With a four-day lineup as sprawling as they come, Lollapalooza 2018 had something for everybody. Let's take a look at 10 notable female acts who delivered memorable sets at Chicago's Grant Park.

The Regrettes

Not only performers, but fans of music The Regrettes took time to play and catch other artists; sets at the festival, even tweeting about Brockhampton’s set. The band took to Twitter once again to get fan’s input on their setlist for both their after show and Lollapalooza set. Plus, The Regrettes have style and edge. Their set brought the punk back to Lollapalooza, complimented by their cohesive look: matching Bulls jerseys!

Camila Cabello

Currently performing as support to Taylor Swift’s reputation stadium tour, Camila Cabello took to social media to express that she still gets nervous about fan turnout at festivals. They showed up in numbers with the crowd stacking blocks long. Cabello’s set contained most of her debut album Camila. She kicked off her set with “Never Be The Same” and proved her pop prowess with her choreography while simultaneously keeping her vocals near perfection.

Daya

GRAMMY winner Daya hit the Lollpalooza stage to perform songs from her forthcoming album. The crowd was so massive for her set, it extended to the stage across the way. Daya also made a special guest appearance, singing “Feel Good” and performing the remix of her GRAMMY-winning song “Don’t Let Me Down” during Illenium’s set to end an epic Lollapalooza.

Kali Uchis

GRAMMY nominee Kali Uchis hit the stage right as the afternoon sun started to heat up the park. Uchis donned fringe pants and, on top of her dancing, found the energy to belt out her hits. A stand out moment came during “Gotta Get Up,” which festival-goers rejoiced, and online live streamers commented on with much adoration.

Grace Weber

Grace Weber is a hidden gem that deserves to be heard. She brought out special guest Nico Segal on the BMI stage and even took time out of her day to create some art on-site at the festival.

Allie X

A self-taught writer, producer and performer, Allie X is taking the world by storm with her brand of alternative-pop. Her Lolla set list included songs she’s been releasing monthly from her upcoming album, Super Sunset.

Bebe Rexha

With roots in not only pop music but country, electronic, and rap, Bebe Rexha is beyond a triple threat when it comes to music. Rexha’s Lollapalooza set fit all of her hits along with her new tunes. She also took the time to not only meet fans but bring a lucky one on stage. Rexha later expressed that it was her “best show yet”.

Terror Jr

Pairing stunning visuals with enormous energy, Terror Jr took over the Bud Light stage, and their after show sold out with fans still eagerly waiting in line to purchase tickets. Frontwoman Lisa Terror punctuated the set by bringing out-of-this-world vocals from Bop City.

Pale Waves

Future stars-in-the-making, Pale Waves bring pop-rock to a whole new level. The band toured as support for The 1975 prior to their festival set to a beyond-thrilled crowd. The quartet bend genres and have a special ability to pull people into their music.

Larkin Poe

This bluesy rock sisters-duo impressed more than a handful of passers-by during their set. Larkin Poe's Lollpalaooza takeover was kicked off by an after party supporting Tyler Childers the night before to a sold-out crowd.

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Neil Young once proclaimed that "rock and roll can never die," and while the genre isn't necessarily topping charts or playlists today, there are signs that rock music is coming back in a big way. In 2023, Neil's truth is being upheld by female rockers.  

Long a staple of the form — rock was pioneered by a woman, Sister Rosetta Tharpe, iterated on by female-led groups like Heart and Jefferson Airplane, revived and reformed by the likes of Bikini Kill, and onward to Paramore — women's contributions to rock remain less feted than those of their male counterparts. 

Yet female rockers and female-led bands are resonating with today’s younger audiences in big ways, following a culture shift that has resulted in more space for young women to express themselves. Gen-Z and younger millennial artists such as Billie Eilish, Olivia Rodrigo and boygenius are known for their honest lyricism; it’s only natural that they’ve gravitated toward the fiery release of rock to further reflect their own individual experience.

Eilish’s GRAMMY-nominated breakup anthem "Happier Than Ever" invokes the classic rock format of beginning acoustic and swelling into an epic band finish complete with a guitar solo and a final 20 seconds of feedback-driven noise. Rodrigo has several rock songs on her smash hit debut album SOUR including "good 4 u," another enraged breakup song with emo tinges that is currently sitting at 1.7 billion streams on Spotify. 

Finally, while the debut album from boygenius, the record, is mostly in the indie wheelhouse of members Phoebe Bridgers, Julien Baker, and Lucy Dacus, the single "$20" is an alt-meter rock song. The trio details the stories of early youth wherein all it takes to avoid responsibility is $20; Bridgers literally screams her request for money at the song's close.

But how to define rock —  is it a feeling or an attitude? A sound or a set of instruments? For the purposes of this list, rock is categorized as guitar-forward and band-based. First and foremost, guitar is at the forefront — generally distorted, though an acoustic or clean sound can lend an upbeat energy or psychedelic quality. Second, rock is a band genre, even if a group is named after one person, the band creates real cohesion (e.g. the Jimi Hendrix Experience, Steve Miller Band).  In 2023, women are leading the hell out of these bands.

Read on for a list of rising artists whose sound and spirit rock.

Wet Leg

As Wet Leg, Rhian Teasdale and Hester Chambers took home a number of golden gramophones at the 2023 GRAMMYs: Best Alternative Music Album for their self-titled debut, and Best Alternative Music Performance for "Chaise Longue." 

Although they didn’t win in the "rock" categories, their guitar-driven success defines the current generation of rock music (to the point that they even beat out well-established acts like Arctic Monkeys and Yeah Yeah Yeahs).

