meta-scriptGRAMMY Rewind: Christina Aguilera Shines As The 2000 GRAMMYs Best New Artist | GRAMMY.com
Christina Aguilera at 2000 GRAMMYs

Christina Aguilera at 2000 GRAMMYs

news

GRAMMY Rewind: Christina Aguilera Shines As The 2000 GRAMMYs Best New Artist

As the 2000 Best New Artist, she beat fellow nominees Macy Gray, Britney Spears, Susan Tedeschi, and Kid Rock

GRAMMYs/Dec 19, 2020 - 03:05 am

GRAMMY.com celebrates eternal pop diva Christina Aguilera's 40th birthday on today's episode of GRAMMY Rewind by revisiting her Best New Artist win at the 2000 GRAMMYs. In her full acceptance speech below, witness a surprised and grateful 19-year-old Xtina shine as she accepts her first GRAMMY win in a silver slip dress accented with rhinestone butterflies.

More: GRAMMY Rewind: Watch Mariah Carey Shine As She Wins Best New Artist At The 1991 GRAMMYs

As the 2000 Best New Artist, she beat fellow nominees Macy Gray, Britney Spears, Susan Tedeschi, and Kid Rock. "Genie in a Bottle," the hit lead single for her 1999 self-titled debut album, was nominated for Best Female Pop Vocal Performance that year as well. The "Beautiful" singer has since earned five total GRAMMY wins and 20 nominations.

GRAMMY Rewind: Witness Rihanna Accept Her First-Ever GRAMMY Win With JAY-Z For "Umbrella"

Billie Eilish in Brooklyn, New York in May 2024
Billie Eilish at the 'HIT ME HARD AND SOFT' release party in Brooklyn, New York on May 15, 2024.

Photo: Arturo Holmes/Getty Images for ABA

list

Billie Eilish Fully Embraces Herself On 'Hit Me Hard And Soft': 5 Takeaways From The New Album

On her third album, Billie Eilish returns to "the girl that I was" — and as a result, 'HIT ME HARD AND SOFT' celebrates all of the weird, sexual, beautiful, vulnerable parts of her artistry.

GRAMMYs/May 17, 2024 - 07:50 pm

Billie Eilish has never been one to shy away from her feelings. In fact, she doubles down on them.

Since her debut EP, 2017's Don't Smile At Me, the pop star has held listeners' hands as she guides them through the darkest pages of her diary. The EP found a teenage Eilish navigating heartbreak while her blockbuster debut album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? — which swept the General Field Categories (Album Of The Year, Record Of The Year, Song Of The Year and Best New Artist) at the 2020 GRAMMYs — was a chilling and raw look into her depression-fueled nightmares. And 2021's Happier Than Ever had her confronting misogyny and the weight of fame.

She could have easily succumbed to the pop star pressures for her third studio album, HIT ME HARD AND SOFT, out today (May 17). Instead, she reverts to her sonic safe space: creating intimate melodies with her brother and day-one collaborator, FINNEAS. Only this time, the lyrics are more mature and the production is more ambitious.

"This whole process has felt like I'm coming back to the girl that I was. I've been grieving her," Eilish told Rolling Stone about how HIT ME HARD AND SOFT revisited elements of WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? "I've been looking for her in everything, and it's almost like she got drowned by the world and the media. I don't remember when she went away."

Here are five takeaways from Billie Eilish's new album, HIT ME HARD AND SOFT, where Old Billie is resuscitated and comforted by New Billie. 

Heartbreaking Ballads Are Her Sweet Spot

Tenderness remains at Eilish's core, and it's beautifully highlighted on HIT ME HARD AND SOFT. Despite her love for eccentric electro-pop beats, ballads have always been the singer's strong suit. After she first displayed that in her debut single, 2015's "ocean eyes," Eilish won two GRAMMYs and an Oscar for her delicate Barbie soundtrack standout, "What Was I Made For?" — and the magic of her melancholic balladry returned on the new album.

