The GRAMMY tribute to MusiCares Person Of The Year and all-around legend Dolly Parton was a star-studded affair, featuring performances from the likes of Miley Cyrus, Katy Perry, Little Big Town and more, but the real star of the segment was the Backwoods Barbie herself.

Parton stunned with some excellent vocals, kicking things off with Kacey Musgraves and Perry on "Here You Come Again" before duetting with her goddaughter Cyrus on "Jolene."

Cyrus and Parton were joined by Maren Morris for some gorgeous three-part harmony on "After the Gold Rush," which she recorded with Linda Ronstadt and Emmylou Harris on their classic Trio II album.

Little Big Town appeared for new track "Red Shoes" from the Dumplin' soundtrack before Parton brought it home with a "9 to 5" finale.

10 Must-Hear Songs By Dolly Parton

Full Winners List: 61st GRAMMY Awards

Country music has long felt like a boy's club.

From the genre's humble beginnings of Hank Williams, Roy Acuff and Jimmie Rodgers, through the outlaw movement of Johnny Cash, George Jones and Merle Haggard, to more modern day giants like Garth Brooks, George Strait and Tim McGraw, men have been dominating the genre for nearly a century.

Even now, megastars like Morgan Wallen, Luke Combs and Zach Bryan have comfortably inherited the position, virtually ruling the airwaves of country music and beyond for the majority of 2023. Those three have almost single-handedly helped the genre become arguably the biggest it's ever been — and it's finally opening the door for women to join in.

As the genre has boomed over the last year or so, it's created an opportunity for female artists to get in on a bigger slice of the pie. While the guys were out there wooing the mainstream, a handful of ladies were making their own fair share of noise with superstars Lainey Wilson, Kelsea Ballerini, Kacey Musgraves and Carly Pearce showing the genre what girl power is all about, and representing at the 2024 GRAMMYs as a result.

Of course, a handful of female artists have been able to push through the cracks through the years, from Loretta Lynn and Dolly Parton to Shania Twain and Carrie Underwood. But historically, women have largely been chasing equal stature in the country music limelight. The genre's gender gap came to a head with 2015's "Tomato-gate" controversy, when radio consultant Keith Hill compared radio airplay to a salad, with the men as the lettuce and women as a tomato garnish.

Although airplay hasn't necessarily grown (a recent study found that female artists received an abysmal 11 percent of airplay in 2022), that hasn't stopped women in the genre from making an impact. In the last few years, a growing group of women have been rewriting the rules, nabbing major award nominations and wins, selling out headlining tours, notching No. 1s and breaking records — and they only seem to be gaining speed.

As a new year begins, take a look at a few of the ways women are breaking through in country music.

GRAMMY Representation

For the past few GRAMMYs ceremonies, we've been seeing more and more female names in country music listed among the nominees.

The shift was first really felt at the 63rd GRAMMY Awards in 2021, when women dominated the nominations thanks to the colossal successes of Best New Artist nominee Ingrid Andress, country stalwart Miranda Lambert and female supergroup the Highwomen (comprised of previous GRAMMY winners Maren Morris, Brandi Carlile, Natalie Hemby and Amanda Shires).

Female artists have continued to carve out their spot in GRAMMY history with nominations and wins. One of the most notable wins came in 2023, when Carly Pearce and Ashley McBryde's history-making duet, "Never Wanted To Be That Girl," claimed Best Country Duo/Group Performance.

Pearce is once again nominated in the Best Country Duo/Group Performance category at the 2024 GRAMMYs, this year for her chilling duet with decorated tunesmith Chris Stapleton, "We Don't Fight Anymore," which could find her claiming the prize for a second consecutive year.

While women don't dominate the Country Field nominees at the 2024 GRAMMYs, Pearce isn't alone. There's plenty of success stories throughout the categories, and one of the people leading that charge is Lainey Wilson.

More than a decade after moving to Nashville, Wilson's fourth studio album, Bell Bottom Country, has been propelling her to the forefront of the genre. The album helped earn Wilson a nomination for Best Country Album — one of her first two career GRAMMY nominations, the other for Best Country Duo/Group Performance for "Save Me," her evocative collaboration with country-rap trailblazer (and 2024 Best New Artist nominee), Jelly Roll.

One of the genre's most enduring duets of 2023, Zach Bryan and Kacey Muscgraves' "I Remember Everything," is also in the running for Best Country Duo/Group Performance. Along with debuting at No. 1 on the Billboard Hot 100 and reigning atop Billboard's Hot Country Songs chart for 16 weeks as of press time, the collab continued Musgraves' GRAMMY success. Also nominated for Best Country Song, "I Remember Everything" brings Musgraves' nomination total to 13; as of press time, she's won 6 GRAMMYs, including the coveted Album Of The Year in 2019 for Golden Hour.

Seasoned singer/songwriter Brandy Clark secured the most nominations of all the female country artists, with 6 nods across the Musical Theater, Americana and Country categories. Notably, her twice-nominated "Buried," included on her self-titled LP, nabbed nominations for both Best Country Song and Best Country Solo Performance.

Dolly Parton earned her 54th GRAMMY nomination this year, for Best Country Solo Performance for her solo version of one of her earliest hits, "The Last Thing On My Mind." First released in 1967 as her debut duet with Porter Wagoner, the 2023 version of the song features Parton's signature, soulful vocals and was included in the I Am a Pilgrim: Doc Watson at 100 tribute album.