Utterly simple in its song form, "Chaise Lounge"  captures Gen Z's disillusionment about college, viewing it as more of a gateway to light-hearted debauchery than a path to vocational freedom. Then they tear through the disillusionment with a high-energy, limb-shaking guitar riff.

Gretel Hänlyn

Rock and roll was certainly invented by Black American artists, but British musicians have consistently innovated and expanded the genre —  from the Beatles launching the British invasion, to Sabbath morphing rock into heavy metal, to Pink Floyd’s exploration of progressive psychedelia. Coming out of London, Gretel Hänlyn (pronounced hen-line) is upholding all the best traditions of British rock. 

Hänlyn explores every current corner of rock on her recently released EP, Head of the Love Club, and her previous, Slugeye. 

With a uniquely deep and resonant tone, Hänlyn has the power and versatility of a crooner. That ability defines the sound of "Dry Me" and other works throughout Hänlyn's catalog. She alters her delivery to befit the yelping and joyful side of rock on "King of Nothing" as well as the seething and scary side on "Drive." 

BRATTY

Coming out of Sinaloa Mexico, BRATTY is one of the female rock artists playing Coachella 2023, sharing her invigorated brand of the languorous sound of surf rock.

BRATTY's seaside exploits surely influenced the loungey and chilled-out feel of songs like "Honey, No Estás" and "tarde." With swells and sustains that are reminiscent of ocean sounds, BRATTY’s music transcends language barriers. 

Given that the festival has been without a major rock headliner since Guns ‘N Roses in 2016, the rock artists on the lineup this year are there to demonstrate the lifeblood of the genre. BRATTY’s contribution demonstrates that rock can be slower, softer, and just as effective. 

Olivia Jean

Olivia Jean isn’t just a former member of Jack White’s touring band. She’s not just his wife, either. She’s an artist all on her own, and she rocks hard. 

As a solo artist, Jean has released two albums, an EP, and a single on White's Third Man Records. Prior to that, she was releasing on the label via The Black Belles, her all-female garage-goth project, which put out a self-titled album in 2011 along with four singles.

Jean’s fingerprints go even deeper into the Third Man archives via her session contributions to different releases like Tom Brosseau and John C. Reilly’s seven-inch single, Gonna Lay Down My Old Guitar.

No matter where she’s lent her vocal and instrumental talent, her loud yet bubbly sound is a welcome addition to the catalog.

Jean’s forthcoming album, Raving Ghost, (out May 5 on Third Man), and its first single, "Trouble," touches on all the traditional rock favorites like pentatonic power chords and call-and-response guitar squeals. You can check out Oliva Jean's rock on her American tour in May and June.  

Larkin Poe

Fun fact about the sisters Megan and Rebecca Lovell of Larkin Poe: They are distantly related to Edgar Allen Poe. With that kind of connection, it’s only natural their rendition of rock carries a certain connection to the sounds of generations past. Many of those older sounds of rock and roll stem from their native American South, and manifest in influences of blues and Americana that were born of the same region.

Larkin Poe's Venom & Faith was nominated for Best Contemporary Blues Album at the 2019 GRAMMYs. Grounded in swinging rhythms and twangy notes that have hallmarked the blues since its inception, the Lovells demonstrate their understanding of the music’s roots on a technical and emotional level, alongside their ability to carry the genre into the present.

Their latest album, Blood Harmony, follows the hereditary thread of blues giving birth to rock and roll. Larkin Poe dial back the swing just a bit and turn it up to 11 for hot and distorted tracks like  "Bad Spell," which features guitar breaks that will have Stevie Ray Vaughn jamming along in his grave.

Dutch Mustard

Another product of London, Sarah-Jayne Riedel fronts the just-out-of-the-gate alternative rock band, Dutch Mustard. Last year Dutch Mustard released their debut EP An Interpretation of Depersonalisation, and was quickly featured on BBC, getting airplay on Radio 1’s Future Artists and being selected by none other than rock's enduring sage Iggy Pop on 6 Music.

Dutch Mustard produces a sound that is as dreamy as it is heavy, finding that middle ground in guitar tone between fuzzy and pristine. Then on songs like "Something To You," vocal layering adds a hopeful flavor. Dutch Mustard, like the other artists on this list, make listeners feel hope not just for the band, but for the future of rock.

That future is especially bright considering Riedel wrote all the songs and demoed all the instruments herself in her bedroom before bringing in other musicians. The first EP was written entirely during the first COVID lockdown as well.

With that kind of creativity and versatility coming from her, there is no telling where she’ll take her music as her career moves forward into an open industry.

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For more than eight decades, girl groups have harmonized their way into the collective consciousness, bringing female empowerment to the forefront — and changing culture along the way.

Of course, girl groups have come in many forms: there's the family-friendly Andrew Sisters, the funk rock-infused Labelle, and the R&B-leaning Destiny's Child. As the construct of the girl group has evolved, so has their cultural impact — while acts like the Supremes helped push popular music in a more diverse direction in America, J-Pop and K-Pop groups have helped girl groups be viewed through a global lens in recent years.

What has tied all of these groups together is their infectious and inspirational records, which have encouraged women to express themselves and feel empowered in doing so. Groups like the Spice Girls and the Shangri-Las, for instance, have helped women express all sides of themselves, reminding the world that there is joy and beauty in contrast.

As Women's History Month nears its end, GRAMMY.com celebrates all of the powerful women who have been part of the girl group evolution. (To narrow the field, we characterize a girl group as acts with a minimum of three members and a focus on vocal performance; hence why you won't see bands like the Go-Gos or the Chicks on this list.)