HIT ME's album opener, "SKINNY," mimics the self-reflection of Happier Than Ever's "Getting Older" opener, where she painfully sings about Hollywood's body image standards. "People say I look happy just because I got skinny/ But the old me is still me and maybe the real me/ And I think she's pretty," she muses. 

"WILDFLOWER" cuts in the album's center like a knife to the chest. Eilish's comparisons to a lover's ex-girlfriend are devastating over a bare piano melody — the simplest production on the LP: "You say no one knows you so well/ But every time you touch me, I just wonder how she felt."

HIT ME Isn't Afraid To Get A Little Weird

What makes Eilish so intriguing is her effortless balance between misery and mischief. On lead single "LUNCH," the singer/songwriter taps into the playful attitude of WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? smash "bad guy."

Over an upbeat and kooky production, she lets her carnal fantasies about devouring a woman run wild. The fantasies continue on "THE DINER," with Eilish stepping into the stalker mindset that may be inspired by her own life (she was granted a five-year restraining order against an alleged stalker last year). "I came in through the kitchen lookin' for something to eat/ I left a calling card so they would know that it was me," she winks on the chorus.

She Lays The "Whisper Singing" Criticism To Rest

Eilish's subdued voice has been chided as much as it's been lauded. She first gave naysayers the middle finger on Happier Than Ever's title track, nearly screaming in the song's latter half. On her latest album, she showcases her range even further, from bold belts to delicate falsettos.

The gauzy synths and vocal yearning of "BIRDS OF A FEATHER" is the perfect summer anthem, soundtracking the feeling of kissing your lover as the salty Los Angeles breeze runs through your hair. On the second half of "THE GREATEST," she unleashes a wail-filled fury. 

"HIT ME HARD AND SOFT was really the first time that I was aware of the things that I could do, the ways I could play with my voice, and actually did that," she recently told NPR Music. "That's one thing I feel very proud of with this album — my bravery, vocally."

Her Vulnerability Hasn't Waned

Eilish is quite the paradox, as her superpower is her emotional fragility. Her music has doubled as confessionals since the beginning of her career, and that relatable vulnerability threads HIT ME together. Despite its lighthearted nature, "LUNCH" marks the first time the singer has discussed her sexuality in a song.

"That song was actually part of what helped me become who I am, to be real," Eilish told  Rolling Stone of "LUNCH." "I wrote some of it before even doing anything with a girl, and then wrote the rest after. I've been in love with girls for my whole life, but I just didn't understand — until, last year, I realized I wanted my face in a vagina. I was never planning on talking about my sexuality ever, in a million years. It's really frustrating to me that it came up."

Then there's "SKINNY," which is a raw insight into how much social media's discussions of her body and fame affected her. "When I step off the stage, I'm a bird in a cage/ I'm a dog in a dog pound," she sings. "BLUE," the album's closer, finds Eilish accepting her state of post-breakup sorrow: "I'd like to mean it when I say I'm over you, but that's still not true."

FINNEAS Has Unlocked A New Production Level

FINNEAS — Eilish's brother, producer and confidant — has grown as much as his younger sister since they first began creating music together. He continues to challenge himself both lyrically and sonically to excitedly push Eilish to her creative limits. He explores a myriad of sounds on the album, with many playing like a two-for-one genre special. Named after Studio Ghibli's Spirited Away heroine, the glittery melody and thumping bassline on "CHIHIRO" transport you into an anime video game. 

The first half of "L'AMOUR DE MA VIE" is deceptively simple with its plucking acoustic guitar strings, but soon finds itself under the glare of a disco ball with Eilish's vocals funneled through a vocoder. "BITTERSUITE" is arguably the best reflection of Finneas' experimentation: it starts out with Daft Punk-esque synths before dragging itself across a grim, bass-heavy floor. Then, it crawls into cheeky elevator music territory before ending with an alien-like taunt.