Elsewhere in the 2024 GRAMMY nominations, pop-country darling Kelsea Ballerini is nominated alongside Wilson in the Best Country Album category with her Rolling Up the Welcome Mat EP. The triumphant and soul-bearing project led to one of her most commercially and critically successful years to date (more on that later).

Growing Success At Country Radio & Beyond

As her two GRAMMY nominations indicate, Lainey Wilson was arguably country music's woman of 2023. Notching four trips to the top of the Mediabase Country Airplay chart in 2023, she set two records: most No. 1s by a female country artist in a calendar year and most No. 1's on Billboard's Country Airplay chart by a female artist this decade. This was thanks to her own "Heart Like A Truck" and "Watermelon Moonshine," as well as her HARDY collaboration "wait in the truck" and the aforementioned Jelly Roll team-up "Save Me."

Beyond her profound radio success, 2023 also saw Wilson nab four ACM Awards and five CMA trophies; at the latter, she won Female Vocalist of the Year, Album of the Year and the coveted Entertainer of the Year, whose last female winner came in 2011 with country-turned-pop superstar, Taylor Swift.

Wilson's fellow Best Country Album nominee, Kelsea Ballerini, also had a banner year. While her nominated Rolling Up the Welcome Mat EP didn't spawn a radio hit, it made quite an impression on streaming and social media. Due to its raw account of her public divorce from singer Morgan Evans, Ballerini's latest project helped her sell out her headlining tour, receive an invite to perform on Saturday Night Live, and earn an array of major award nominations.

Another proven hitmaker, Carly Pearce, nabbed her fourth No. 1 with her heartbreak anthem, "What He Didn't Do," which reached the top of the Country Aircheck/Mediabase chart last March. Newcomer Megan Moroney topped the same chart in June with her 2022 debut single, "Tennessee Orange," which helped her have a remarkable breakout year including her first award and a sold-out tour.

Rising country star Priscilla Block also secured a No. 1 on Mediabase's Country Airplay chart with her Justin Moore duet, "You, Me, and Whiskey," while more veteran act Gabby Barrett — who scored back-to-back No. 1 hits on Billboard's Country Airplay chart in 2020 and 2021 — reached the top 10 of the chart in 2023 with her single "Pick Me Up."

Female Artists On the Horizon

In the last 12 months, rising female country artists hit their stride, bringing a lot of promise to tackling the genre's gender gap. Hailey Whitters landed her first chart entry on both Billboard's Country Airplay and Hot 100 charts with her breakthrough single, "Everything She Ain't," which broke the top 20 on the former tally. Sister duo Tigirlily Gold saw their debut single, "Shoot Tequila," surge into the top 40 on country radio while they also juggled making their Opry debut, a loaded touring schedule and the release of their acclaimed Blonde EP.

Aside from the radio dial, women also had massive years on the road, earning major touring slots with some of the genre's big hitters. Big Loud prodigy Ashley Cooke put out her debut effort, Shot in the Dark, which propelled her onto Luke Bryan's Country Again Tour and Jordan Davis' Damn Good Time Tour. Meanwhile, Ella Langley, a country-rocker in the making, spent her year alongside Riley Green and Jon Pardi, as songs from her debut EP, Excuse the Mess, garnered millions of streams.

Beyond commercial success, there are a slew of burgeoning female singer/songwriters who are also poised to break through. Alana Springsteen, who released her three-part twenty something project in 2023, is establishing herself as one of the newest (and most relatable) voices in the country-pop world. Meanwhile, Lauren Watkins — who doubled down in 2023 with two EPs, Introducing: Lauren Watkins and Introducing: The Heartbreak — is reinventing the neo-traditional, retro country music of generations past.

Similarly, "The Voice" alum Emily Ann Roberts is out to make traditional country cool again as demonstrated on her debut LP, Can't Hide Country, while Catie Offerman, a powerhouse multi-instrumentalist, is bringing her Texas charm and clever turns of phrase into the country mainstream one infectious single at a time.

Next up is Brittney Spencer, who will release her debut album, My Stupid Life, on Jan. 19. As her glistening, genre-bending music continues to gain commercial traction, she's already loved by critics and artists alike; Maren Morris just recruited her for a dynamic performance of "The Tree" on "The Tonight Show Starring Jimmy Fallon" alongside Mickey Guyton.

While it's impossible to mention all of the country women out there making moves, it's more than evident that female artists are ready to take up more of the country music landscape than ever before — and 2024 might just be the year that women finally get their due.

2023 In Review: 5 Trends That Defined Country Music

Despite claims by surveyed CNN readers, 1974 was not a year marked by bad music. The Ramones played their first gig. ABBA won Eurovision with the earworm "Waterloo," which became an international hit and launched the Swedes to stardom. Those 365 days were marked by chart-topping debuts, British bangers and prog-rock dystopian masterpieces. Disenchantment, southern pride, pencil thin mustaches and tongue-in-cheek warnings to "not eat yellow snow" filled the soundwaves.  

