LGBTQ lovers have been doing it everywhere on their own since the beginning of time — changing pronouns in their favorite songs for the perfect serenade to their partner. Now a group of artists has taken this on themselves in the form of creating a new LGBTQ-affirmative EP, Universal Love.

With help from Kesha, St. Vincent, Bob Dylan, Death Cab For Cutie's Benjamin Gibbard, Valerie June, and Bloc Party's Kele Okereke, a selection of six classics got a pronoun overhaul on the EP.

Take, for example, Dylan's "She's Funny That Way," which is now "He's Funny That Way," or Kesha transposing Janis Joplin's "I Need A Man To Love Me" into "I Need A Woman To Love Me." The EP also includes remakes of songs by the Beatles, the Temptations and the Crystals.

"We believe projects like this will help all of us reach a point where seeing the world through the lens of people who happen to be different from us becomes natural and commonplace," said MGM Resorts' Phyllis James, representing the company producing the album.

We couldn't agree more.

Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs"

The 60-plus years of the GRAMMY Awards encompasses some of the most awe-inspiring and breathtaking moments in music history — and it should be noted that queer performers have produced some of the most dazzling highlights. From Elton John’s 1999 GRAMMY Legend Award to Sam Smith and Kim Petras’ 2023 performance of "Unholy," there is no shortage of iconic queer moments in GRAMMY history.

But more than merely honoring and showcasing queer artists, the ceremony is also the only major award to have moved beyond the outdated gender binary in its categories, an important step in ensuring that every artist feels welcomed. And as queer stars continue to deliver stunning performances in addition to award wins on Music's Biggest Night, young artists have meaningful representation and inspiration. 

​​In celebration of Pride Month, GRAMMY.com has collected nine of the most meaningful and thrilling performances by queer artists from the ceremony’s history. These moments commemorate some of the most impressive artists of the last few decades and helped uplift members of the LGBTIQA+ community around the world. 

Elton John & The Backstreet Boys - "Philadelphia Freedom" (2000)

When one LGBTIQA+ icon writes a song that honors another queer trailblazer, it’s bound to make for a special moment on stage. 

Performed at the 42nd GRAMMY Awards — the same night the Rocket Man was honored as MusiCares Person Of The Year, and a year after taking home the Legend Award — Elton John performed the bright and swinging "Philadelphia Freedom." With backing from the Backstreet Boys, the performance filled the room with sunshine.

The song was inspired by John’s close friend, tennis icon Billie Jean King. His piano flanked by the five Boys, John delivers a rollicking take on the number one hit, the mythic megastar in top form from every swaggery vocal growl to each thumping piano chord.

Melissa Etheridge & Joss Stone - "Piece Of My Heart" (2005)

Melissa Etheridge has always been an incredibly vulnerable artist, but when she walked onto the stage during the 47th GRAMMY Awards, her head bald due to chemotherapy treatment for breast cancer, her legend of raw strength reached a new level. 

A loving grin plastered on her face and chopping out an explosive guitar riff, Etheridge didn’t waste a second, joining soul pop star Joss Stone for a tribute to queer icon Janis Joplin. Every syllable of "Piece of My Heart" coming out of Etheridge’s mouth shines sharply like a rough-cut gem, but her explosive howl as the song comes to its climax is the stuff of legend. 

The fact that Etheridge made it through her cancer treatment and can still rock stages to this day is only further testament to just how powerful this moment of defiance turned out to be.

Lady Gaga - "Born This Way" (2011)

While the conversation surrounding Lady Gaga’s early ‘10s award ceremony run will always center on her extravagant and boundary-pushing attire and stagecraft, she made sure to put her queer advocacy at full volume during her take on "Born This Way." 

Sure, she entered the 53rd GRAMMY Awards in an egg and took time in her performance to play a snippet of Bach made famous in "The Phantom of the Opera" on a keyboard topped with mannequin heads. But in the very next moment, she ensured that the whole track slowed to a righteous halt to deliver a core message: "No matter gay, straight or bi/lesbian, transgender life/ I’m on the right track/ I was born to survive." 

The white latex and space egg are important, but Lady Gaga wants to make sure you understand that the art is all in support of a message of inclusion, that stripped down to our strangest basics we’re all human.

Frank Ocean - "Forrest Gump" (2013)

Frank Ocean has proven to be one of the most mercurial stars in R&B, releasing just two studio albums since 2011 despite some of the most rabid anticipation in the music world. His changed plans, canceled performances, and vague updates only fuel that fire — but it’s performances like "Forrest Gump" that encapsulate that whole fandom experience. 

The 55th Grammy Awards were a big night for Ocean, with six nominations and two golden gramophones coming his way, but his tender, raw love song was perhaps the most memorable of a night full of impressive tributes and star power. Homosexual love songs don’t get televised too often, and that’s what "Forrest Gump" is: pure, unabashed and straightforward; a young, mesmerizing vocalist and songwriter laid bare, playing a keyboard and backed by a video screen. There’s nothing to distract from his voice and his words: "You run my mind, boy/ Running on my mind, boy/ Forrest Gump."