HIT ME HARD AND SOFT is begging to be played live, as seen with fans' raucous reactions after the singer's listening parties at Brooklyn's Barclays Center and Los Angeles' Kia Forum. Fortunately for fans in North America, Australia and Europe, it won't be long before she brings the album to life — HIT ME HARD AND SOFT: THE TOUR  kicks off on Sept. 29 in Québec, Canada.

All Things Billie Eilish

New Kids On The Block Press Photo 2024
New Kids On The Block

Photo: Austin Hargrave

interview

New Kids On The Block's Joey McIntyre Shares His Favorite Career Moments With The Iconic Boy Band

From conquering the Apollo in the '80s to writing songs on NKOTB's celebratory new album 'Still Kids,' the group's Joey McIntyre reflects on a stellar 40-year career in pop music.

GRAMMYs/May 16, 2024 - 09:33 pm

Before Backstreet Boys and *NSYNC ruled the pop roost in the '90s, New Kids On The Block were busy building the boy band template that everyone later followed for international chart success and incredibly ardent fan followings. And it's a legacy they're continuing to celebrate nearly four decades later.

On May 17, NKOTB dropped Still Kids, the group's first new album in 11 years and eighth overall. Standouts such as "Magic," "Runaway," and the album's lead single "Kids" are every bit as light, joyful and catchy as early hits like "Step By Step" and "Hangin' Tough." But they sound more mature than they did as teenagers; their harmonies are stronger and sweeter, while the beats and production sounds more sophisticated and contemporary. Fellow '80s/'90s stars DJ Jazzy Jeff and Taylor Dayne also guest star on the album to help them lean into the nostalgia while still staying current. (Jazzy Jeff will also join them on the Magic Summer Tour, which will make stops around North America from June 14 through Aug. 25 and further continue the throwbacks with Paula Abdul as the third tourmate.)

Of course, it's not a total surprise that New Kids would want their new work to celebrate the old. The group — brothers Jordan and Jonathan Knight, Joey McIntyre, Donnie Wahlberg and Danny Wood — has sold over 80 million albums, has a star on the Hollywood Walk of Fame, and even an annual New Kids On The Block Day in Boston (for 35 years running!). Their fans, affectionately known as Blockheads, still come out in large numbers to see them perform; according to NKOTB's new label, BMG, they've sold over four million concert tickets since reuniting in 2007 after a 14-year hiatus.

But for McIntyre, the true career highlights aren't the major accolades — it's the moments that really saw NKOTB's talent, and love for one another, shine. In celebration of the release of Still Kids, McIntyre shared five of his most cherished memories from the group's meteoric pop career.

Hollywood Talent Nights At Lee School Before They Were Famous

Lee School is a public school in Dorchester — actually, very close to Jamaica Plain. We all grew up in different towns in Boston. The rest of the guys were from Dorchester and I was from Jamaica Plain, that was like our clubhouse. 

Through the grace of God, there was a lot going on for the people that wanted it. And these community people that just did it out of the goodness of their hearts and would set up a space for kids to come and number one, stay out of trouble, and number two, give it a shot and have a place to dance and sing and dream. 

We would have these Hollywood Talent Nights that [group creator] Maurice [Starr] would put on, and then there were other talent nights. I don't know how often they were, but even if there were three or four a year, maybe even less, it was something to work towards. And we would rehearse, if we weren't rehearsing at Jordan and John's [Knight's] house, in their basement, we would rehearse at the Lee School. 

In the basement of the Lee School, in the backstage, you would walk down the stairs and we'd perform in these little rooms. It was like dressing rooms. They had mirrors; it wasn't big mirrors, but they had mirrors for the waist up and that was a big deal. So we would perform there, and rehearse there, and it was exciting. We had a place to take chances and be inspired and have a ton of fun as well.

It started with the Lee School and then radio shows [on] WILD, the AM station, the only station that would think about playing us at the time — and it was like, How are we going to surprise them this time? There was a ferocity about it. 