1974 was defined by uncertainty and chaos following a prolonged period of crisis. The ongoing OPEC oil embargo and the resulting energy shortage caused skyrocketing inflation, exacerbating the national turmoil that preceded President Nixon’s resignation following the Watergate scandal. Other major events also shaped the zeitgeist: Stephen King published his first novel, Carrie, Muhammad Ali and George Foreman slugged it out for the heavyweight title at "The Rumble in the Jungle," and People Magazine published its first issue. 

Musicians reflected a general malaise. Themes of imprisonment, disillusionment and depression — delivered with sardonic wit and sarcasm — found their way on many of the records released that year. The mood reflects a few of the many reasons these artistic works still resonate.  

From reggae to rock, cosmic country to folk fused with jazz, to the introduction of a new Afro-Trinidadian music style, take a trip back 18,262 days to recall 20 albums celebrating their 50th anniversaries in 2024. 

Joni Mitchell - Court & Spark

Joni Mitchell’s Court & Spark is often hailed as the pinnacle of her artistic career and highlights the singer/songwriter’s growing interest in jazz, backed by a who’s who of West Coast session musicians including members of the Crusaders and L.A. Express. 

As her most commercially successful record, the nine-time GRAMMY winner presents a mix of playful and somber songs. In an introspective tone, Mitchell searches for freedom from the shackles of big-city life and grapples with the complexities of love lost and found. The record went platinum — it hit No.1 on the Billboard charts in her native Canada and No. 2 in the U.S., received three GRAMMY nominations and featured a pair of hits: "Help Me" (her only career Top 10) and "Free Man in Paris," an autobiographical song about music mogul David Geffen.

Gordon Lightfoot - Sundown

In 2023 we lost legendary songwriter Gordon Lightfoot. He left behind a treasure trove of country-folk classics, several featured on his album Sundown. These songs resonated deeply with teenagers who came of age in the early to mid-1970s — many sang along in their bedrooms and learned to strum these storied songs on acoustic guitars. 

Recorded in Toronto, at Eastern Sound Studios, the album includes the only No.1 Billboard topper of the singer/songwriter’s career. The title cut, "Sundown," speaks of "a hard-loving woman, got me feeling mean" and hit No. 1 on both the pop and the adult contemporary charts. 

In Canada, the album hit No.1 on the RPM Top 100 in and stayed there for five consecutive weeks. A second single, "Carefree Highway," peaked at the tenth spot on the Billboard Hot 100, but hit No.1 on the Easy Listening charts.

Eric Clapton - 461 Ocean Boulevard

Eric Clapton’s 461 Ocean Boulevard sold more than two million copies worldwide. His second solo studio record followed a three-year absence while Clapton battled heroin addiction. The record’s title is the address where "Slowhand" stayed in the Sunshine State while recording this record at Miami’s Criteria Studios. 

A mix of blues, funk and soulful rock, only two of the 10 songs were penned by the Englishman. Clapton’s cover of Bob Marley’s "I Shot the Sheriff," was a massive hit for the 17-time GRAMMY winner and the only No.1 of his career, eclipsing the Top 10 in nine countries. In 2003, the guitar virtuoso’s version of the reggae song was inducted into the GRAMMY Hall of Fame. 

Lynyrd Skynyrd - Second Helping

No sophomore slump here. This "second helping" from these good ole boys is a serious serving of classic southern rock ‘n’ roll with cupfuls of soul. Following the commercial success of their debut the previous year, Lynyrd Skynyrd’s second studio album featured the band’s biggest hit: "Sweet Home Alabama." 

The anthem is a celebration of Southern pride; it was written in response to two Neil Young songs ("Alabama" and "Southern Man") that critiqued the land below the Mason-Dixon line. The song was the band’s only Top 10, peaking at No. 8 on the Billboard Top 100. Recorded primarily at the Record Plant in Los Angeles, other songs worth a second listen here include: the swampy cover of J.J. Cale's "Call Me The Breeze," the boogie-woogie foot-stomper "Don’t Ask Me No Questions" and the country-rocker "The Ballad of Curtis Loew." 

Bad Company - Bad Company

A little bit of blues, a token ballad, and plenty of hard-edged rock, Bad Company released a dazzling self-titled debut album. The English band formed from the crumbs left behind by a few other British groups: ex-Free band members including singer Paul Rodgers and drummer Simon Kirke, former King Crimson member bassist Boz Burrel, and guitarist Mick Ralphs from Mott the Hoople. 

Certified five-times platinum, Bad Company hit No.1 on the Billboard 200 and No. 3 in the UK, where it spent 25 weeks. Recorded at Ronnie Lane’s Mobile Studio, the album was the first record released on Led Zeppelin’s Swan Song label. Five of the eight tracks were in regular FM rotation throughout 1974; "Bad Company," "Can’t Get Enough" and "Ready for Love" remain staples of classic rock radio a half century later. 

Supertramp - Crime of the Century

"Dreamer, you know you are a dreamer …" sings Supertramp’s lead singer Roger Hodgson on the first single from their third studio album. The infectious B-side track "Bloody Well Right," became even more popular than fan favorite, "Dreamer." 

The British rockers' dreams of stardom beyond England materialized with Crime of the Century. The album fused prog-rock with pop and hit all the right notes leading to the band’s breakthrough in several countries — a Top 5 spot in the U.S. and a No.1 spot in Canada where it stayed for more than two years and sold more than two million copies. A live version of "Dreamer," released six years later, was a Top 20 hit in the U.S. 