Below, take a look at how girl groups have changed in both construct and impact for nearly 90 years — and counting — and listen to GRAMMY.com's official Girl Groups playlist on Amazon Music, Spotify, Apple Music, and Pandora.

Though women have no doubt sung together since the beginning of time, the formal concept of the girl group came sometime in the '20s or '30s, with the rise in popularity of tightly harmonizing family acts like the Boswell Sisters and the Hamilton Sisters (the latter of whom would become Three X Sisters). The groups really started to see a rise in popularity around the beginning of WWII — perhaps because the entrance of more women into the workforce opened peoples' minds to the idea of the pop girl group, or perhaps because the soldiers overseas sought comfort and mild excitement via the groups' smooth sounds and attractive looks.

The Andrews Sisters, who officially formed in 1937 as a Boswell Sisters tribute act, would become the most popular of the sister acts, riding tracks like "Boogie Woogie Bugle Boy,""Don't Sit Under The Apple Tree (With Anyone Else But Me)" and "Beer Barrel Polka (Roll Out The Barrel)" straight to the top of the charts. They're considered one of the most successful girl groups of all time, selling an estimated 80 million records and counting. Other girl groups followed the Andrews' act, including the Dinning Sisters, who released "They Just Chopped Down The Old Apple Tree" as an answer to their rivals' hit.

The Andrews Sisters continued to be popular well into the '50s, inspiring similar close harmony acts like the Chordettes, who found success with tracks like "Mr. Sandman" and "Lollipop," and the Lennon Sisters, who became a mainstay on "The Lawrence Welk Show."

Around the middle of the decade, girl groups started pulling a bit more from the doo-wop movement, with songs like the Bobbettes "Mr Lee" helping pave the way for a wave of all-Black girl groups to come. The Chantels — who had come up together singing in a choir — quickly followed with "Maybe," which solidified the genre's style with a blend of rock, pop, doo-wop that would act as a sonic template for years to come.

In 1961, the Shirelles found quick success with tracks like "Tonight's The Night" and "Will You Still Love Me Tomorrow," which became the first girl group cut to go to No. 1 on Billboard's Hot 100 chart. The group would have five more hit singles throughout the decade, and inspired acts like the Marvelettes, whose "Please Mr. Postman" would become the first No. 1 single for Motown Records.

Keen to seize on that success, Motown invested heavily in creating more girl groups, crafting trios and quartets out of various singers that they might have previously eyed for solo work or even passed on signing. That kind of business-minded molding is what yielded Martha and the Vandellas, the Velvelettes, and a little act called the Supremes, who would go on to become the most successful American vocal group of all time, according to CNN. The success of the Motown acts — the majority of whom were all Black — was also a sign of American culture's increasing acceptance of the integration of popular music.

Having seen the success that Motown had in consciously crafting its girl groups, other producers and small, independent labels sought to capture some of that lightning in a bottle for themselves. The Philles label cashed in on the sound of the Crystals and the Ronettes, while Jerry Lieber and Mike Stoller signed the Shangri-Las and the Dixie Cups to their Red Bird label. Tracks like the Shangri-Las' "Give Him A Great Big Kiss" offered a surprisingly real perspective on teen girl crushes, while  "Leader Of The Pack" helped bring female perspective to a subgenre of songs about macabre teenage tragedies previously dominated by all-male acts like Jan And Dean and Wayne Cochran And The C.C. Riders.

First formed in the '60s as Patti LaBelle and the Bluebelles, Labelle pushed the genre out of the sock hop and into the nightclub, becoming one of the premiere girl groups of the '70s. Their funky, rock-infused singles were unlike anything girl group aficionados had heard before, and in 1974, the group captured America's heart with "Lady Marmalade," a slightly suggestive song that broke out of the discos and into the collective consciousness. Other acts originally formed in the '60s found similar success, like the Three Degrees, who had a number of hits, including the sunny and soothing "When Will I See You Again."

Sister Sledge also capitalized on the disco boom, crafting lasting hits like "We Are Family" and "He's The Greatest Dancer." The Pointer Sisters went through a rainbow of genres, including R&B (1973's funky "Yes We Can Can") and country (1974's "Fairytale," which won a GRAMMY for Best Country Performance By A Duo Or Group With Vocal in 1975), before finding their biggest success at the beginning of the next decade with tracks like the sultry "Slow Hand" and the more frantic "I'm So Excited."

Girl groups went through a bit of a lull in the '80s, as the culture trended toward hair metal and hip-hop. Some acts still managed to break through, capturing listeners' hearts with dance-friendly cuts imbued with Latin freestyle flair. Full of synths and syncopated percussion, freestyle burst out of clubs and parties in New York and Philadelphia, finding a particular hold amongst Hispanic and Italian-American audiences.

Miami's Exposé was one of the decade's biggest freestyle acts, blending girl group harmonies with synthetic sounds for hits like "Point Of No Return" and "Seasons Change." Two New York groups, Sweet Sensation and The Cover Girls, had freestyle success that bridged the '80s and '90s. Sweet Sensation's "Never Let You Go" tore up the dance charts, and while the Cover Girls' "Show Me" and "Because Of You" weren't quite as popular, they still hold a special place in the hearts of freestyle fans.

Girl groups roared back in a big way in the '90s, thanks in part to the emergency of new jack swing and a renewed interest in R&B's smooth vocal stylings. En Vogue was one of the first groups to go big in the '90s, with debut single "Hold On" first hitting the Billboard charts in 1990. Their biggest tracks came later in the decade, with the powerful "Free Your Mind" and "Giving Him Something He Can Feel" showcasing the quartet's vocal range and character.