Donnie [Wahlberg] is a born leader. Jordan would tell stories about how Donnie would get on the school bus and he'd run the show. He'd tell jokes, he'd rap, he'd make everyone feel good — it's just in his bones. I think we all had the fire, but there was definitely a ride or die vibe about every show we did. 

He worked at a sneaker store, so we'd save up and pool our money together for new outfits, and one time we came on with basketball warmups, those Patrick Ewing basketball warmups. We came on in sweatsuits. First of all, I was freakin' five feet tall, so I was swimming in everything that we had, but we'd come on and for our number we'd sing whatever, and at the perfect moment we'd rip off the sweatsuits and have red glitter suits on. We'd just try to win the crowd over every time.

I think we still have that spirit. We never want to rest on our laurels, we want to surprise people, otherwise it's just not worth it. We've been lucky enough to do what we love to do.

Performing At The Apollo Theater In 1988

We've been able to celebrate that a lot over the years. It really is, in so many ways, the pinnacle for the history of R&B and black music and soulful music, but also rock and roll. The world knew that if you could make it there and survive the Apollo, then you had what it takes to at least give it a shot in the music business.

And we were in that world. In Boston, we played for all-Black audiences. We loved R&B music. That's what we grew up on, so we weren't really necessarily fish out of water because, although we were very excited, and of course had lots of nerves, we'd been hustling as a bunch of young kids for a few years.

We got a chance to perform at the Apollo by literally pounding the pavement. And it was one of those days where Maurice was taking us around, and we were going to people's offices with a boombox, playing music and singing and dancing. And these people, even if they didn't like us, they were impressed. They couldn't argue with the guts that we had and the passion. 

The guy who ran the Apollo — I'm blanking on his last name, his first name was Al — he would host those nights, and we saw him on the street. Maurice was like, "Hey, Al! We want to come up!" So we came up and performed three songs in his office — it wasn't a very big office, either — and he said, "We'll have you down."

We weren't in the competition, we were a special guest, because I think it was on a Wednesday and they had a live night, and then they had a TV show [Showtime at the Apollo]. So we did the live night first, and then we did the TV show and they just went crazy for us. I was a little too young to be in tears, but the rest of the guys, we went up to the dressing room and everybody was in tears. 

We would hang out at the Apollo. The basement in the Apollo, man, you'd have Heavy D and Chuck D and Kool Moe Dee — you know, all the Ds! I just finished one of RuPaul's books… I met RuPaul in the stairwell of the Apollo Theater. He was going up and I was going down and we looked up at each other: "Hey, how you doin'?"

This was a long time ago but, you know, it was just a special place. Back then you had to connect in person. Now we have social media. It's wonderful, you can connect. You can DM people and suddenly connect with your heroes or collaborators and it's great, but back then, you had to be in the place. And that's what the Apollo represented for us. So we were just like kids in a candy store.

Getting Their First Tour Bus

There's nothing like jumping on your first tour bus. Our first manager, Mary Alford, had a two-door Mustang, I would have to sit on somebody's lap in the front seat, and then three dudes would be stuck in the back, and she'd be driving. The big splurge was getting a bigger four-door car to drive down to New York for those trips. We'd still be mashed up. 

You know, just to know you are literally going on the road for the first time. I'm 15, the other guys are, like, 18, 19, and there's really nothing cooler. But we were very emotional for a lot of reasons. For having a chance to do our thing and saying goodbye to our family, our hometown, knowing this is part of making it. So it was pretty cool. 

Working With New Edition

Before I was even in the New Kids, the New Edition album with "Cool It Now" was my [favorite] album. The fact that they were from Boston was amazing, a massive bonus, and we were all, just, goo goo ga ga any time we could meet them or think we could meet them. 