Big Star - Radio City

As one of the year’s first releases, the reception for this sophomore effort from American band Big Star was praised by critics despite initial lukewarm sales (which were due largely to distribution problems). Today, the riveting record by these Memphis musicians is considered a touchstone of power pop; its melodic stylings influenced many indie rock bands in the 1980s and 1990s, including R.E.M. and the Replacements. One of Big Star’s biggest songs, "September Gurls," appears here and was later covered by The Bangles. 

In a review, American rock critic Robert Christgau, called the record "brilliant and addictive." He wrote: "The harmonies sound like the lead sheets are upside down and backwards, the guitar solos sound like screwball readymade pastiches, and the lyrics sound like love is strange, though maybe that's just the context." 

The Eagles - On the Border

The third studio record from California harmonizers, the Eagles, shows the band at a crossroads — evolving ever so slightly from acoustically-inclined country-folk to a more distinct rock ‘n’ roll sound. On the Border marks the studio debut for band member Don Felder. His contributions and influence are seen through his blistering guitar solos, especially in the chart-toppers "Already Gone" and "James Dean." 

On the Border sold two million copies, driven by the chart topping ballad "Best of My Love" — the Eagles first No.1 hit song. The irony: the song was one of only two singles Glyn Johns produced at Olympic Studios in London. Searching for that harder-edged sound, the band hired Bill Szymczyk to produce the rest of the record at the Record Plant in L.A. 

Jimmy Buffett - Livin’ and Dyin in ¾ Time & A1A

Back in 1974, 28-year-old Jimmy Buffett was just hitting his stride. Embracing the good life, Buffett released not just one, but two records that year. Don Grant produced both albums that were the final pair in what is dubbed Buffett’s "Key West phase" for the Florida island city where the artist hung his hat during these years.

The first album, Livin’ and Dyin’ in ¾ Time, was released in February and recorded at Woodland Sound Studio in Nashville, Tennessee. It featured the ballad "Come Monday," which hit No. 30 on the Hot 100 and "Pencil Thin Mustache," a concert staple and Parrothead favorite. A1A arrived in December and hit No. 25 on the Billboard 200 charts. The most beloved songs here are "A Pirate Looks at Forty" and "Trying to Reason with Hurricane Season." 

Buffett embarked on a tour and landed some plume gigs, including opening slots for two other artists on this list: Frank Zappa and Lynyrd Skynyrd. 

Genesis - The Lamb Lies Down on Broadway

Following a successful tour of Europe and North America for their 1973 album, Selling England by the Pound, Genesis booked a three-month stay at the historic Headley Grange in Hampshire, a former workhouse. In this bucolic setting, the band led by frontman Peter Gabriel, embarked on a spiritual journey of self discovery that evolved organically through improvisational jams and lyric-writing sessions. 

This period culminated in a rock opera and English prog-rockers’s magnum opus, a double concept album that follows the surreal story of a Puerto Rican con man named Rael. Songs are rich with American imagery, purposely placed to appeal to this growing and influential fan base across the pond. 

This album marked the final Genesis record with Gabriel at the helm. The divisiveness between the lyricist, Phil Collins, Mike Rutherford and Tony Banks came to a head during tense recording sessions and led to Gabriel’s departure from the band to pursue a solo career, following a 102-date tour to promote the record. The album reached tenth spot on the UK album charts and hit 41 in the U.S. 

David Bowie - Diamond Dogs

Is Ziggy Stardust truly gone? With David Bowie, the direction of his creative muse was always a mystery, as illustrated by his diverse musical legacy. What is clear is that Bowie’s biographers agree that this self-produced album is one of his finest works. 

At the point of producing Diamond Dogs, the musical chameleon and art-rock outsider had disbanded the band Spiders from Mars and was at a crossroads. His plans for a musical based on the Ziggy character and TV adaptation of George Orwell’s "1984" both fell through. In a place of uncertainty and disenchantment, Bowie creates a new persona: Halloween Jack. The record is lyrically bleak and evokes hopelessness. It marks the final chapter in his glam-rock period — "Rebel Rebel" is the swaggering single that hints at the coming punk-rock movement. 

Bob Marley - Natty Dread

Bob Marley’s album "Natty Dread," released first in Jamaica in October 1974 later globally in 1975, marked his first record without his Rastafari brethren in song Peter Tosh and Bunny Wailer. It also introduced the back-up vocal stylings of the I Threes (Rita Marley, Judy Mowatt and Marcia Griffiths.) 

The poet and the prophet Marley waxes on spiritual themes with songs like "So Jah Seh/Natty Dread'' and political commentary with tracks,"Them Belly Full (But We Hungry)" and "Rebel Music (3 O’clock Road Block)." The album also Includes one of the reggae legend’s best-loved songs, the ballad "No Woman No Cry," which paints a picture of "government yards in Trenchtown" where Marley’s feet are his "only carriage." 

Queen - Sheer Heart Attack

The third studio album released by the British rockers, Queen, is a killer. The first single, "Killer Queen," reached No. 2 on the British charts — and was the band’s first U.S. charting single. The record also peaked at No.12 in the U.S. Billboard albums charts. 

