Again" before hopping on T.I.'s "Live Your Life," which shot straight to No. 1 on the Hot 100.

In 2009, Rihanna joined Jay-Z and Kanye West for the militant "Run This Town," sounding defiant as ever in the intro. She was called upon again for West's horn-laden "All of the Lights," flying solo on the hook followed by a star-studded choir that included Alicia Keys, John Legend, Fergie, and Elton John. Both larger-than-life productions won GRAMMYs for Best Rap/Sung Collaboration in 2010 and 2012, respectively.

In between joining forces with Hov and Ye, Rihanna assisted Eminem in "Love the Way You Lie," which struck a nerve with many for its gut-wrenching lyrics shedding a light on abusive relationships. (Rih recorded an equally moving sequel for her Loud album.) Three years later, the two confronted their inner demons in "The Monster," and their musical chemistry scored a GRAMMY in 2015 for Best Rap/Sung Collaboration.

Amid smash collabs, Rihanna and Coldplay's intricate "Princess of China" number gets lost in the shuffle, but it speaks to her charm as it's the band's first album (2011's Mylo Xyloto) to feature another artist. Another overlooked jam, her sultry "Can't Remember to Forget You" duet with Shakira sees both stars trade lines about struggling to let go of an undeserving lover.

On paper, a collaboration between Rihanna, Kanye West, and Sir Paul McCartney may seem strange, but the unlikely trio is further proof that opposites attract. Their "FourFiveSeconds" is a pop-folk hybrid with a universal message about carrying the weight of the world on your shoulders. It's yet another example of Rihanna's willingness to push past her comfort zone to create something unique.

A year later, Rihanna got listeners on their feet by way of the Taylor Swift-penned "This Is What You Came For" with Calvin Harris. Understated compared to the duo's previous megahits ("We Found Love" and "Where Have You Been"), Harris' signature DJing style and Rih's ethereal vocals are a perfect match.

In 2017, Rih, DJ Khaled and Bryson Tiller dropped the song of the summer with "Wild Thoughts," which heavily borrows from Carlos Santana's 1999 GRAMMY-winning "Maria Maria." It may be DJ Khaled's song, but RiRi owns it from the very moment she utters, "I don't know if you could take it/ Know you wanna see me nakey, nakey, naked." The bop reached No. 2 on the Hot 100.

She spits bars in Kendrick Lamar's "Loyalty" and "Lemon" with N.E.R.D., the latter of which comes close to rivaling your favorite rappers' verses: "You can catch me, Rih, in the new La Ferrar'/ And the truck behind me got arms/ Yeah, longer than LeBron/ Just waitin' for my thumb like The Fonz."

No matter what genre Rihanna touches or what artist she links up with, she brings her full self to each session whilst completely immersing herself into the music — taking on different personas to make the collab well worth it.

An Artist Fully Realized

With 13 No. 1s and twice as many top 10 hits under her belt, Rihanna set out to create timeless music instead of chasing a radio-friendly formula with her 2016 magnum opus, ANTI.

But that shift began with 2015's criminally underrated "American Oxygen." Her most political statement at the time, the goosebump-inducing lyrics detail Rihanna's journey as an immigrant, foreshadowing her then soon-to-be massive Fenty Beauty success. "We sweat for a nickel and a dime/ Turn it into an empire," she sings in the chorus.

Released four years after Unapologetic — her longest gap between albums at the time — ANTI illustrated Rihanna's greater desire for quality over quantity. "I needed the music to match my growth," she told Vogue in 2016 about the making of ANTI. "I didn't want to get caught up with anything the world liked, anything the radio liked, anything that I liked, that I've already heard. I just wanted it to be me."

The black-and-white, red paint-splattered album cover signals a rebirth, featuring a real-life image of Rihanna as a child. ANTI lives up to its name in its first 40 seconds, via opening track "Consideration." The minute she declares, "I got to do things my own way, darling," it's apparent that ANTI is not your average Rihanna album.

Lead single "Work" is the closest to pre-ANTI Rihanna on an album that defies expectations. But the dancehall masterpiece is one of a kind for Rih's refusal to water down the Jamaican patois (different from her native language of Bajan Creole) — proving that she is fully aware of her impact as one of the biggest Caribbean-born artists to make it in the U.S.

Many non-understanding listeners described it as "gibberish" at the time. Yet, the general public didn't seem to mind: About a month after its release, "Work" became Rihanna's 14th and longest-running chart-topper on the Hot 100. Weeks later, ANTI became her second LP to top the Billboard 200 chart. Subsequently, Rihanna held the No. 1 spots on the Billboard 200 and Hot 100 simultaneously, her second time achieving such an impressive feat.