Macklemore, Ryan Lewis, Mary Lambert, Madonna & Queen Latifah - "Same Love/Open Your Heart" (2014)

There may not be a bigger performance of queer love in awards history than Macklemore and Ryan Lewis’ elaborate staging of "Same Love" from the 56th GRAMMYs. Their performance of the anthem included lesbian vocalist Mary Lambert and queer icon Madonna — oh, and Queen Latifah literally overseeing marriage ceremonies for 33 couples of varying sexual identities and orientations, when same-sex marriage hadn’t yet been federally recognized. 

Macklemore and Lewis won big at the ceremony, thanks in large part to inescapable upbeat hip-hop like "Thrift Shop" and "Can't Hold Us." But instead of getting everyone in the room with some easy fun, the duo opted for "Same Love" — a track in support of marriage equality and a protest to a tendency towards homophobia in the genre. Together, they provided a powerful statement of acceptance and love that surely opened eyes for audiences around the world.

Kesha, Camilla Cabello, Cyndi Lauper, Julia Michaels, Andra Day, and Bebe Rexha - "Praying" (2018)

The whole world was changing for Kesha on the runup to the 60th GRAMMY Awards. After years of struggle against her alleged abuser and an attempt to fully reclaim her career and life, she had not only taken powerful steps in that direction — she was doing so on Music's Biggest Night. 

Her new album, Rainbow, had netted two nominations, and she was asked to perform. She opted for "Praying" (co-written by Ryan Lewis), a paean to the power of change and hope, even in the darkest hours. Surrounded by a cadre of powerful women and clad in white and embroidery of blooming flowers, Kesha’s performance shows a moment of new life and transformation, an inspirational moment that continues to grow with promise of even more new music.

Janelle Monáe - "Make Me Feel" (2019)

Janelle Monáe’s performance at the 61st GRAMMY Awards felt like a celebration of her quest to share her truest self. During a performance of the sensual, stylized, sci-fi epic take on "Make Me Feel," Monáe incorporated snippets of other Dirty Computer highlights into the breakdown — including the line "let the vagina have a monologue" from "Pynk" (probably the first time that request had been made on the GRAMMYs stage). 

Her black-and-white clad synchronized backup dancers gave shades of Robert Palmer, but Prince (another Black icon comfortable in gender-fluidity) was the true touchstone. But that’s in no way to say that Monáe is anything but an unparalleled icon of her own, whether on the guitar, in her dance steps, or on the mic.

Lil Nas X - "Dead Right Now"/"Montero (Call Me By Your Name)"/"Industry Baby" (2022)

After years of controversy and criticism (notably from talking heads and members of the public who had or would not listen to his music), Lil Nas X’s performance at the 65th GRAMMY Awards had a real sense of catharsis. 

Not that the Georgia-born rapper necessarily needed it — he’s proven plenty capable of pushing back and insisting on his identity on the daily, in social media and interviews. Still, the wide range of styles (both musical and visual) and performance versatility on display that evening felt special. His interstellar take on "Dead Right Now" proved he was capable of rising above all the noise; the hip-swiveling dazzle of "Montero (Call Me By Your Name)" showed he was unafraid to show his sensual side; and the stomp-along "Industry Baby" (complete with an appearance from Jack Harlow) demonstrated that Lil Nas X is just flat-out one of the most exciting vocal talents in hip-hop.

Kim Petras and Sam Smith - "Unholy" (2023)

Trans representation on the GRAMMYs stage took a big step forward at the most recent ceremony, thanks to Kim Petras. Not only did the German-born pop star become the first openly trans woman to win a GRAMMY Award, but her blistering performance of "Unholy" with Sam Smith likely ignited more than a little bit of inspiration, intensity, and passion in the viewing audience. 

Cast in a red glow, the duo embraced the fires of lust, Petras playing the fiery cage dancer to Smith’s devilish ringmaster. Every second of the performance dripped with sweat and sex, refusing to bow to any expectation or censure, Petras humping a corner of the cage as Smith gyrated around a cane. The smoking hot fever dream more than earned the FCC complaints and the zealous fans who went on to devour more of Smith and Petras’ music. 

Listen To GRAMMY.com's LGBTQIA+ Pride Month 2023 Playlist Featuring Demi Lovato, Sam Smith, Kim Petras, Frank Ocean, Omar Apollo & More

Upon listening to Kesha's new album, Gag Order, one thing is abundantly and immediately clear: She's not the same girl the world met in 2009.

While Gag Order is less upbeat than Kesha's previous albums, it's  the most introspective and vulnerable she's been as a songwriter. But all makes sense; this is a girl who has been through very public trauma and health struggles, who has finally broken through and found hope on the other side. Even still, she hasn't lost sight of the girl who once brushed her teeth with a bottle of Jack. 