This record shows the four-time GRAMMY nominees evolving and shifting from progressive to glam rock. The album features one of the most legendary guitar solos and riffs in modern rock by Brian May on "Brighton Rock." Clocking in at three minutes, the noodling showcases the musician’s talent via his use of multi-tracking and delays to great effect. 

Randy Newman - Good Old Boys

Most recognize seven-time GRAMMY winner Randy Newman for his work on Hollywood blockbuster scores. But, in the decade before composing and scoring movie soundtracks, the songwriter wrote and recorded several albums. Good Old Boys was Newman’s fourth studio effort and his first commercial breakthrough, peaking at No. 36 on the Billboard charts. 

The concept record, rich in sarcasm and wit, requires a focused listen to grasp the nuances of Newman’s savvy political and social commentary. The album relies on a fictitious narrator, Johnny Cutler, to aid the songwriter in exploring themes like "Rednecks" and ingrained generational racism in the South. "Mr. President (Have Pity on the Working Man)" is as relevant today as when Newman penned it as a direct letter to Richard Nixon. Malcolm Gladwell described this record as "unsettling" and a "perplexing work of music." 

Frank Zappa - Apostrophe

Rolling Stone once hailed Frank Zappa’s Apostrophe as "truly a mother of an album." The album cover itself, featuring Zappa’s portrait, seems to challenge listeners to delve into his eccentric musical universe. Apostrophe was the sixth solo album and the 19th record of the musician’s prolific career. The album showcases Zappa’s tight and talented band, his trademark absurdist humor and what Hunter S. Thompson described as "bad craziness."  

Apostrophe was the biggest commercial success of Zappa’s career. The record peaked at No. 10 on the Billboard Top 200. The A-side leads off with a four-part suite of songs that begins with "Don’t Eat the Yellow Snow" and ends with "Father Oblivion," a tale of an Eskimo named Nanook. The track "Uncle Remus," tackles systemic racism in the U.S. with dripping irony. In less than three minutes, Zappa captures what many politicians can’t even begin to explain. Musically, Apostrophe is rich in riffs from the two-time GRAMMY winner that showcases his exceptional guitar skills in the title track that features nearly six minutes of noodling.

Gram Parsons - Grievous Angel

Grievous Angel can be summed up in one word: haunting. Recorded in 1973 during substance-fueled summer sessions in Hollywood, the album was released posthumously after Gram Parsons died of a drug overdose at 26. Grievous Angel featured only two new songs that Parsons’ penned hastily in the studio "In My Hour of Darkness" and "Return of the Grievous Angel." 

This final work by the cosmic cowboy comprises nine songs that have since come to define Parson’s short-lived legacy to the Americana canon. The angelic voice of Emmylou Harris looms large — the 13-time GRAMMY winner sings harmony and backup vocals throughout. Other guests include: guitarists James Burton and Bernie Leadon, along with Linda Ronstadt’s vocals on "In My Hour of Darkness." 

Neil Young - On The Beach

On the Beach, along with Tonight’s the Night (recorded in 1973, but not released until 1975) rank as Neil Young’s darkest records. Gone are the sunny sounds of Harvest, replaced with the singer/songwriter’s bleak and mellow meditations on being alone and alienated. 

"Ambulance Blues" is the centerpiece. The nine-minute track takes listeners on a journey back to Young’s "old folkie days" when the "Riverboat was rockin’ in the rain '' referencing lament and pining for time and things lost. The heaviness and gloom are palpable throughout the album, with the beach serving as an extended metaphor for Young’s malaise. 

Dolly Parton - Jolene

Imagine writing not just one, but two iconic classics in the same day. That’s exactly what Dolly Parton did with two tracks featured on this album. The first is the titular song, "Jolene," recorded  at RCA Studio B in Nashville. The song has been covered by more than a dozen artists. 

Released as the first single the previous fall, "Jolene," rocketed to No.1 on the U.S. country charts and garnered the 10-time GRAMMY winner her first Top 10 in the U.K. The song was nominated for a GRAMMY in 1975 and again in 1976 for Best Country Vocal Performance. However, it didn’t take home the golden gramophone until 2017, when a cover by the Pentatonix featuring Parton won a GRAMMY for Best Country Duo/Group Performance. 

Also included on this album is "I Will Always Love You," a song that Whitney Houston famously covered in 1992 for the soundtrack of the romantic thriller, The Bodyguard, earning Parton significant royalties. 

Barry White - Can’t Get Enough

The distinctive bass-baritone of two-time GRAMMY winner Barry White, is unmistakable. The singer/songwriter's sensual, deep vocal delivery is as loved today as it was then. On this record, White is backed by the 40-member strong Love Unlimited Orchestra, one of the best-selling artists of all-time. 

White wrote "Can’t Get Enough of Your Love, Babe," about his wife during a sleepless night. This song is still played everywhere — from bedrooms to bar rooms, even 50 years on. In the U.S., the record hit the top of the R&B pop charts and No.1 on the Billboard 200. Although the album features only seven songs, two of them, including "You’re the First, the Last, My Everything" reached the top spot on the R&B charts. 