So over the years we would touch base, and then we got to sing together on our album The Block in 2008. But then a couple years ago we did a big mashup performance on the AMAs and I cried like a baby, like, three times. I cried on the phone with Donnie just thinking about it as we started rehearsals. Then I cried afterwards. 

A couple days later was Thanksgiving. We went around the table and talked about what we were grateful for, and the tears just came to my eyes. I couldn't think of anything better to be more thankful for than to work with your heroes. They've just been so gracious, so gracious, over the years. And from where they came and how they really set the standard for us. They really did. 

You don't realize it until the more you live and the more you are in this business. To have people walk the walk and talk the talk, and then be kind and supportive at the same time, it's very cool. Just to be friends with those guys is a dream.

Making Still Kids

You want to give the people what they're looking for and also surprise them at the same time, and I think this album has a good combination. I feel great about the fact that I ended up co-writing half of the album. I've just been writing more, so that was important to me. And I've been lucky enough to write for the group over the years, but this felt a little different. I think it takes guts to stretch and grow with the group, within the dynamics of the group. It's not easy but we've always said, "Let's go, let's give it a shot."

So this was a good combo, this album. It's new, we're definitely harking back to the good old days, but it definitely reflects that we're not 18 anymore. But I think they're that spirit. 

As we get older, we're always reaching back. We want to have that fire and that curiosity we had as kids. We don't want to let the cynicism of life pull us down and at the same time, all that fuels the writing and the expression. So it's exciting to feel good about an album that has the right balance. 

25 Years Of Backstreet Boys' "I Want It That Way": 10 Covers By Ed Sheeran, Lil Uzi Vert & More

"Bridgerton" Season 3
"Bridgerton" Season 3

Photo: Netflix

feature

"Bridgerton" Composer Kris Bowers & Vitamin String Quartet Continue To Make Classical Music Pop For Season 3

The Netflix show returns for its third season on May 16. Composer Kris Bowers, alongside the Vitamin String Quartet and other artists, masterfully reimagines modern pop with a classical twist, including a Taylor Swift hit.

GRAMMYs/May 16, 2024 - 02:31 pm

No one is arguing that “Bridgerton” is realistic or even particularly historically accurate — in fact, leaning into anachronisms is the point. Entering its third season, which premieres on May 16, the pulpy Netflix show based on a series of romance novels by Julia Quinn — often classified as “bodice rippers” — mixes modern life ideas with Regency-era social rules.

From Lady Whistledown's tantalizing gossip columns to the complex romances of the Bridgerton siblings, the series grips viewers with its blend of historical drama and contemporary flair. One key note in that chord is classical music. Instead of using current tracks like some historical-contemporary-hybrids (most famously “A Knight’s Tale" in 2001), “Bridgerton” has mastered the art of the classical cover. 

Paired with original compositions by Kris Bowers, an Oscar winner and GRAMMY nominee — including one for Best Score Soundtrack For Visual Media for "Bridgerton" — the tone of the show is that of a heightened, classic world. Bowers, along with music supervisor Justin Kamps collaborates with the Vitamin String Quartet and other artists to create a full circle sonic landscape. They make the classical music in “Bridgerton” pop by re-recording, rearranging, and reimagining contemporary pop songs as classic pieces. 

Over three seasons, as well as with the spin off, “Queen Charlotte,” the team has included a mix of the newest songs as well as nostalgic favorites. This season features GAYLE’s “abcdefu,” which was released in 2022 as well as a cover of Pitbull, Ne-Yo, and Afrojack’s “Give Me Everything,” which was released in 2011, which can appease the full gamut of millennial and Gen Z viewers.  

Regency traditions 

The Regency period in which the show is based, spanned from 1811 to 1820, and was known as an era of elegance and refinement in British history.  In the first chunk of the 1800s, pop music included pieces by Beethoven, Liszt, Haydn, and Mendlesson (famous for the “Wedding March”). Waltzes were all the rage, and this “new” music was considered much more emotional and passionate than previous offerings. The romance of being swept away in a dance increased the thrill, and string quartets were highly popular. 