Two groups from Atlanta also came to prominence around the same time as En Vogue. First was the street-savvy quartet Xscape, who harnessed the sounds of 1993 with tracks like "Just Kickin' It." 

TLC had a more dynamic arc, first bursting into the collective consciousness with the new jack swing-infused "Ooooooohh… On The TLC Tip," which featured three top 10 singles, including "Ain't 2 Proud 2 Beg." The group's baggy pants and hip-hop aesthetic pushed girl group boundaries, in part because its members actually acknowledged their sexual desires, as well as the need for everyone to have safe sex. Later in the decade, TLC would rise to even higher heights with tracks like "Waterfalls" and the GRAMMY-winning "No Scrubs," the latter of which was actually co-written by two members of Xscape.

Destiny's Child initially emerged from Houston in the late '90s as a quartet, though they'd later lose some members and gain new ones, ending up as a trio. While it was hard to ignore the sheer star power of Beyonce, the threesome did generally function as a group, producing a string of danceable earworms, including "No, No, No," and "Bills, Bills, Bills." By the time they disbanded in 2006, Destiny's Child sold tens of millions of records and earned three GRAMMY Awards (and a total of nine nominations).

Out west, Wilson Phillips' Chyna Phillips, Wendy Wilson and Carnie Wilson were channeling the sounds of their respective parents, who had been members of the Beach Boys and the Mamas & The Papas. Their songs featured  vocal harmonies and were largely about emotional longing, pushing back against the dance and funk that ruled much of the radio dial throughout the '90s.

Girl groups were also gaining major traction in the U.K during the '90s, spurred by a boy band boom in the country around the same time. Two groups — All Saints and the Spice Girls — were actually assembled by managers, something that didn't help allay naysayers' concern that much of pop music at the time was wholly manufactured. (Another U.K. mainstay, Ireland's B*Witched, came together organically.)

Regardless, both All Saints and the Spice Girls found commercial success, with the latter becoming absolutely massive not just because of catchy pop romps like "Wannabe," but because of the quintet's singular personas and the strength of their "girl power" messaging. The Spice Girls even starred in their own movie, "Spice World," which came out at the height of Spice-mania in 1997 and drew instant comparisons to the Beatles' "A Hard Day's Night."

Girl groups continued to reign in the early part of the 2000s. A number of 2000s girl groups formed on television as part of reality programming, with U.K. sensation Girls Aloud forming on the ITV show "Popstars: The Rivals" and Danity Kane both forming and developing over three seasons of Sean Puffy Combs' "Making The Band." TV acted as a great launching pad for these pop acts, as fans were often emotionally invested in the group's success from watching the show so when a new single dropped, they were quick to get on board.

Girls Aloud and Danity Kane — as well as their peers, like Dream, 3LW, and Blacque — made pop music that was sexy, confident, and larger than life, with expensive-looking music videos to match. The songs also often crossed over from pop to urban radio.

Another of the most successful (and sexiest) girl groups of the 2000s also formed in a fairly roundabout way. The Pussycat Dolls found success with tracks like "Don't Cha" and "Buttons," but the actual origin of the Pussycat Dolls name and brand came almost 15 years earlier when an L.A. based choreographer named Robin Antin launched a burlesque troupe. After her club events and dancers became more and more popular (even posing for Playboy), she was urged by Interscope Records' Jimmy Iovine to attach the name to a pop group.

Antin recruited five singers who could hold a tune and looked the part, including Nicole Scherzinger — who initially got her start in Eden's Crush, another group formed on a TV show, the U.S. iteration of "Popstars" — and the Pussycat Dolls quickly strutted onto radio dials and Billboard charts with their catchy multi-tracked (and often risqué) hits.

Girl groups were also getting huge around the globe in the '00s, with Spain's Las Ketchup producing the insanely catchy pop ditty conveniently named "The Ketchup Song," Sweden's Play crossed over to commercial success in the American market, and the U.K.'s Atomic Kitten formed purely as a songwriting vehicle for Orchestral Maneuvers In the Dark's Andy McCluskey and Stuart Kershaw. Members of the latter would come and go throughout its career, but songs like "Whole Again" (which was also recorded by Play) have stood the test of time.

Though modern K-pop culture had begun in South Korea in the late '90s, it started to really pick up steam in the '00s, with both boy bands and girl groups benefiting from the surging Hallyu or Korean wave. One of those, Wonder Girls, found quick success in the late '00s with genre-spanning tracks like "Tell Me" and "Nobody," thanks in part to the pop act's ability to perform English versions of their songs while on tour with the Jonas Brothers.

Two of the 2010s biggest girl groups also came from televised reality competition shows. Little Mix, a quartet, was formed on the U.K.'s "The X Factor" and came to redefine the girl group era in Britain, selling more than 60 million records and topping the charts with high octane singles like "Cannonball" and "Shout Out To My Ex." 

Stateside, Fifth Harmony was birthed on "The X Factor," where all five members had competed individually the season before but failed to advance. But after producers brought them back to compete as a group, Fifth Harmony was born, with viewers picking the name and ultimately helping them take third place in the competition.

The quintet emerged from the show signed to judge Simon Cowell's record label, Syco, and like so many great girl groups before it, embarked on a tour of malls and talk shows before eventually releasing a pop record tinged with both hip-hop and R&B. Fans latched on to songs like "I'm In Love With A Monster" and "Work From Home," the trap-laced monster hit that has garnered billions of hits on YouTube since its release.