Read More: How Rihanna's "Work" Reinvigorated Dancehall

ANTI is full of pleasant surprises that show off her artistry. Rihanna comes out of left field with the Prince-inspired "Kiss It Better," the album's second single, which sees the superstar falling back on addictive sex that "feels like crack" to justify a destructive relationship. "Same Ol' Mistakes" is a cover of psychedelic rock band Tame Impala's "New Person, Same Old Mistakes" — her first time remaking another artist's song for her own album since "You Don't Love Me (No, No, No)" on Music of the Sun. The Western-themed "Desperado" lends itself particularly well to covers by country artists, while the Dido-sampling "Never Ending" conveys the uncertainty she feels about entering a new relationship.

Elsewhere on ANTI, Rihanna drunk dials an ex ("Higher"), compares smoking weed to her lover ("James Joint"), and chastises a guy for getting emotionally attached after their fling ("Needed Me"). The latter song contains one of Rihanna's most empowering lyrics: "Didn't they tell you that I was a savage?/ F— ya white horse and ya carriage," she asserts in the pre-chorus.

Her voice sounds stronger than ever on "Love on the Brain," a doo-wop ballad resembling Etta James. But Rihanna makes it her own thanks to the bluntness of lines like "It beats me black and blue but it f— me so good."

The deep cuts on ANTI aren't merely fillers, and even rival some of the album's biggest hits. For instance, "Sex with Me" is featured on the deluxe edition as a bonus track, but managed to crack the Hot 100 at No. 83 and reach No. 8 on the R&B/Hip-Hop Airplay chart. Furthermore, the deluxe edition consists of 16 tracks, half of which topped the Dance Club Songs chart — smashing the record (previously held by Katy Perry's Teenage Dream) for the most No. 1s from a single album.

Accolades aside, ANTI is proof that magic happens when an artist of Rihanna's caliber follows their own instincts in pursuit of creating a body of work — one that can outlast them and continue to inspire generations to come.

Ever since ANTI, Rihanna's devoted fanbase has been begging for a new album, with Rih playfully trolling them with responses like "I lost it" and Instagram captions that read, "Me listening to R9 by myself and refusing to release it."

Her much-awaited return to music came at the tail end of 2022. The hitmaker twice contributed to the GRAMMY-nominated Black Panther: Wakanda Forever soundtrack: "Born Again" and "Lift Me Up," the latter of which helped Rihanna score her first Oscar and Golden Globe nominations in 2022 and 2023, respectively. With the glorious "Lift Me Up," she found herself in the top 10 for the first time since 2017's "Wild Thoughts."

While the world is still anticipating her ninth studio album, Rihanna — now a mom of two boys — continues to make her own rules and move at her own pace. But as she's proven time and time again, it's always worth the wait.

The Rihanna Essentials: 15 Singles To Celebrate The Singer's Endless Pop Reign

A new Kacey Musgraves era is upon us! The country superstar teased the news with a cryptic social media post on Feb. 4: "I'm saying goodbye to the people that I feel are real good at wasting my time," she wrote in the caption. "No regrets, baby, I just think that maybe you go your way and I'll go mine."

That teaser coincided with a historic win at the 2024 GRAMMY Awards. The seven-time GRAMMY winner took home the golden gramophone for Best Country Duo/Group Performance for "I Remember Everything," her 2023 collab with Zach Bryan; with that victory, she became the first artist to win in all four Country Field Categories. (She won Best Country Album and Best Country Song in 2014 and 2019 — for Same Trailer Different Park and "Merry Go Round," and Golden Hour and "Space Cowboy," respectively — and "Space Cowboy" also took home Best Country Solo Performance in 2019.)

Fresh off that achievement, Musgraves announced her forthcoming album, Deeper Well,and shared its folksy, introspective title track. As fans eagerly await its release, GRAMMY.com has rounded up everything to be found about the singer/songwriter's fifth studio set so far.

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The Album Drops Sooner Than You Think

We're quickly coming up on three years since Musgraves released her fourth full-length, star-crossed, and suddenly, the release of Deeper Well is just around the corner. Just a few days after her GRAMMYs teaser, the country star revealed that her sixth album will be released in just a matter of weeks.

"My new album, Deeper Well, is arriving March 15th," Musgraves wrote on social media. "It's a collection of songs I hold very dear to my heart. I hope it makes a home in all of your hearts, too."

There Are Two Different Covers

In her social post, Musgraves shared that Deeper Well will have not one, but two different covers — both shot by the singer's younger sister Kelly. 

The standard cover features the superstar gazing wistfully into the camera as she cradles a crimson clover in her hand. The limited edition cover is more evocative (and NSFW), with Musgraves laying nude, curled up in a verdant field with her back turned to the camera.

The Lead Single Is Also the Title Track

Ahead of the album's full unveiling, Musgraves dropped "Deeper Well" as its lead single. The gentle, finger-plucked track finds the singer/songwriter outgrowing relationships and choices that no longer serve her, blazing a new trail for herself and finding peace in the process: "I just think that maybe/ It's natural when things lose their shine/ So other things can glow," she sings.