As seen throughout the series (and much like today), society placed a significant emphasis on social gatherings and music played a central role in these events. Balls, soirées, and intimate musical evenings were common, the perfect backdrop for orchestrating romance. 

In “Bridgerton," the show's modern portrayal of the Regency period occasionally features or references music from the time period, such as Vivaldi’s “The Four Seasons,” which was written a century before the events in the show but was and is still a popular piece of classical music. The show frequently uses arrangements of classical songs in a slightly modern way, but most often, it underscores scenes with either classically arranged covers of pop songs or original music by Bowers. 

Contemporary music covers

Choosing between a cover or original music is a nuanced decision for the music team. The music team considers “whether or not, there's something that can, lyrically, even though we don't hear lyrics, speak to a moment really well,” said Bowers. Absent a cover by an outside band, Bowers arranges pop hits to suit the tone of the scene. He said, “when you're saying something with a song, you're making commentary on what's happening.” 

When they do outsource tracks, more often than not, these covers come from Los Angeles-based Vitamin String Quartet. VSQ is the new Mendlesson in that they have been the predominant wedding-march artist for nearly a decade, known for producing string renditions of highly eclectic mix of artists including Cardi B, Lana Del Rey, Björk, and Sigur Rós

They contributed four covers in season one, including Billie Elish's “bad guy” and Ariana Grande's “Thank U, Next,” about which Leo Flynn, VSQ Brand Manager at CMH Label Group said, “Talk about a great track changing the temperature of a room.” In season two, VSQ’s cover of Robyn's “Dancing on My Own” played under a dance scene. 

When we spoke to James Curtiss, Director of A&R at CMH, the song placements for season three were still a mystery. Curtiss shared, “When we finished that Taylor [Swift] record, we sent it right over to the people at ‘Bridgerton.’” 

[Spoiler alert:] Since then, we have learned Swift's “Snow on the Beach” will be featured in season three. This isn't the first time Swift's music has been featured in the show: Duomo’s cover of “Wildest Dreams” played under the honeymoon scenes in season one. 

Composer Bowers added his favorite cover of the season is in episode eight, the finale, but what title that is will be a surprise. The surprise of an “unexpected cover” as Bowers calls it is that when you “hear a song that you know, and have this strong indelible connection with it that is represented in this style that you typically don't feel like is for you. People get excited by having this music that they really love be elevated to this other level.” He said the familiarity makes “you feel connected to this time period, these characters, and these people in a different way.” 

Flynn said, “There’s something about the past that’s inherently romantic,” and the use of VSQ songs “unites something from the past with what’s going on now.” Because classical music “feels very idealized and formal,” he said, “there’s all this history and mystique built into it.” 

Flynn also mentioned that “Bridgerton” fuses past and present on a “major storytelling scale” between the historically-inspired stories themselves, the “visual feast” of the show, and the music. Curtiss added that the “romantic nature of the string quartet” juxtaposed with pop songs helps viewers tie the feeling of going to a bar or club to the experience of hearing “the popular bangers of the day,” as he called Beethoven et al., at a ball in the Regency era. 

Original compositions

When the music needs to set a specific tone without taking the audience out of the action to try and name that tune, “Bridgerton” often uses original compositions by Bowers. Bowers said, “Looking at pop music for those things like rhythm and tempo and all that stuff also helps in moments where we want to have the score feel a little bit more modern and not as traditional.” He continued, “I’ll put something in the violas and the celli that have this kind of guitar and bass feeling to them even though we’re looking at it orchestrationally from a classical perspective.” He explained that “borrowing the rhythms or the way that parts interlock from pop music” makes it feel like a modern classical sound. 

Each character and couple has their own theme. Bowers explained that it was enjoyable to create themes that could fit both heartbreaking and celebratory moments. “The melodies are still the same even if the harmonic tone is changed,” he said.