The K-pop wave also continued in the 2010s, with groups like Girls Generation and Twice, both of whom broke the mold of a traditional girl group by having eight and nine members, respectively. At the same time, a J-Pop act, AKB48, rose to popularity, with a structure girl groups hadn't seen before — it has 80 members in total, with the group being divided into different "teams" that members are elected into by rabid fans.  All three acts were literally and figuratively massive, selling tens of millions of highly produced bubblegum pop LPs and larger than life dance singles.

The success of K-pop girl groups shot to a new level when BLACKPINK entered the scene in 2016, forming after its members joined a girl group academy and underwent what amounts to girl group boot camp. The result is a fine-tuned musical machine that's produced pop hit after pop hit — including "Boombayah" and "DDU DU DDU DU" — as well as music videos that have been viewed billions of times online.

Spurred by the devotion of their fans (known as the BLINKs), BLACKPINK has also managed to rack up an impressive roster of accolades. They were the first Asian act to headline Coachella, the first female K-Pop artists on the cover of Billboard, and have amassed the most subscribers of any musical act on YouTube. But they're not the only female K-Pop act helping girl groups stay alive: Groups like Mamamoo and Red Velvet released hit after hit in the 2010s, and 2NE1 captured hearts everywhere with tracks like "Lonely" and "I Am The Best." In 2012, 2NE1 set out on what many consider to be the first world tour by a K-pop girl group, visiting 11 cities in seven countries.

A British girl group whose members pull from their individual cultures to create a unique, hip-hop influenced sound, Flo was also influenced by artists like Ciara and Amy Winehouse. Though they've only been together for a few years, their unique retro sound became almost instantly popular in the UK, with debut single "Cardboard Box" racking up almost a million views on YouTube within days of its release in early 2022. Other hit singles, like "Immature" and "Summertime" have followed.

Another thoroughly modern girl group, Boys World, was formed after managers found videos of five different women singing online and then contacted them to see if they wanted to team up. They said yes, launched a TikTok account, and moved into a house together in Los Angeles. Their thoroughly online approach to becoming a girl group has captivated audiences, along with their empowering anthems.

The K-Pop wave has continued to surge as well, with BLACKPINK headlining Coachella in 2023 and the quickly rising NewJeans earning the distinction of being the very first female Korean act to play Lollapalooza later this summer. Like so many girl groups before them, both acts continue to break boundaries and impact the culture at large, proving that the genre is as vital as ever.

While they may not be as abundant as in decades past, the girl group movement certainly hasn't shuttered. And with a diverse array of women still captivating audiences around the globe, girl groups will likely continue to spice up your life for years to come.

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Kali Uchis knows how to make her fantasies a reality. Pushing aside others' skepticism early in her career, the singer/songwriter blithely traverses progressive R&B, neo soul, and Latin pop with allure. Following a mixtape and handful of EPs, Uchis' breakthrough debut album Isolation showcased her spectacular dynamism and embrace of risk, charting within the Billboard Top 40 in 2018.

Since, Uchis has continued to connect with her audiences on even grander scales. Her genre-bending music, especially on her 2020 album Sin Miedo (del Amor y Otros Demonios), champions the importance of staying true to oneself. She's remained refreshingly lucid and intentional with her artistry — and her most recent project takes the shape of divine freedom.

On her recently released Red Moon In Venus, Uchis invites us into her secret garden. Inside, femininity reigns supreme, its potency and power concealed by an irresistible pearly glamor.

In honor of the GRAMMY-winning musician's latest lush record and upcoming tour — which begins in Austin, Texas in April — tune into these nine Kali Uchis essentials, and soak up her divine style and versatility.

"Melting," Por Vida (2015)

Although the song's title refers to ice cream, Uchis laces "Melting" with a sweet, mellow warmth. It paints the honeymoon stages of a relationship in pink shades; you can picture blushing cheeks, fawning eyes, and shared smiles between lovers.

The track comes from Uchis' debut EP, exemplary of the power of the singer's reflective, rosy whimsy at an early point in her career. The EP melds R&B, soul and dream pop, and "Melting" twirls with affection and comfort — encapsulating the soft serenity that Uchis continues to embrace today.

"El Ratico" with Juanes, Mis Planes Son Amarte (2017)

"Se acabó el ratico, aquí está el anillo," Juanes and Uchis sing on "El Ratico," which translates to "Time's up, here's the ring."

The high-profile duet, which was also nominated for a Latin GRAMMY for Record Of The Year, is an ode to the lost time in a relationship. The Colombian singers are in harmony as they detail sleepless nights filled with tossing and turning, blue skies turning gray. The song's use of popular Colombian rhythms serve Uchis well, further showcasing her effortless versatility.

"Your Teeth In My Neck," Isolation (2018)

Based on its title, one might anticipate "Your Teeth In My Neck" to be a twisted love song of sorts. The track, however, sees Uchis aim frustration at wealthy corporations for exploiting immigrants and working class families. From an immigrant family from Pereira, Colombia, Uchis understands the dangers of hustle culture and prioritizing productivity above all else.

"Rich man keeps getting richer, taking from the poor," she sings. "You gotta get right, 'cause you know better…" She repeats the last clause nonchalantly, pleasantly in theme with Isolation's groovy serenity, but its repetition reminds listeners of the song's rightfully accusatory nature.

"After The Storm" ​​feat. Tyler, The Creator and Bootsy Collins, Isolation (2018)

Optimism looks good on Uchis. "Someday we'll find the love, 'cause after the storm's when the flowers bloom," she sings, reminding listeners there's always love to be found. Aided by a clean-cut rap verse from Tyler, the Creator, the track also gets a funky boost from Bootsy Collins' satisfying karma-themed ad libs.