"There are three albums I know in the history of my life that I have put every fiber of my f—ing being into — Animal, Rainbow, and now Gag Order," Kesha tells GRAMMY.com. "I'm incredibly proud of what [Gag Order] is, and who I've become through the process of it."

She refers to Gag Order as an "emotional exorcism," which is an undeniably accurate description of the album's dark, yet cathartic narrative. It feels like the deliverance Kesha has been building up to since 2017's Rainbow, and the older, wiser sister to the quirky character in 2010's Animal. And though Gag Order may have a different sound, Kesha is adamant that every stage of her career has played a role in getting her to this point — even if it has been an "emotional roller coaster."

To celebrate Gag Order's release, Kesha looked back at her entire discography and selected 10 songs that feel the most important to her story — whether they involved funny moments, career highlights, a special creation process, or a favorite live moment. Read the singer's picks below, and learn why songs like "Blow," "Praying" and "Happy" are crucial to the fabric of Kesha.

"Tik Tok," Animal (2009)

I was on a long plane ride from L.A. to London. It was the first time I got the upgrade to business class, and I remember thinking like, Oh my god, does this mean I made it?

Right behind me, there were these two kids, and they were being so annoying the whole trip — for like 13 hours, screaming and singing. And I remember turning to the person next to me, who was my manager at the time, and I was like, "Oh my god, these kids are so..." and then they started singing "Tik Tok," and I was like, "...cute."

I just started laughing. And I thought to myself, Well, I'm listening to two 5-year-olds sing about brushing their teeth with a bottle of Jack, so I love them now.

I went from playing a club in L.A. called the Echo to about 20 people, and "Tik Tok" came out, and my next gig was Lollapalooza, and there was a sea of people at the stage. And I was really confused. I thought maybe they had shown up for the wrong stage. And then when I started playing, everyone was singing "Tik Tok" to me, and it was so overwhelmingly exciting. That was another moment where I was like, "Oh, this is about to change the trajectory of what my life's gonna look like now."

And then "The Simpsons" redid the intro to [the show], but with "Tik Tok" — and I think at that point, they'd never done that before. I'm not sure if they have done it again. But I just remember being like, "I think I did something that is hitting the zeitgeist in a particular way that I had not bargained for."

"Blow," Cannibal (2010)

It's such a fun song, and I remember making the video for that with James Van Der Beek. And it was such a funny memory, because in the original idea for the video, we were supposed to kiss, but instead, we both decided it would be infinitely weirder to, like, eat cheese.

It was random, and he is the nicest guy in the world. Obviously incredibly talented, but so kind and so cool. It was such a wonderful experience working with him because he was really on board with making it as weird as we think it is. I was really pleased with how weird that video came out.

Playing that song live is one of my favorite experiences, because it's [the part of] my live show where I get to assault the world with glitter. I always have my trusted glitter backpack that I've had since 2008. I had a custom-built glitter backpack, which was the bane of the existence of the people I toured with because it would explode all of the time. Everyone had glitter everywhere to the point where they were getting upset. They were like, "I found the f—ing glitter in my belly button!" and I was like, "I don't know what to tell you about that, I'm really sorry." 

"Cannibal," Cannibal (2010)

I was just so pleased with my pen game on that one. Also, I wrote that with my mom, so it was just really funny writing this kind of dark, deranged song with your mom about eating people. I came from her, so she's as deranged as I am. That, like, sums up our relationship.

When I play it live, I've strapped my dancers to a S&M, like, kink cross, and pulled their heart out, and then proceeded to cover my face with fake blood — like, indulge in the cannibalistic routine of eating one of my dancers. My favorite moments of every show I've ever played is the glitter assault and the cannibalism routine. 

It's been really cool watching people on TikTok kind of reconnect with that song. I feel like it had this major resurgence like a year or two ago where everyone was doing moves to it. I always appreciate the "Cannibal" love.

"Bastards," Rainbow (2017)

I was walking into my old house, and I had this, like, overwhelming urge to pick up the guitar. I sat on my bed and wrote that song really quickly, by myself. That song was so f—ing special to me. I knew I wanted it to open the album.

The Rainbow album was when I made the switch to step over into strength and power. I love when that flip happens in the process of making an album, because there's usually self reflection, a little bit of self doubt, feeling sorry for myself, sadness, and then the moment that switches into the fuck you territory is when things really get good.

I am like any human. I don't like reading negative things about myself. But at some point, it turns from beating myself up and hating myself into this self defiance in who I am. And if you don't like me, then f— you. All my haters should know that they fuel some of my best songs.