"Sometimes you reach a crossroads. Winds change direction. What you once felt drawn to doesn't hold the same allure," Musgraves dished in a statement about the song's themes. "You get blown off course but eventually find your footing and forage for new inspiration, new insight and deeper love somewhere else."

She's Serving Cottagecore Space Witch In The First Music Video

Along with the song and album announcement, Musgraves shared the "Deeper Well" music video on Thursday — and the cinematic visual is a trip. 

Helmed by A-list director Hannah Lux Davis and shot in Iceland, the clip finds the singer holed up in a picturesque cabin and wandering a stunning coastline strewn with giant, levitating boulders. 

The costuming, meanwhile, leans more "homestead chic" as Musgraves rocks patchwork pioneer dresses, work bandanas and a cozily oversized shearling coat as she tends to a menagerie of farm animals, hangs laundry, gathers crops and, oh yeah, gets swallowed up by a magical, glowing orb by the video's end. 

From the looks of Musgraves' Instagram — and her newly minted profile name, Kacey Mossgraves — it seems the farmcore aesthetic might ring throughout Deeper Well.

The Album Will Showcase The Singer's "Softer Side"

Musgraves teased the creative direction of Deeper Well in a new interview with Zane Lowe on Apple Music 1. "I've found more of a connection to my softer side, my roots, like some of the Americana, the folk, the country, some of the stuff, really the warmth of that. I felt drawn to that. 

"I felt like I was in a softer place myself after star-crossed and going through a divorce and doing a lot of therapy and honestly falling in love again and opening myself back up to the human experience," she continued. "These songs just kind of started coming out."

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She's Releasing A Coffee Table Book

For another way to experience Musgraves' Deeper Well era, the singer/songwriter whipped up an 84-page 'zine with photos, lyrics, and stories behind the songs. Fans can purchase the soft-cover book — which comes with a CD — on her website, or at Barnes & Noble and indie record stores.

As Musgraves' punny Instagram caption notes, the book is another indication that she's "onto the next chapter (literally)."

The Track List Is Already Here

Musgraves is no stranger to delivering bodies of work upwards of a dozen-plus songs, and it looks like Deeper Well will be no exception. The 14-song track list was unveiled on Instagram, with song titles like "Giver / Taker" and "Jade Green" fitting both the theme of letting go as well as the cottagecore aesthetic seamlessly.

She's Working with Some Familiar Collaborators

According to her announcement, Deeper Well was co-produced by Ian Fitchuk and Daniel Tashian, both of whom worked with Musgraves on 2018's Golden Hour — which won Album Of The Year at the 61st GRAMMY Awards — and 2021's star-crossed. If those albums are any indication, Deeper Well is bound to be another Kacey masterpiece.

Big First Wins At The 2024 GRAMMYs: Karol G, Lainey Wilson, Victoria Monét & More

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

On a wet but buzzing Thursday evening ahead of the 2024 GRAMMYs, leading lights in the music industry gathered for the third annual Recording Academy Honors Presented By The Black Music Collective. Along the event's black carpet, stars and industry insiders were showing out — taking photos, reconnecting with friends and collaborators, and chatting with the press. 

The official 2024 GRAMMY Week event was held Feb. 1 — the first day of Black History Month — at the Fairmont Century Plaza in Los Angeles and was sponsored by Amazon Music and City National Bank. Each year, BMC presents its Global Impact Award to legendary musicians advancing the culture, and 2024’s honorees Lenny Kravitz and Mariah Carey, loomed over the entire evening before they'd even arrived.

Flava Flav, sporting his patented clock necklace, was also hyped about the evening. "It means everything to be at the GRAMMYs tonight. This is big," Flav told GRAMMY.com. The rapper then spoke about the two transcendent stars being honored. "I feel real big about the honorees. Mariah Carey, always been proud of her and I love her songs…Lenny Kravitz is my dude. That’s my man. So congratulations Lenny!" 

The significance of the event was felt from the first foot set on the black carpet. Afrobeats star Fireboy DML weighed in on the importance of the night. "I’m honored. It feels good. It’s always important to be in spaces like this," Fireboy told GRAMMY.com, adding that he's excited about his upcoming fourth album. "It’s important for the culture." 

As attendees inside the jam-packed ballroom room eagerly awaited the main guests of the night, Recording Academy CEO Harvey Mason Jr. spoke about the momentum being built through Black Music Collective. 

"[Last year] I spoke how great it was to be holding the second annual BMC event. To me it meant we established a new tradition. And now the tradition proudly continues," Mason Jr. told the audience, emphasizing how the influence of Black culture can be found in all corners of the world and across musical genres. 