Longing pulses through the song's breezy psychedelia, and its desire-filled serenity will have you listening on repeat. "After The Storm" is exemplary for the way Uchis naturally fuses funk and R&B with her own contemporary twist — a trademark of Isolation's fluidly experimental soundscape. 

"10%" with KAYTRANADA, BUBBA (2019)

A year before dropping Sin Miedo, Uchis joined forces with Canadian electronic producer KAYTRANADA on their song "10%," which was released as the lead single off his GRAMMY-winning album BUBBA.

A thematic parallel to "Your Teeth In My Neck," Uchis questions, "You keep on takin' from me, but where's my ten percent?" KAYTRANADA's adventurous beat  propels Uchis' voice forward without distracting from her, and the shiny, club-ready collaboration won Best Dance Recording at the 2021 GRAMMYs.

"Dead To Me," Isolation (2018)

With striking trumpeting horns opening this track, Uchis wants all eyes on her for a very important announcement.

"You're dead to me," she drawls, then quickening her flow for a demand: "You're obsessed, just let me go." You can almost imagine her rolling her eyes in someone's face, then turning and clicking away in heels.

One of Uchis' signature tracks, "Dead To Me" is the perfect encapsulation of indifference toward the past. Even though it's from 2018, the song's contemporary sheen and cherished brashness proved that Uchis isn't just ahead of her time — she's timeless.

"Fue Mejor" feat. SZA, Sin Miedo (Deluxe) (2020)

"Fue Mejor" begins with the rev of a car engine, and it's clear that Uchis is in the driver's seat. On this remixed track from her sophomore's deluxe, she hits the gas pedal with steamy, smoke-ring R&B. "Take a little sip, take a little puff," Uchis invites without hesitation. 

SZA rides shotgun for the collaboration (well, in the music video, she's on top of a moving car, but beside that). The singer fits into the track like a missing puzzle piece, her vocals brilliantly matching Uchis' soulful, sultry tone.

"telepatía," Sin Miedo (del Amor y Otros Demonios) (2020)

One of Uchis' biggest hits for good reason, "telepatía" is a lucid dream come true. It dissolves into your consciousness like sugar, enamoring with a controlled, intense passion. Singing in Spanish and English, Uchis flutters over a groovy but placid synth with ease — and when Uchis sings "I can read your mind," you believe her without a second thought.

The song comes off of Sin Miedo, which is Uchis' first album predominantly in Spanish and was nominated for Best Música Urbana Album at the 2022 GRAMMYs. The track also made Uchis the first female soloist to hit No. 1 on Billboard's Hot Latin Songs Chart in nearly a decade, defeating the 27-week top-spot reign of Bad Bunny and Jhay Cortez’s global hit “Dákiti." 

"I Wish you Roses," Red Moon In Venus (2023)

Tapping into an especially bewitching atmosphere, "I Wish you Roses" is one of Uchis' most infatuating songs and the first single from her 2023 release.

While album opener "in My Garden" whispers and whirs, bristling with hopeful suspense, "I Wish you Roses" meets the anticipation with perfect extravagance. Romance flourishes amid sleek instrumentals, crafting a luxurious and beautifully overgrown fantasy. 

Uchis wishes an ex-lover roses with earnestness, and you can feel her ecstasy in letting go — though, in true Kali fashion, she reminds them that "You're gonna want me back" casually in the outro.

Kali Uchis On What It Means To Be A Latin "Crossover" Star In The 21st Century

It would be a near-impossibility to cover all the diverse women making art during Women's History Month — and celebrating creators every day, week and month is the goal — but any opportunity to elevate deserving female musicians is one to jump on.

This March, GRAMMY.com shines a spotlight on female-identifying music-makers. This month's 15 releases include entries from the Phoebe Bridgers-Lucy Dacus-Julien Baker supergroup boygenius, Chloe (of R&B sister duo Chloe x Halle), and indie creators like Lana Del Rabies and Jen Cloher; and Radie Peat of Irish dark folkies Lankum.

From bold returns (Sophie B. Hawkins) and buzzy up-and-comers (Nia Archives) to superstars (Miley Cyrus) to metal groundbreakers (Entheos), GRAMMY.com offers up a guide to the must-hear music from women this March.  

Editor’s note: This story has been updated to reflect the new release date for Ellie Goulding’s album.

Kali Uchis - Red Moon in Venus

Release date: March 3

Kali Uchis is clearly universal and boundary-crossing in her collaborations and appeal: She was nominated for a 2017 Latin GRAMMY Award for "El Ratico" (with Juanes); won a GRAMMY for Best Dance Recording for her feature on Kaytranada's single "10%" and was nominated for Best R&B Performance. Uchis (who sings in Spanish and English) has also toured with Lana Del Rey, worked with Diplo, Tyler, the Creator.

On Red Moon in Venus, her third studio album, the Colombian American singer continues her hot streak. Uchis describes her 15-track LP as a " timeless, burning expression of desire, heartbreak, faith, and honesty, reflecting the divine femininity of the moon and Venus."

Jen Cloher – I Am The River the River Is Me

Release date: March 3

On I Am The River the River Is Me, the fifth album from Aussie-born singer/songwriter Jen Cloher digs deep into their Māori roots. The LP features songs about theirancestry, with powerful choruses/phrases in the te reo Māori language. The gently intimate single "Mana Takatāpui" is rife with sweet ‘70s-sounding guitar work, and celebrates queerness as a Māori woman. 