Playing that song live, I love it when all my fans put their phone lights up and sing with me. Because it feels like this anthem of existence and pride in who you are, and really, not only surviving, but celebrating who you are, and not allowing other people's opinions to get the best of you. I really love playing it, because it's, like, an ocean of lights, and that kind of feels like you're swimming in this ocean of love. 

"Praying," Rainbow (2017)

"Praying" is, pretty indescribably, one of the highlights of my career. That was such a defiant song, and it's the most eloquent, graceful, beautiful song that I've ever heard. There's so much emotion to it, but at the soul of that song, it's standing in me knowing exactly who I am and what I stand for.

I will forever and eternally be grateful to that song. I feel like that was a cosmic interpretation from the universe that was gifted to me and the co-writers of that song. It was just the perfect combination for, in my mind, the best, most graceful f— you song that's ever existed. And I'm not like a megalomaniac narcissist, but I feel like having some distance from it, I can really see that now. 

"Praying" set a new bar for me. "Praying" became the song that I try to beat every time I write a song, because I was so impressed with what me and the other writers did.

Coming from a music family, it's like our lineage. And as a songwriter, I feel like I can make my ancestors proud with certain moments in my career. And "Praying" was definitely one of them.

"Raising Hell," High Road (2020)

That song was so much fun. That was kind of a reclaiming of my joy in a time where I didn't feel very entitled to have joy. I felt like the joy was not mine for the taking, and this was me stealing it back without permission.*

I'm a good person, with a love for, like, the bad and fun side of life. I think that I wanted to celebrate that instead of shaming myself, because I feel like everybody needs some level of badness to really enjoy life.

"Raising Hell" was a moment for me, especially making the video. That was so cathartic, because I got to celebrate the song, but I also got to make this amazing narrative video with Luke Guilford, where I got to be the character I've always dreamt of being — a cross between, like, an evangelical preacher, a murderer and a bandit.

There was a scene that got cut out when I'm dragging my a—— of a husband's dead body across the ground. I was actually dragging like 100 pounds in this tarp, and I remember just gutterally screaming for three minutes. We wanted to include it in the video, but it just seemed so psychotic that everybody else was like, "We can't have three minutes of you screaming." And I was like, "But why not?" [Laughs]

I'm gonna remember that scene forever, because it was so cathartic to drag a dead body across the room screaming. I don't know what [it was] about it, but it forever will be one of my favorite moments in my career.

"Eat The Acid," Gag Order (2023)

That's a direct quote from my mom. She said, "Don't ever eat the acid, you don't want to be changed like it changed me." She told me that when I was really young, and I still to this day have never eaten acid. That's the irony of the whole album, because that was the catalyst for my new album.

The night before I wrote that song, I was just having all of this anxiety, and really feeling destabilized in this collective trauma that was the past couple years for the entirety of the world. I had this spiritual awakening, ego death, psycho magic — that's what I call that night. And I had this full visual experience and conversation with what I now look at as the source energy. 

I truly felt like that was a psychotic breakdown, but then I talked to my therapist, and she said, "No, congratulations, that's a spiritual awakening." So I just decided, on this album, to lean into it, and really go into what that experience was. I wanted the song and the album to sound like how I was feeling.

I really wanted to end the song with confidence and power. It's this journey of disassembling to reassemble, and breaking down the illusion to create a new beginning — a rebirth. And by the end, kind of the final statement I'm making is, Now all I'm going to focus on, I realize now, is to be happy. All of the external validation, and these things that I always thought I wanted, they look differently than how I had expected. My focus, instead of obtaining fame, fortune houses, cars, boyfriends, online love, or anything material, is more learning to love myself and come to peace with my past and opening up a blank slate for my future."

"Eat The Acid" is the first song I wrote for the album. It was kind of an undeniable moment where I thought, this was really different, and I don't know if anybody is going to like this. But this is what being an artist is, and if I get the great pleasure of being an artist this lifetime, it would be a disservice to myself, and anybody that spends the time listening to my music, to not be completely honest with where I'm at. Because every album and every song is like a tiny chapter in the book of who I am. It's going to be what survives long after I'm dead.

"Hate Me Harder," Gag Order (2023)

That was the pivoting moment of the album in finding my strength. That was one of the first songs I wrote at this little mini writing camp with Justin Tranter at his mountain home. There were eight writers sitting around in his basement. We're all sitting on the ground, and I just remember telling them, "I really want this strong anthem, about how I have endured so much hate in my career at this point. I'm so happy to be at a point where it almost fuels me."

Sitting in a room full of eight people screaming "Hate me harder," I was envisioning doing that [with] an arena of my fans. It feels so powerful and so strong. 

"Only Love Can Save Us Now," Gag Order (2023)

The song that opened up the album was "Eat the Acid," and the song that anchored the album was "Only Love." Because throughout the emotional roller coaster that I was going through while making [Gag Order], I kept going back to the mantra of "only love can save us now." That's my mantra for the state of affairs in the world, that's my mantra for all of my interpersonal relationships — to try to lead with love, even though you're in the midst of all these other emotions. So it's the anchor, and it's really the heart of the album.