Lord Shorty - Endless Vibrations

Lord Shorty, born Garfield Blackman, is considered the godfather and inventor of soca music. This Trindadian musician revolutionized his nation’s Calypso rhythms, creating a vibrant up-tempo style that became synonymous with their world-renowned Carnival. 

Fusing Indian percussion instrumentation with well-established African calypso rhythms, Lord Shorty created what he originally dubbed "sokah," meaning, "calypso soul." The term soca, as it’s known today, emerged because of a journalist’s altered writing of the word, which stuck. The success of this crossover hit made waves across North America and made the island vibrations more accessible outside the island nation. 

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The beginning of a new year often results in moments of reflection as well as anticipation about what lies ahead. And with the myriad of feelings that ensue upon New Year's Eve, music serves as a powerful source for both introspection and inspiration.

There are countless songs that give listeners a chance to reflect and resonate with the possibilities of what's yet to come. Whether it's the pulsingly hopeful beat of Jamie xx's "I Know There's Gonna Be (Good Times)," the inspiring narrative of The Notorious B.I.G's "Juicy," or Elton John's pumped-up "I'm Still Standing," a good soundtrack is the perfect catalyst for starting a new year on the right note.

As you envision what the coming year has in store, enjoy this playlist from GRAMMY.com — curated not just to celebrate the moment the clock strikes 12, but to infuse the coming year with inspiration and cheer.

79.5 — "B.D.F.Q"

Inspired by singer Kate Mattison's experiences in Detroit, 79,5's "B.D.F.Q." is about perseverance in the face of a music industry marred by misogyny. Short for "B—, Don't F—ing Quit," "B.D.F.Q." amplifies a mood of independence and strength with the declaration, "They! Don't mean a thing/ Don't mean a thing, just do your thing!" While the message is timeless, "B.D.F.Q." will certainly amp you up for any challenges the new year presents.

The Beatles — "Here Comes The Sun"

Whether you spin the 1969 original or the reinvigorated 2019 mix, the Beatles' "Here Comes The Sun,"  remains a classic symbol of continuation and hope. A track from the Fab Four's iconic Abbey Road album, this George Harrison composition is celebrated for its uplifting melody and serene lyrics that playfully describe a new dawn and brighter days ahead.

Elton John — "I'm Still Standing"

Elton John delivered an upbeat ode to durability and the ability to bounce back with "I'm Still Standing," a 1983 track that resonates 40 years on. Between its catchy melody and John's energetic performance (particularly in the beach-set music video), the song conveys a triumphant message about overcoming challenges and emerging stronger.

"Hamilton" — "My Shot"

Of the many dynamic numbers in Lin-Manuel Miranda's renowned musical "Hamilton," "My Shot" is arguably the most inspirational and universal. A powerfully charged manifesto that embodies ambition and determination — delivered with an electrifying blend of hip-hop and theatrical flair — "My Shot" celebrates seizing opportunities and making a mark. It's a welcome New Year's song choice for those compelled to channel their inner strength and embrace new challenges in the year ahead.

J Balvin — "6 AM" feat. Farruko

This vibrant reggaeton track from J Balvin's 2013 album La Familia encapsulates the spirit of spontaneity. Its infectious beat and catchy lyrics manifest as a celebration of lively nights and the adventures that unfold in the early after hours — hence, the 6 a.m. title. This one's for the night owls, who may see the sun rise at the turn of the new year.

Jamie xx — "I Know There's Gonna Be (Good Times)" feat. Young Thug, Popcaan

"I Know There's Gonna Be (Good Times)" by Jamie xx is as upbeat and optimistic as hip-hop tracks come. Featuring Young Thug and Popcaan, the 2015 track melds elements of dance and reggae for an infectious ode to good times ahead — an enduring NYE sentiment.

Jimmy Chamberlin Complex — "Life Begins Again"

The title track of their 2005 album, "Life Begins Again"  is an intricate and evocative composition that blends elements of jazz and rock with a bit of emo sentiment. The track showcases Jimmy Chamberlin's exceptional drumming prowess while promising that life is cyclical — every day can be the first of your life with the right attitude.

John Lennon — "Just Like Starting Over"

With themes of rekindling love and starting anew, John Lennon's "[Just Like] Starting Over" is a fitting tribute to fresh starts and the enduring power of renewal in all aspects of life. And as the final single released while he was alive, it's a bittersweet testament to Lennon's enduring legacy.

Katy Perry — "Roar"

Katy Perry's "Roar," from her 2013 album Prism, is a proud declaration of self-empowerment and finding one's voice. An electrifying track with a booming chorus and spirited lyrics, it embodies the journey from silence to strength. Its message of embracing one's true self and speaking out makes it an inspiring celebration of new beginnings.

Lisa LeBlanc — "Pourquoi faire aujourd'hui"

For those looking to give themselves a little break as the new year begins, Lisa LeBlanc's "Pourquoi faire aujourd'hui" may be the song for you. A single from her 2021 album Chiac Disco, the energetic, disco-inspired French language track features playful lyrics about procrastination, with its titular line asking, "Why do today what you could do tomorrow?" — starting the year off in laid-back fashion. If tu ne parles pas Français, LeBlanc's catchy dance beats are fuel for a joyful New Year's Eve atmosphere.