In contrast, the irresistible "Being Human" is delivered with a driving rock ‘n’ roll urgency, dynamics and shimmering and quirky guitar tones.  "My Witch" also mines creative ‘70s guitar sounds, and as Cloher told NPR, "It feels immediately fresh. It feels catchy. It's in your ear straight away." I Am The River the River Is Me arrives via indie label Milk! Records, run by Cloher in part with Courtney Barnett.

Entheos – Time Will Take Us All

Release date: March 3

The progressive metal genre may not be packed with women, but Entheos singer Chaney Crabb is a powerhouse on stage and in the metal scene. Time Will Take Us All, the band’s third release and first for Metal Blade Records, is darker and heavier than previous outings with a wealth of influences.

The dynamic and melodic "I Am The Void" illustrate the album’s concept of "growth and self-reflection that focuses on the true human commonality – that our time on Earth is fleeting," according to a release. Entheos furthers that "what we choose to do with that knowledge is up to each of us as individuals." Entheos, normally a two-piece with drummer and band co-founder Navene Koperweis, will bring an expanded, powerful live lineup on European and American tour dates in 2023.     

Nia Archives – Sunrise Bang Ur Head Against Tha Wall

Release date: March 10

Mining her life for material, Nia Archives told NME that on Sunrise Bang Ur Head Against Tha Wall, she’s "broadly talking about growing up as a person, reaching new levels of maturity, love and loss, rejection, estrangement, the come-up and the comedown… It’s six tracks with six different moods soundtracking the recent chapter in my life." 

The year 2022 was a big one for the English record producer, DJ and songwriter, whose "future classic" sound uses jungle, drum and bass and neo-soul.  Along with European and UK dates, look for Archives, who is a 2023 nominee for a  Brit Award for Rising Star, to perform her new single "Conveniency" — and more — at this year's Coachella.

Miley Cyrus – Endless Summer Vacation

Release date: March 10

Miley Cyrus has clearly empowered legions of listeners with "Flowers,'' its lyrics asserting, "I can take myself dancing / I can hold my own hand / I can love me better than you can." With more than 560 million Spotify streams, it's likely that "Flowers" and the album it’s on, Endless Summer Vacation, will be laurel in Cyrus’ crown. 

According to a release, the music and imagery of Endless Summer Vacation serves as a "reflection of the strength she’s found in focusing on both her physical and mental well-being." Cyrus, who produced her album with Kid Harpoon, Greg Kurstin, Mike WiLL Made-It and Tyler Johnson, describes the album as her love letter to LA, where the album was recorded.  

Fever Ray – Radical Romantics

Release date: March 10

Swedish singer/songwriter/producer Karin Dreijer, aka Fever Ray, has long earned her music bona fides, kickstarting  a career with guitar band Cool Honey, then electronic music duo the Knife, formed with brother Olof Dreijer. Dreijer released their debut solo album under the alias Fever Ray in 2009, and now, the third Fever Ray album features Nine Inch Nails’ Trent Reznor and Atticus Ross along with sibling Olof.  

A visual and musical shape-shifter, Dreijer explained the title Radical Romantics: "Everything needs to be dissected and loved and torn and built back up again and we're dreamers aren't we?" On the lead single "Carbon Dioxide," shades of Nina Hagen and ‘80s new wave lead the bubbling, electro-pop tune.

Frankie Rose – Love as Projection

Release date:  March 10

With a lengthy resume that includes Crystal Stilts, Dum Dum Girls, Vivian Girls and Beverly, Frankie Rose has an impressive legacy, and further cements her status with Love As Projection. 

The drummer/guitarist/singer's sixth solo album melds '80s influences with contemporary electronic pop; the single "Anything" sounding like it could be on the soundtrack of a John Hughes movie. (Fittingly, Rose interpreted the Cure’s iconic Seventeen Seconds LP in 2019.) "This album is about having to focus our collective energies on the small things…we can control to find joy," Rose told the Vinyl Factory. "A distraction from the larger systemic problems that feel so overwhelming and are so very out of our collective hands… for now."

Lankum – False Lankum

Release date: March 24

"Go Dig My Grave" from 2023’s False Lankum is nearly 9 minutes long, featuring singer Radie Peat’s plainspoken singing and ominous, mesmerizing musicality inspired by the Irish tradition of keening (lament). Together, these effects create a marching doom vibe. The dark folk lineup (Cormac Dermody, and brothers Ian and Daragh Lynch), utilize traditional Irish instruments, including uilleann pipes, along with guitars, percussion, fiddle, banjo, piano and double bass. Peat employs bayan, concertina, harmonium, organ, electric organ, harp, mellotron for a sound that mines the traditional for a modern context. 

The end result, as The Guardian described, contains "ambient textures of Sunn O))) and Swans, plus the sonic intensity of Xylouris White and My Bloody Valentine." False Lankum follows the Dublin doom folk quartet’s 2019 breakthrough The Livelong Day, which garnered the band numerous awards in Ireland, including the RTE Choice Music Prize (Ireland’s equivalent to the Album of the Year GRAMMY). 

Sophie B. Hawkins – Free Myself

Release date: March 24

Sophie B. Hawkins' 2023 "anti-Valentine" song "Better Off Without You" features wrenching words about an ex: "We changed the world / Until you took my best friend to bed." The song and sentiment appear on Free Myself, the singer/songwriter’s first album in more than a decade. 

Tracks such as "Love Yourself" and "I’m Tired Of Taking Care Of You" further themes of romantic empowerment. The Free Myself, Hawkin's seventh studio album, shows the multi-instrumentalist in top form:  raw, poetic but accessible and relatable, as inclusion of her tracks in cinematic and moody television shows "Ozark," "Stranger Things" and "Euphoria" have proven.