We were sitting at Shangri La, Rick Rubin's studio in a chapel, and I just had been so intensely on the emotional side of things on this album, so I went in one day and we banged this song out so fast. I kind of addressed everything that's going on in the world in this really concise idea that there's pain, and then there's the render. So the verses are pain and anger, and then the choruses are surrender and hope. 

I remember texting Rick Rubin saying, "Oh my gosh. I think my new song is gonna make you poop." And he said, "Yay!" [Laughs] And then I said, "Did you poop?" And he said, "Yes!" I'm pretty sure that meant he liked it.

"Happy," Gag Order (2023)

"Happy" is my rebirth. "Happy" is the blank slate. "Happy" is me walking out of the wreckage of who I've been and what I've gone through.

Happiness is my purpose now, whereas before it may have been tied to validation and material things — accomplishments and numbers, and stats, and cars, and clothes, and brands. "Happy" is now what I try to embody in every single thing I do, in every breath I take, in every sentence I say. Not only do I want to be happy, but I wish that for everybody else because I feel like there would be a lot less pain and violence in the world if we were all happy. So that's kind of me opening up to my future.

I could see myself never putting out an album again, or putting out an album in six months. I have no idea where I'm headed. All I know is that in everything I do, I want to not only be happy, and lead with happiness and love. 

I think that was what the experience of Gag Order was — realizing I have no control, so I might as well do this emotional exorcism, so I can truly be reborn. So I'm kind of just open to the universe to see where it takes me. And I'm really excited to see where that is, whereas before I felt like I had to be held to a standard of who I was. Now, I feel like I don't have to be held to any standards, it's all an illusion. I'm wildly curious what the universe has in store for me next, and I have no f—ing idea what that is.

Listen To GRAMMY.com's LGBTQIA+ Pride Month 2023 Playlist Featuring Demi Lovato, Sam Smith, Kim Petras, Frank Ocean, Omar Apollo & More

June is an important moment in the year, as it brings us Pride Month, Black Music Month and Juneteenth. It also marks the official start of summer, where rising temperatures invite late afternoons enjoying good music — whether it’s outdoors at one of the season’s many festivals or in the comfort of your own home.

As for the good music, this month brings us plenty of new releases by queer artists, like Kim Petras' long-awaited debut, Feed The Beast, and the Aces’ I’ve Loved You For So Long. Black musicians have much on offer in June as well, including Janelle Monáe (who is also queer) The Age of Pleasure, house music DJ and producer Jayda G’s Guy, and Ghana-born singer Amaarae’s Fountain Baby. Last but not least, June also marks the return of both Foo Fighters and Lucinda Williams after life-altering events, and the ultimate release of Bob Dylan’s 2021 concert film soundtrack, Shadow Kingdom.

To inspire you further with their bold artistry and moving stories, GRAMMY.com compiled a guide to the 15 must-hear albums dropping June 2023. 

Foo Fighters - But Here We Are

Release date: June 2

In dark times, humans often turn to art. Even if they have no answers for what the future holds, the transmuting power of expression reminds us that, sometimes, existing is enough. But Here We Are, Foo Fighters’ 11th studio album, does just that.

After "a year of staggering losses, personal introspection and bittersweet remembrances," as they state in their website  — referring to the sudden loss of longtime drummer, Taylor Hawkins,  and of frontman Dave Grohl’s mother, Virginia — they find both grievance and strength in what has been called "the first chapter of the band’s new life."

In support of this change, Foo Fighters have announced over 25 performances across the U.S. and Europe in the upcoming months. But Here We Are drops on June 2, and features ten new tracks, including promotional singles "Rescued," "Under You," "Show Me How," and "The Teacher."

Juan Wauters - Wandering Rebel

Release date: June 2

For most of his life, the Uruguay-born, New York-raised singer Juan Wauters was a rover — never for too long in one place. But as he sings on the upcoming titular track of his new album, Wandering Rebel, "During COVID I discovered/ that I like stability."

In a statement, Wauters reflected about moving back to his home country because of the pandemic, and the personal changes that came with it: "New York was the place I always came back to, but I never really had a 'home.' My parents left Uruguay, their home, when I was young. Now, [in Montevideo], I have a place to come home to, and people that are waiting for me."

The 12 songs on Wandering Rebel are defined as "candid reflections on subjects like career, romantic commitment, mental health, and the personal toll of touring," some of which can be seen through singles "Milanesa al Pan (ft. Zoe Gotusso)" and "Modus Operandi (ft. Frankie Cosmos)." As to not lose sight of his itinerant roots, Wauters will embark on a lengthy U.S. tour starting this month.

Bob Dylan - Shadow Kingdom

Release date: June 2

When the COVID-19 pandemic stalled Bob Dylan’s illustrious Never Ending Tour, he decided to baffle the world with something entirely different.