Lizzo — "Good As Hell"

Like many of Lizzo's songs, "Good as Hell" captures a vibrant, empowering spirit. It celebrates self-care and resilience in the face of adversity, blending a lively rhythm with Lizzo's dynamic vocals. Its uplifting lyrics and infectious energy encourage a sense of confidence and self-appreciation — a powerful anthem of positivity any time of the year.

Nina Simone — "Feeling Good"

A timeless classic first made famous by Nina Simone, "Feeling Good" is a powerful anthem of rejuvenation and hope. Simone's jazz-infused rendition was released in 1965; its resolute delivery captures a spirit of personal transformation and empowerment, offering an enduring sentiment going into the new year: "It's a new dawn/ It's a new day/ It's a new life for me, ooh/ And I'm feeling good."

Notorious B.I.G. — "Juicy"

Although The Notorious B.I.G.'s "Juicy" is a personal account of the late rapper's rise to the top, the song encapsulates a spirit of triumph that can inspire anyone with a dream. From its bouncy beat to the iconic "If you don't know, now you know" hook, "Juicy" will have you reaching for the stars.

Otis Redding & Carla Thomas — "New Year's Resolution"

Memphis legends Otis Redding and Carla Thomas' aptly titled 1967 album King & Queen is notable for being the final studio release before Redding passed away that December. The album also spawned a NYE classic: "New Year's Resolution." With lyrics that explore the concept of ​​making resolutions and embracing change in the new year. While the song lacks Redding's trademark soulful wail, "New Year's Resolution" is temperate and contemplative — a reprieve from the let-it-all-out powerful Stax sound to ease your way into the new year.

Peter Cat Recording Co. — "Portrait of a Time"

Both modern and nostalgic, Peter Cat Recording Co.'s "Portrait of a Time" blends jazz, and indie rock for an eclectic and nostalgic, introspective jam. The song carries a reflective mood of contemplation and transition, with lyrics that encourage leaving "confusion and darkening clouds" in the past and hopping in the Lamborghini of life for a new wild ride.

Taylor Swift — "New Year's Day"

After all of the bold, empowered statements on Taylor Swift's 2017 album reputation, she closes the LP with a tender, piano-driven ballad that captures the quiet intimacy and hopeful sentiments of a new year. Aptly titled "New Year's Day," the song's reflective and heartfelt lyrics contemplate love and loyalty found in life's fleeting moments. Swift's delicate vocal delivery and the track's gentle melody evoke a sense of warmth and enduring connection, making it a poignant choice to embrace the new year with a sense of closeness.

TikTok's Musical Class Of 2023: 8 Artists Who Transformed Virality Into Stardom, From Tyla to FIFTY FIFTY

There's arguably only one way to sum up pop music in 2023: it belonged to the women.

Whether SZA or Olivia Rodrigo were revealing the cracks in their relationships through catchy hooks, or Taylor Swift was taking over stadiums around the globe, female artists dominated genre charts and trends. And even a fictional female figure helped spawn some of the year's biggest pop tracks.  

It was also a big year for legends and classic hits; pop mainstays showed just why they became superstars in the first place, and TikTok helped resurface some pop songs of old.

Below, take a deeper dive into some of 2023's biggest moments in pop.

Ex-Lovers Were Called Out

Nothing burns more than a woman scorned. This year, pop stars and rising artists were both shameless in calling out their exes for their wrongdoings.

One of the biggest moments came courtesy of SZA. The artist is known for wearing her heart on her sleeve, and SOS album highlight "Kill Bill" was a buffet of toxic "what if" scenarios. The singer let jealousy overcome her emotions as she couldn't stand to see her ex-lover move on: "I might kill my ex, I still love him though/ Rather be in jail than alone." On a similar note, Olivia Rodrigo's "vampire" finds the pop star tapping into a new level of fury. The lead single from her sophomore album, GUTS, "vampire" shoots bloody daggers at a manipulative boyfriend.

But it wasn't all about vengeance. In Miley Cyrus' case, her best form of revenge came in the form of forgiveness. Her "Flowers" anthem was thought to be inspired by Cyrus' divorce from Liam Hemsworth, but its messaging is relatable to anyone who had to learn how to move on from a broken heart. "I can take myself dancing and I can hold my own hand/ I can love me better than you can," Cyrus assures.

All three singles topped the Billboard Hot 100 this year, marking SZA's first solo No. 1, Cyrus' first in a decade and Rodrigo's first from her new album era. The singles also all earned 2024 GRAMMY nominations for both Song Of The Year (alongside Billie Eilish's "What Was I Made For?", Dua Lipa's "Dance the Night", Jon Batiste's "Butterfly", Lana Del Rey's "A&W" and Taylor Swift's "Anti-Hero") and Record Of The Year (next to Billie Eilish's What Was I Made For?", Boygenius' "Not Strong Enough", Jon Batiste's "Worship", Taylor Swift's "Anti-Hero" and Victoria Monét's "On My Mama"). 

Rising stars also joined in on the fun. After Tate McRae scored her biggest hit to date with the playful “greedy,” she delivered a fiery kiss-off anthem with “exes.” Elsewhere, Benee called her ex a "waste of f—king time" on the rowdy "Green Honda," British singer Mae Stephens contemplated all of her options on "If We Ever Broke Up," RAYE brooded over "dumb decisions" and booze on "Escapism," and Los Angeles alt-pop singer Leah Kate's jam-packed her debut album Super Over with advice on cutting off toxic relationships.