Lana Del Rabies – STREGA BEATA

Release date: March 17

Lana Del Rabies is the alter-ego of Phoenix-based musician, producer and multimedia artist Sam An. In her Del Rabies guise, as hinted at by the moniker, An seeks to  "re-contextualize  the more ominous aspects of modern pop music made by women," creating what she calls a "dark electronic, genre-bridging solo project." As such, she’s done a spare, industrial take on Tori Amos’ "Cornflake Girl,'' plus two LPs, including the boldly titled In the End I Am a Beast. 

On her third full-length album, STREGA BEATA (loosely translated as "Blessed Witch") Del Rabies delves into dark themes, buoyed by elements of industrial, gothic noise, metal, darkwave and ambient. From opener "Prayers of Consequence" to the final cut, "Forgive," the album, as its creator explains, "is told through the evolving perspective of a cryptic and obscure "Mother" creator figure, specifically echoing the mother and crone goddess archetypes."

Lana Del Rey - Did You Know That There's a Tunnel Under Ocean Blvd

Release date: March 24

Lana Del Rabies is the alter-ego of Phoenix-based musician, producer and multimedia artist Sam An. In her Del Rabies guise, as hinted at by the moniker, An seeks to  "re-contextualize  the more ominous aspects of modern pop music made by women," creating what she calls a "dark electronic, genre-bridging solo project." As such, she’s done a spare, industrial take on Tori Amos’ "Cornflake Girl,'' plus two LPs, including the boldly titled In the End I Am a Beast. 

On her third full-length album, STREGA BEATA (loosely translated as "Blessed Witch") Del Rabies delves into dark themes, buoyed by elements of industrial, gothic noise, metal, darkwave and ambient. From opener "Prayers of Consequence" to the final cut, "Forgive," the album, as its creator explains, "is told through the evolving perspective of a cryptic and obscure "Mother" creator figure, specifically echoing the mother and crone goddess archetypes."

Boygenius – The Record

Release date: March 31

Boygenius is made up of the girl geniuses Julien Baker, Phoebe Bridgers, and Lucy Dacus, together a super-group collective whose debut EP expanded minds in 2017. As Baker told Newsweek, the trio of friends took the tongue-in-cheek band name because of "the archetype of the tortured genius, [a] specifically male artist who has been told since birth that their every thought is not only worthwhile but brilliant." 

The trio’s debut full-length, The Record, offers bright indie rock bounce on "$20," a low-key haunting on "Emily I'm Sorry" and to the straight-ahead fullness on "True Blue." Other intriguing song titles from the full-length include "Leonard Cohen" "Satanist." In addition to a headlining tour, boygenius will appear at Coachella in 2023.  

Deerhoof – Miracle-Level

Release date:  March 31

Deerhoof singer/bassist/songwriter Satomi Matsuzaki’s origin story is the stuff of dreams: She joined Deerhoof within a week of immigrating to the United States from Japan in May 1995 to attend college. And in 2023, the singer and self-taught bassist is front and center on Miracle-Level, Deerhoof’s 19th LP and the first sung in Satomi’s native Japanese. It’s also the influential DIY band’s first to be made totally in a professional recording studio with a producer (Mike Bridavsky). 

Miracle-Level kicks off with the joyful noise of "Sit Down, Let Me Tell You a Story," and contains the delightfully oddball "My Lovely Cat!" plus one song that’s as awkward but interesting as its title: "Phase-Out All Remaining Non-Miracles by 2028."

Critical praise has been near-universal over the lineup’s career, the New Yorker praising an "adventurous compositional style that features complex rhythms, electronica, atonal flourishes, and the pacific singing of Satomi Matsuzaki, whose sonic detachment from the group’s noisier and more aggressive side is curiously affecting." 

Chloe Bailey - In Pieces

Release date: March 31

As half of the GRAMMY-nominated powerhouse R&B duo Chloe x Halle, Chloe debuted as a solo artist in 2021 with platinum single "Have Mercy." The singer/dancer/producer’s full-length solo debut, In Pieces, launches with the sonorous "Pray It Away" before then teaming with Chris Brown for her "How Does It Feel" single. Inspired by naysayers, Chloe posted about In Pieces on her Instagram, writing "My tears are like the water. My heart is like the sun. Through chaos, beauty grows. There’s power in my pain.. It’s me breaking free."

Ellie Goulding – Higher Than Heaven

Release date: April 17 (adjusted)

On the energetic new single "Like a Saviour,"  Ellie Goulding expresses what so many felt during the last several years: "Trying to find my faith in tomorrow" and wishing for a saviour to lead her "out of the dark." The tune, off Higher Than Heaven, the English singer-songwriter’s fifth album, was inspired by the pandemic. But it’s not a wallow in darkness. In short: Expect musical and lyrical celebrations of love and sex, plus the wisdom and power of cutting out when things go bad.

As Goulding teased on Instagram: "‘Let it Die’ is about when a relationship plays out much longer than it needed to. Instead of giving love to yourself you spend it all on someone else and have nothing left, which is when it can become toxic and harmful." "Let It Die," which has notched 13 million streams, preceded the LP, along with  "Easy Lover" (featuring Big Sean) and "All by Myself."  Given the singles’ out-of-the-box success, it’ll be no surprise if  Goulding has another "Love Me Like You Do" (from the  Fifty Shades of Gray soundtrack) on her hands, the hit that  earned Goulding her first GRAMMY nom for Best Pop Solo Performance. 

Listen To GRAMMY.com's Women's History Month 2023 Playlist: Swim In The Divine Feminine With These 40 Songs By Rihanna, SZA, Miley Cyrus, BLACKPINK & More