First released in 2021 as a concert film directed by Alma Har'el, Shadow Kingdom sees Dylan perform 14 tracks from the first half of his career in an acoustic, intimate atmosphere. In the setlist, "It's All Over Now, Baby Blue" from 1965’s Bringing It All Back Home marks the earliest composition to be featured, while "What Was It You Wanted" from 1989's Oh Mercy is the latest.

With little-to-no prior information, the film originally premiered on livestream platform Veeps, and swiftly disappeared 48 hours after. On June 2, an official soundtrack release will revive the experience for all those who missed it.

Rancid - Tomorrow Never Comes

Release date: June 2

Breaking a six-year absence of new music, California’s boisterous Rancid are back. Tomorrow Never Comes, the band’s tenth album, proves that the verve from one of punk rock’s biggest acts in the mid-1990s is still alive.

Produced by longtime collaborator and Bad Religion guitarist Brett Gurewitz, the record holds 15 tracks, but runs just short of 29 minutes — Rancid’s briefest album yet. But judging by singles "Tomorrow Never Comes," "Don't Make Me Do It," and "Devil in Disguise," quick-paced or not, the quality remains the same.

Right after the release, Rancid will kick off an European tour for the rest of the month, before hitting Canada and a few cities in the U.S. starting September.

The Aces - I’ve Loved You For So Long

Release date: June 2

Pride month celebrations have just gotten the perfect soundtrack: I’ve Loved You For So Long, the Aces’ third studio album, comes out on June 2. 

Preceded by the title track and singles "Girls Make Me Wanna Die," "Always Get This Way," and "Solo," the album marks the Utah quartet’s first release since 2020’s LP Under My Influence. According to a press release, I’ve Loved You For So Long is "rife with songs that celebrate their queer identities, juxtaposed by tracks that reflect on their early relationships with Mormonism."

The 11-track collection is also described as "a nostalgic look back at the formative experiences that shaped who they are as a band today, like pages straight from their diaries that will leave their listeners feeling seen and critics wanting more."

Janelle Monáe - The Age of Pleasure

Release date: June 9

Marking her return to music five years after 2018’s Dirty Computer, the chameleonic singer and actor Janelle Monáe ushers in The Age of Pleasure. Her fourth studio album features 14 tracks, including collaborations from Grace Jones, Amaarae, Seun Kuti, and others.

During an interview with Zane Lowe on Apple Music 1, Monáe said all the songs "were written from such an honest space," with the goal of being "so specific to this Pan-African crowd who are my friends. I want it to be a love letter to the diaspora."

If its two delightful singles "Float" and "Lipstick Lover" are any indication, it looks like Monáe has nailed her target — while also providing us a much-needed new era for the summer.

Amaarae - Fountain Baby

Release date: June 9

"Coming back after so long, I had a lot of time to think and reflect on what I wanted my message to be. Last time it was about confidence, this time it’s about love and faith," said Ghanaian-American singer Amaarae in a statement about her single, "Reckless & Sweet."

The mystifying track gives a taste of her upcoming sophomore album, Fountain Baby, set to release on June 9. Following her acclaimed 2020 debut The Angel You Don’t Know, the album also features last month’s cheeky "Co-Star," and points to an expansion of the singer’s avant-garde Afro-pop sound, as well as a celebration of Black women all over the world.

Jayda G - Guy

Release date: June 9

Canadian producer and DJ Jayda G was only 10 years old when she lost her father, William Richard Guy. However, his memories shaped her life in significant ways, and now she is ready to share them with the world through her upcoming studio album, Guy.

Through a press release, Jayda said that she wanted the album to be "a blend of storytelling, about the African American experience, death, grief, and understanding." The singer also added that "it’s about my dad and his story, and naturally in part my story, too, but it’s also about so many people who wanted more for themselves and went on a search to find that. This album is just so much for people who have been oppressed and who have not had easy lives."

The first single of the project, "Circle Back Around," features archival footage of Jayda and her father — an endearing portrait that ultimately delivers an uplifting message. As she explains further in the press release: "I think it’s just a testament that it’s never too late to look at yourself and try to understand why you are the way you are, and strive to be better. Understanding the Black man’s experience, Black people’s experience in terms of America, and rising above what society tells you you’re supposed to be."

King Krule - Space Heavy

Release date: June 9

British singer King Krule was inspired by "the space between" his London and Liverpool commutes — both places he considers home — to craft Space Heavy, his fourth studio album.

Written throughout 2020 to 2022, the record was produced by Dilip Harris, and recorded alongside bandmates Ignacio Salvadores, George Bass, James Wilson, and Jack Towell. In April, the hazy "Seaforth" was released as the album’s first single.

King Krule, whose real name is Archy Marshall, will soon embark on a summer tour spanning North America, Europe, and the UK. The first stop is in Minneapolis on July 21.