Instrumental Pop In Visual Media

The “Bridgerton” style of using instrumentalized versions of pop songs is not unique. Famously, “Promising Young Woman” used a haunting version of Britney Spears’ “Toxic,” adapted by Anthony Willis, and “Westworld’s” Ramin Djawadi used adaptations of Radiohead among others. “Wednesday” featured a stirring string version of the Rolling Stones’ “Paint it Black.” The popularity of Vitamin String Quartet and other classical cover bands has not waned and, if anything, is becoming more of a mainstream staple.

As season three approaches, the unveiling of the time-spanning, romantic soundtrack is highly anticipated. Four episodes air May 16 and the second half of the season airs June 13, with original compositions by Kris Bowers and additional music by various artists, including Vitamin String Quartet, who will be taking over Pandora’s Classical Goes Pop in anticipation of their fall, “Bridgerton”-music-filled tour. 

Overall, to find the tone of the whole series, Bowers said, “Season three actually has a lot more lightness to it. (Showrunners) Shonda (Rhimes) and Jess (Brownell) really want to have a lot of fun this season so there's a little bit more of a playful, youthful quality to the music.” Whatever tunes make it into the season, they are sure to be a feast for the ears. 

Meet Usher Collaborator Pheelz, The Nigerian Producer & Singer Who Wants You To 'Pheelz Good

Dua Lipa at the 2024 GRAMMYs
Dua Lipa at the 2024 GRAMMYs.

Photo: Neilson Barnard/Getty Images for The Recording Academy

list

Dua Lipa Is Confidently In Love On 'Radical Optimism': 4 Takeaways From The New Album

As Dua Lipa continues the dance party she started in 2017, her third studio album sees the pop star more assured — and more starry-eyed — than ever before.

GRAMMYs/May 3, 2024 - 03:13 pm

As someone who has dedicated her life to being a performer, Dua Lipa's recent admission to Apple Music's Zane Lowe seems almost unfathomable: "I never thought of the idea of being famous."

Stardom may not have been on her mind as a kid, but Lipa is now, indeed, one of the most famous pop stars on the planet as she releases her highly anticipated third album, Radical Optimism

In the seven years since her acclaimed 2017 self-titled debut, Lipa has achieved several highs — like three GRAMMY wins, including Best New Artist in 2019 — as well as the subsequent lows that can often come with global stardom. And though the singer also admitted to Lowe that it "took me a while to find my voice," Radical Optimism is her most self-assured album yet — one that hinges on the title being not only the project's name, but also its defining approach to Lipa's present-day vision for her life.

"Radical Optimism and the way that I see it is this idea of rolling with the punches, of not letting anything get you down for too long. Of always seeing the positive side of things. Of being able to grow and move forward and change your perspective regardless of what's happening in your life…I think it's a big part of maturing and growing up."

The entire album was crafted in her native London over the course of a year-and-a-half, with Lipa enlisting a small band of collaborators — including her righthand co-writer Caroline Ailin, Kevin Parker of Tame Impala, Danny L. Harle and Tobias Jesso, Jr. — to create a cohesive, buoyant body of work tinged with disco, funk and bits of psychedelic pop.

Naturally, "radical optimism" is a core thread that runs through all eleven songs as Lipa reflects on falling in and out of love, grapples with her fame and confidently declares that everything that came before Radical Optimism was just a practice run. After all, as she brazenly declares on the LP's second single, "Training season's over." 

As you enter Dua's latest musical world, dive into four major takeaways from Radical Optimism below.

Radical Optimism Isn't Just A New Era — It's A Whole New Perspective

When Lipa accepted her GRAMMY for Best Pop Vocal Album in 2021, she declared she was officially done with the "sad music" that had fueled her breakout debut album. And if 2020's Future Nostalgia was, in context, a kind of clubby, '80s-driven turning point for the artist, she fully embraces the Radical Optimism promised by its follow-up's title. Lipa's newfound attitude is both clear-eyed and relentlessly positive across the album's 11 tracks, whether she's gushing over a new love on giddy opener "End of an Era," being kept up all night by thoughts of a seductive crush on "Whatcha Doing" or cutting her losses and ditching out early on the spellbinding "French Exit."