Classic Songs Made A TikTok Resurgence

TikTok has proved its social media dominance over the past few years. But aside from pop's new generation enjoying viral success, the genre's OGs also found their classic hits reborn.

Colbie Caillat's "Bubbly" single warmed our hearts when it debuted in 2007, and in true Gen Z fashion, it reemerged thanks to a meme trend. TikTok users placed the song over high-energy performance videos like those of Travis Scott, Justin Bieber and Tyler, The Creator which made for a hilarious juxtaposition. Caillat kept the momentum by making TikTok duets and even sharing an acoustic version of the song on her YouTube page.

Bridgit Mendler's 2013 single "Hurricane" also got a second wind for its 10th anniversary where female users placed it over humorous self-deprecating videos about being delusional over men. Jessie J's 2011 "Price Tag" hit sparked a dance trend with a sped-up version of the song and Lana Del Rey's "Radio" (a deep cut from 2012's Born To Die debut) inspired users to make videos that showcased how "sweet like cinnamon" their lives are.

Career-Spanning Tours Took Over The World

What better way to celebrate a decorated career than with a massive tour? Pop stars from all corners of the genre commemorated their many years (or in some cases, decades) in the music industry by going down memory lane with their fans worldwide.

The most notable trek was, of course, Taylor Swift's Eras Tour, which kicked off on March 17 and will conclude on Dec. 8, 2024. The pop star — who is arguably bigger than she's ever been, nearly 20 years into her career — used the stadium tour to pay homage to her extensive discography with a nonstop three-hour spectacle. Swift's impact quickly made history: the Eras Tour surpassed $1 billion in revenue in early December, already making it the highest-grossing music tour of all time, according to Guinness World Records. Its accompanying concert film, Taylor Swift: The Eras Tour, also became the highest-grossing concert film of all time with $250 million earned globally as of press time.

But Swift wasn't the only star celebrating their music milestones on the road. After a thrilling reunion in 2019, the Jonas Brothers continued to shock fans with what's possibly the most challenging tour of their career. Titled "Five Albums. One Night. The World Tour," the trio featured their entire discography in a set list that included over 60 songs. 

Another artist who rode the ambitious train was Madonna. The pop icon's Celebration Tour was, well, a celebration of a genre-defining career spanning over four decades. Kicking off in October in London, the tour features a retrospective setlist that is a treat for diehard fans, featuring singles she hasn't performed live in decades including 1990's "Justify My Love," 1998's "Nothing Really Matters" and 2002's "Die Another Day."

On the pop-rock end, The Maine's "Sweet Sixteen Tour" highlighted the band's growth over the past 16 years through nine albums, while Boys Like Girls' anchored their comeback after an 11-year hiatus with the North American Speaking Our Language Tour.

Movies Had Major Music Moments

While music has long been a driving force in films, this year saw the pairing excitedly take over pop culture. Greta Gerwig's Barbie movie notably had the world seeing pink, with the iconic doll infiltrating everything from fashion to real estate.

Not surprisingly, the accompanying soundtrack was a pop-filled joyride. Featuring production from pop mastermind Mark Ronson, the 17-song Barbie: The Album featured the likes of Lizzo, Charli XCX, PinkPantheress, Sam Smith, GAYLE and FIFTY FIFTY. But perhaps most notably, the album dominated the Best Song Written For Visual Media category at the 2024 GRAMMYs: Dua Lipa's disco-laced "Dance The Night," Ryan Gosling's TikTok-trending "I'm Just Ken," Ice Spice's and Nicki Minaj's sparkly collaboration "Barbie World," and Billie Eilish's gripping ballad "What Was I Made For?" compete with Rihanna's Black Panther hit "Lift Me Up."

The year also called for reunions and revivals, with the biggest shock arguably belonging to NSYNC. Many fans were impatiently waiting for the boys to make a return, and they did so with "Better Place." The Trolls soundtrack highlight marked the boy band's first song after a two-decade-long music hiatus (which was accompanied by an appearance at the MTV Video Music Awards, where they presented with Best Pop Video). Under the sea, Halle Bailey refreshed a Disney classic with The Little Mermaid live-action reimagining, while the nostalgia train continued with movie musicals Wonka and Mean Girls (out in January).

Pop Titans Were Inescapable

Thanks to social media, it may seem like Gen Z artists have overthrown their elder pop counterparts. But make no mistake, the veterans are showing they aren't so easily shakeable.

This year, many preserved their legacies through various mediums. Taylor Swift wasn't the only superstar proving her staying power on the road (and in stadiums); Beyoncé's Renaissance World Tour cemented her legendary status as the highest-grossing tour by a Black artist, while Ed Sheeran's The Mathematics Tour broke attendance records worldwide.

Adele and Usher ruled Sin City with their Las Vegas residencies, with the latter set to perform at the 2024 Super Bowl halftime show. The pop titans even showed their dominance on television, with Kelly Clarkson (who also had a Vegas stint) and Jennifer Hudson gaining a new audience with their respective talk shows.

After a year filled with viral moments and comebacks, we're eager to see how artists will continue to uplift pop music in 2024.

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