Killer Mike - Michael

Release date: June 16

It’s been more than a decade since Killer Mike released a solo album (2012’s R.A.P. Music), but June brings forward new, exciting material from the Atlanta rapper and member of Run the Jewels. Upcoming LP Michael is said to be his "most autobiographical" work so far, and features 14 tracks that depict "an origin story," according to a statement.

2022 singles "RUN" and "Talkin Dat S—!" are also included in the album, as well as this year’s "Don’t Let The Devil" and "Motherless" — whose two music videos form a short film paying homage to Mike’s late mother, Mama Niecy. The rapper is also set to perform a 19-stop tour in the U.S. this summer.

Home Is Where - the whaler

Release date: June 16

Florida emo band Home Is Where built a reputation for delivering catharsis through their gloomy lyrics and angry melodies. Their upcoming sophomore LP, the whaler, takes that up a notch: It was defined as a project about "getting used to things getting worse" in a press release.

Produced by Jack Shirley and containing 10 interconnected songs, the whaler "paints a bleak picture of a world in an endless state of collapse — of ruined utopias and desperate people faking normalcy — [but] there’s a humanity-affirming undercurrent throughout that screams to break free."

Ahead of the release, the band shared the lead single "yes! yes! a thousand times yes!," and is currently gearing up for a U.S. tour through the East Coast and Midwest in July and the West Coast in September.

Kim Petras - Feed the Beast

Release date: June 23

The much-awaited debut LP of German singer Kim Petras, Feed the Beast, finally has a birth date: June 23. After struggling with the leaking and eventual scrapping of would-have-been album Problématique, Petras compiled 15 tracks for this new effort — including last year’s mega hit "Unholy" featuring Sam Smith, which earned them both a GRAMMY Award for Best Pop Duo/Group Performance.

In an interview with Vice, the singer said Feed the Beast marks "a transition from being an independent artist to being at a major label now. Spearheaded by singles "If Jesus Was a Rockstar," "Brrr," and lead single "Alone" featuring Nicki Minaj, Petras will celebrate the release with a performance at NBC’s TODAY Citi Concert Series, as well as live sets at Governor’s Ball in NYC and Life is Beautiful Festival in Las Vegas.

Lunice - OPEN

Release date: June 23

Described as a project that "focuses on the natural human ability and behavior of intuition, instinct, openness, flexibility, and adaptation," and also as "a bizarre ride through the Montreal underground," OPEN is the sophomore album by Canadian producer and TNGHT member, Lunice.

Following up his 2017 acclaimed solo debut, CCCLX, the new record aims to be even more dynamic, with every track conceived to be performed live. Featuring collaborations with Cali Cartier, Zach Zoya, Yuki Dreams Again, DAGR and GRAMMY-winning producer DRTWRK, OPEN drops on June 23.

"No Commas," the pulsating first single off the project, sets the mood to the upcoming folly. "This track is the result of multiple natural occurrences where the melody, drums, and vocal performance coincidentally fit with each other in the moment of creation without any prior motive behind it," Lunice said in a statement. "I find these instinctual moments of creativity beautiful and inspiring."

Maisie Peters - The Good Witch

Release date: June 23

British singer/songwriter Maisie Peters calls herself The Good Witch — the "keeper of the keys and the holder of the cards" to her own universe, soon on display through her upcoming second album.

Written last year while she was on tour, Peters explains that its 15 tracks represent a time when she was "searching for balance between career highs and personal lows," a quality that can be seen through "Body Better," the album’s acutely honest lead single. 

"This is my heart and soul, my blood on the page, the collection of stories that I’ve managed to capture in the past year," said Peters. "A true chronicle of my life in recent history, it is my own twisted version of a breakup album and it all draws upon the same couple of months’ worth of experiences and inspirations." 

The singer is also set to tour 27 cities in the U.S. and Canada from August to October.

Lucinda Williams - Stories From a Rock n Roll Heart

Release date: June 30

Lucinda Williams is living proof that getting older doesn’t mean getting duller. The Americana legend just celebrated her 70th birthday in January — and the last three years of her life have been some of the most tumultuous yet.

In 2020, her Nashville home was damaged by a tornado. Then, came the COVID-19 pandemic. And lastly, a stroke that affected her ability to play the guitar, therefore changing the way she writes songs. But Williams didn’t let any of that stop her — Stories from a Rock n Roll Heart, her 15th studio album, comes out on June 30, and shows that she’s only getting better.

The project already has three singles out: "New York Comeback," "Stolen Moments," and "Where the Song Will Find Me," and counts on backing vocals from artists like Bruce Springsteen, Patti Scialfa, and Angel Olsen.