Even "These Walls," on which she watches a doomed relationship fade to black, is approached with a sense of inevitability laced with clarity and astute kindness. "But if these walls could talk/ They'd say enough, they'd say give up/ If these walls could talk/ They'd say/ You know you're f—ed/ It's not supposed to hurt this much/ Oh, if these walls could talk/ They tell us to break up," Lipa sings over gossamer production and a piano line by Andrew Wyatt.

You Can Still Find Her On The Dance Floor

The rollout for Radical Optimism was front-loaded with the release of three singles ahead of the full album in the form of "Houdini," "Training Season" and "Illusion." Between the three subsequent music videos and a thrilling live performance at the 2024 GRAMMYs in February, Lipa signaled that her third LP would be filled with her signature style of scintillating dance floor bangers.

The rest of the album more than delivers on that promise, with an overall BPM that rarely falls below what's needed for a full-blown aerobic workout — perfect for over-the-top choreography, of course. And in case the Service95 founder's commitment to the dance floor isn't already apparent, just look at the history-making hat trick she recently pulled off on the Billboard's Hot Dance/Electronic Songs chart: as of press time, "Houdini," "Illusion" and "Training Season" occupied the top three spots, marking a first for any female artist in modern music history.

She's Redefining Love On Her Own Terms

If the litany of love songs on Radical Optimism are any indication, it's safe to say Lipa is head over heels these days (with boyfriend Callum Turner, perhaps?). Opening track "End of an Era" may mark the beginning of a new musical journey for the singer, but it's just as much about the thrill of a new relationship. Later on the track list, she uses album cut "Falling Forever" to grow an initial spark of infatuation into a red-hot love affair as she yearns, "How long, how long/ Can it just keep getting better?/ Can we keep falling forever" on the lovestruck chorus.

Lipa also makes it clear on the shapeshifting highlight "Anything For Love" that she's "not interested in a love that gives up so easily." As she refuses to accept the modern paradigm of ghosting, non-committal situationships and running away when things get hard, the song morphs from a tender piano ballad into danceable, mid-tempo groove, giving the listener just enough breathing room to wrestle with the questions of what kind of love they'll accept before dancing it out.

She's Putting Her Emotional Growth On Full Display

It's been almost seven years since Lipa spelled out her "New Rules" for a generation of pop lovers, and some of the most affecting cuts on Radical Optimism prove the British-Albanian star has accrued even more hard-won wisdom since her early days of "If you're under him, you ain't gettin' over him."

Penultimate track "Maria" finds Lipa thanking the ghost of her current lover's ex-girlfriend for making him a better man: "Never thought I could feel this way/ Grateful for all the love you gave/ Here's to the lovers that make you change/ Maria, Maria, Maria." 

Meanwhile, on album closer "Happy for You," the singer turns her attention not to a lover's ex-girlfriend, but to an ex who's moved on from her and found himself happier than ever. It's a complex, but decidedly mature feeling to realize you're genuinely happy for someone you used to love, but Lipa encapsulates the emotion perfectly. 

"Oh, I must've loved you more than I ever knew/ Didn't know I could ever feel/ 'Cause I'm happy for you," she sings on the chorus. "Now I know everything was real/ I'm not mad, I'm not hurt/ You got everything you deserve/ Oh, I must've loved you more than I ever knew/ I'm happy for you."

The grown-up sentiment finishes the album on a bittersweet emotional high — proving that no matter what life throws at her, Lipa will remain radically and unapologetically optimistic to the end. 

GRAMMY Rewind: Dua Lipa Champions Happiness As She Accepts Her GRAMMY For Best Pop Vocal Album In 2021