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A performance by Nigerian superstar Davido, a first-time GRAMMY nominee, spoke to the power of musical diversity in the Academy and BMC. Although the crowd had sat down with their appetizers, many stood up to vibe out as Davido performed his nominated song, "Unavailable."

By the time Andra Day, adorned in a bright red leather coat, got to the end of her rendition of "Strange Fruit" with support from trumpeter Keyon Harrold, everyone in the ballroom was on their feet. It was a great moment for Day, whose cover of Billie Holiday’s 1939 cry for justice hammered home the connection between Black artists across different genres and across time.

Gabby Samone garnered the second standing ovation of the night for her take on Nina Simone’s "Four Women." Simone has had a number of major cosigns as her star has grown brighter, and her fans include Jennifer Hudson and none other than Mariah Carey. Samone's performance was followed by a powerful song from Erica Campbell, whose I Love You is nominated for Best Gospel Album this year.

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A set from DJ Mannie Fresh, Kravitz took the stage to receive the first BMC Global Impact Award of the night. Introduced by mentee H.E.R, she talked about "American Woman’s" genre-bending influence on her own career and Kravitz's own influence from childhood. "The fashion, the confidence, the badass walk, and the killer vocals made me at six years old say to my dad ‘I wanna play guitar.’ ‘I wanna be a rockstar.’ ‘I wanna be like Lenny Kravitz,’" H.E.R. said. 

She then listed off some of Kravitz’s other accomplishments including working on "Rustin," the new Netflix film about critical civil rights architect Bayard Rustin, as well as Kravitz’s work in philanthropy through his Let Love Rule Foundation. 

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Once the din died down, Kravitz took a trip back to childhood, too. He shared how, when he went to go see the Jackson 5 with his family, and was so hooked that he dreamed of becoming part of the storied troupe. "I fantasized that I was their long lost brother and turned the Jackson 5 into the Jackson 6," he said.

Kravitz also spoke the various genres of music that helped mold him, drawn from many different corners. From his "grandfather’s block in Bed-Stuy, Brooklyn," where he "witnessed the birth of hip-hop," to being shaped by legends like Jimi Hendrix, Marvin Gaye and Nina Simone. He also shouted out his godmother, the late great actress Cicely Tyson. 

In a particularly cool mashup of genre and generation, Quavo provided vocals to "Fly Away," flanked by P-funk all star George Clinton, Earth, Wind & Fire bassist Verdine White, and Red Hot Chili Peppers drummer Chad Smith. At the end of the performance, Kravitz went over to each performer and hugged them.

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After a brief intermission, record producer and BMC Chair Rico Love shouted out leadership, including the Recording Academy board of trustees and Ryan Butler, Vice President of DEI. Love spoke about Black Music Collective as a space where everyone can feel at home. "The life of a creator is so hard. And lonely. That’s why it’s valuable to build community," he emphasized. 

Black Music Collective’s scholarship program, in collaboration with Amazon Music, Love said, will once again support HBCU students who aspire to be in the next generation of music industry power players. In 2023, scholarships were awarded to students at Florida A&M University, Texas Southern University, Norfolk State University, among others. Love recalls the mentors he had when he was coming up and is glad BMC is also paying it forward. 

Last night’s program found one of the few people on the planet that even Mariah Carey might be star struck by. Before the pop legend received her Global Impact Award, Stevie Wonder appeared and sat down over a keyboard. 

"Very excited to be here to celebrate someone that has been a friend and I’ve been a fan of since the very beginning of hearing her voice," he said, before serenading Carey with "I Just Called to Say I Love You," ending the rendition with "I love you, I love you, you are my hero."

Mariah Carey was seemingly surprised and star-struck herself. Once she overcame the awe, Carey detailed the pressure she faced early in her career to avoid leaning into Black music. "When I first started in the music business, I was often told to ‘conform’ to certain expectations. I was not encouraged to focus on my love for Black music," she told the crowd.

Later, some of Carey’s other friends and collaborators performed, including Babyface, who once sang backing vocals on Carey’s "Melt Away." (Carey then returned the favor by singing on "Every Time I Close My Eyes.") Another Carey collaborator, Busta Rhymes, performed crowd favorite "I Know What You Want" and offered sincere thanks to Carey for her boldness and desire to "run with the wolves." Tori Kelly also sang "Vision of Love" during this segment and earlier in the night, gospel legend Yolanda Adams performed "Make It Happen." The third annual Recording Academy Honors/BMC event certainly did make it happen, as attendees flooded out of the ballroom and into the streets pumped with pride.

2024 GRAMMYs: See The Full Nominees And Winners List

Head to live.GRAMMY.com all year long to watch all the GRAMMY performances, acceptance speeches, the GRAMMY Live From The Red Carpet livestream special, the full Premiere Ceremony livestream, and even more exclusive, never-before-seen content from the 2024 GRAMMYs.