Listen To GRAMMY.com's LGBTQIA+ Pride Month 2023 Playlist Featuring Demi Lovato, Sam Smith, Kim Petras, Frank Ocean, Omar Apollo & More

Updated Monday, May 22, to include information about the re-air date for "A GRAMMY Salute To The Beach Boys."

"A GRAMMY Salute To The Beach Boys" will re-air on Monday, May 29, at 9 p.m. ET/PT on the CBS Television Network, and will be available to stream live and on demand on Paramount+.

That's a wrap on "A GRAMMY Salute To The Beach Boys," an emotional, star-studded toast to America's Band — as the core lineup of the legendary group bore witness from a balcony.

From its heartfelt speeches and remarks to performances by John Legend, Brandi Carlile, Beck, Fall Out Boy, Mumford & Sons, LeAnn Rimes, St. Vincent, Weezer, and other heavy hitters, "A GRAMMY Salute To The Beach Boys" served as a towering monument to these leading lights on the occasion of their 60th anniversary.

If you missed the CBS telecast, never fear: the thrilling special is rebroadcasting on Monday, May 29, at 9 p.m. ET/PT on the CBS Television Network, and will be available to stream on demand on Paramount+.

Below are some highlights from the Beach Boys' big night.

Read More: How To Watch "A GRAMMY Salute To The Beach Boys," Featuring Performances From John Legend, Brandi Carlile, Beck, Fall Out Boy, Mumford & Sons, LeAnn Rimes, Weezer & More

Weezer Gave "California Girls" A Shot In The Arm

The Weez was a natural choice for a Beach Boys bash — the GRAMMY winners have worn that influence on their sleeve throughout their career — from the harmony-stuffed Blue Album. to their love letter to the West Coast, the White Album.

And while Fall Out Boy's transmutation of "Do You Wanna Dance" into supercharged pop-punk was a joy, Weezer's version of "California Girls" was satisfying in a different way.

Therein, frontman Rivers Cuomo threaded his chunky power chords into the familiar arrangement masterfully. His head-turning, song-flipping guitar work in the outro was also gracefully executed.

John Legend Sang A Commanding "Sail On Sailor"

The rocking-and-rolling "Sail On Sailor" leads off the Beach Boys' deeply underrated 1973 album Holland. On that cut, the lead vocal isn't taken by an original member, but one of their two South African additions at the time: the brilliant Blondie Chaplin.

Fifty years ago, Chaplin channeled the stouthearted tune through his punchy midrange; John Legend possesses a similar one. In his hustling, wolfish performance at the piano, the 12-time GRAMMY winner gave this dark-horse Beach Boys classic the gusto it deserves.

Read More: The Beach Boys' Sail On Sailor Reframes Two Obscure 1970s Albums. Why Were They Obscure In The First Place?

Brandi Carlile Stunned With A Capella "In My Room" Verse

Nine-time GRAMMY winner Brandi Carlile is an eminent and versatile creative force; it's easy to imagine her nailing almost any song in the Beach Boys’ catalog — even the weird ones.

That said, this was more or less a night of hits — so Carlile took "In My Room" head on, and the results were spectacular. Even better was when the backing band dropped out for a verse, highlighting the song's proto-Pet Sounds solitude and introspection.

"Now it's dark/And I'm alone, but/I won't be afraid," Carlile sang, only joined by two harmonists. Mostly unadorned, she radiated a sense of inner strength.

Norah Jones Gorgeously Pared Back "The Warmth Of The Sun"

"The Warmth of the Sun" has always been a fan favorite for its radiant vocal interplay, but Norah Jones proved it's just as powerful with one voice front and center. 

Sure, the nine-time GRAMMY winner had harmonists behind her. But while Brian Wilson shared the spotlight with the other Boys in the original tune, she was front and center, teasing out its mellow, jazzy undercurrents.

View this post on Instagram

A post shared by Recording Academy / GRAMMYs (@recordingacademy)

St. Vincent & Charlie Puth Plumbed The Atmosphere Of Pet Sounds

The Beach Boys' most famous album by some margin, 1966’s Pet Sounds, was well represented at "A GRAMMY Salute To The Beach Boys."

Beck performed a witty "Sloop John B"; Mumford & Sons drew hymnal energy from "I Know There's An Answer"; LeAnn Rimes drew lonesome power from "Caroline, No."

But two performances in particular captured the singular atmosphere of the album — whimsical, hopeful, melancholic, longing, sophisticated, strangely exotic. One was Charlie Puth's "Wouldn't It Be Nice," which strapped on the album's aesthetic like a rocket and took off.

The other was St. Vincent’s captivating take on "You Still Believe In Me," which highlighted the harpsichord melody to spectral effect.

Near the end, when the three-time GRAMMY winner launched into the "I wanna cry" outro, it was hard to not get chills — the kind the Beach Boys have given us for 60 years.

How Brian Wilson Crafted The Beach Boys' Early Sound: A Symphony Of Inspirations, From Boogie-Woogie To Barbershop