It’s late afternoon in Stockholm, but the songwriter and producer Oscar Görres is as animated as a fresh cup of coffee. Gesticulating to get his points across and making faces more colorful than the rust-colored studio walls that surround him, the 34-year-old Swedish star is flanked on all sides by guitars, keyboards, synthesizers and a couch—the very same couch that’s been graced by the likes of Troye Sivan, Allie X, Sabrina Carpenter and more artists looking to inject their songs with Görres’ trademark blend of magnetic pop magic and left-of-center touches. Though he’s worked professionally behind the scenes for 15 years now, Görres has spent much of the last six years steadily making notches in his pop music belt, including credits with Taylor Swift, Britney Spears, Maroon 5, P!nk, and later this month, Katy Perry on her just-released sixth studio album, Smile.

Chalk up some of Görres’ recent career glow-up to a cosign from the godfather of modern pop, Max Martin, who (with Shellback) scouted the young producer and songwriter early in his career and invited him to join a collective known as Wolf Cousins, whose members also include Tove Lo, Peter Svensson (of The Cardigans fame), and Ali Payami. It’s almost too easy to quantify the success of Wolf Cousins' nine songwriters and producers properly. But listing some of their recent hits comes closest to giving you a sense of their combined clout: The Weeknd's "Can’t Feel My Face"; Ariana Grande’s "Love Me Harder"; Taylor Swift’s "Shake It Off"; Demi Lovato’s "Confident"; Selena Gomez’s "Hands to Myself"; Sam Smith’s "How Do You Sleep?"; Normani’s "Motivation"; and 5 Seconds of Summer’s "Wildflower"—they did those, just to name a few. In pop music, there’s the minor leagues, and there’s the big leagues. Then there’s Wolf Cousins.

In addition to Wolf Cousins’ bulletproof track record, Görres has carved out one of the most successful and singular lanes of any member of Max Martin’s lineage. This week, he continues his fruitful partnership with Troye Sivan on the Australian artist’s In A Dream EP, which follows the massive success of their Bloom collaborations "My My My!" and "Plum." And earlier this spring, Görres helped pop disruptor Allie X take us to Cape God with a 12-track album that plumbed new depths for both parties.

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"As soon as I had made one song with Oscar, I knew he was very special," Allie tells GRAMMY.com. "I felt that, for the first time, I had a producer who was taking what was special about me as an artist and really translating it into something. He brings a kindness, a knowledge of how to play every instrument prolifically, a sensitivity, a coolness and a confidence that was instrumental in me—for once!—taking a back seat in production. He is certainly one of the best."

"Oscar is the kindest, purest soul, and the control he takes in creative ideas and direction are like very few I’ve ever worked with," Sabrina Carpenter adds. "He makes me laugh—that’s half of what makes us working together feel like we’re not working at all. He trusted my vision, which is all I could ever ask for."

Here, over the course of an hours-long Zoom earlier this week, Gorres talks (in his first interview ever) about his humble beginnings, his goals for making music with and for other artists, writing for legends and studying under Max Martin’s tutelage.

This interview has been edited and condensed for clarity

How did you first get interested in music?

I grew up in a very musical home. My dad is a musician. I started to play instruments very young with my dad. He even took me out on the streets of Stockholm to perform when I was 5 or 6 years old.

I was signed to Warner Chappell [as a songwriter] when I was 19. That was because me and my friend did songs in my parents’ basement. I didn’t know if I was any good—I wanted a reality check! My girlfriend at the time knew someone who knew someone working at Warner Chappell, so I was lucky enough to have a meeting there and get to play some of our songs. I was signed off of that. Tthey saw something in me that they wanted to develop.

Simultaneously, I went to the Royal College of Music to study jazz piano, so I was still on the "I'm gonna be a musician" path. But there was something about creating, writing and recording music—producing music—that felt right. It’s something that lasts. Sweden is a small market for pop music, so you can imagine the jazz scene here. [Laughs.] It’s not like New York. And jazz as a genre is small as is. I wanted the music I worked on to be heard and experienced by more people.

When you signed with Warner Chappell, was the next step being put into sessions to figure out how you operated?

It was a little bit like that! Working with people and being good in those situations is something you need to practice. They put me together with songwriters on their roster. I think I jumped on and produced a song that was released in Germany first—small steps. Then I worked with Swedish artists. It was a few years of building up my skills, and learning the craft—learning to be a better producer and writer.

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Did you have a song or a session where things, after years of building those skills, really clicked into place?

One of the clearest moments I can think of is: I started this idea eight years ago—not that long ago, weirdly enough—which felt good. I was almost embarrassed. It was a little funky. It had jazzy chords. I sent the idea to Shellback. At the moment, Wolf Cousins weren’t even formed, but we knew of each other, even though we’d never worked together. I sent it to him and he was just amazed. Two hours later, he had a melody on top of it. All of a sudden, a world opened up. Later, we recorded that song with Maroon 5 as "Feelings." It’s one of those moments where I was like, "Ok, this is something. Maybe I can do this."

Of course, the moment where I was signed was also the biggest, "This is something of worth" moment. You need to believe in yourself to create things. When you spend a lot of time on them, you don’t know if they’re even anything of use. Then someone tells you, "This is of use. We want to invest in you!" That’s amazing. I feel like I still don’t know what I’m doing. [Laughs.] But that’s also a healthy feeling. You don’t want to buy into your own mythology.  

When you had that Maroon 5 cut and started working with Shellback, is that what started opening doors to markets like America?

Having your songs released in the U.S., the biggest market… that’s always been my dream. The first time I went to L.A., I went there just to feel the energy. Ever since that first time, I felt something special—walking on Sunset, all the clichés. It’s the city of dreams, and broken dreams. "Feelings" and "I Wish" by Cher Lloyd were the two songs that felt like "This is gonna be a door-opener."

All of a sudden, you have something of worth that you can get a work visa off of. I think you need the help of someone that can give you a hand and help you take those steps. It’s so hard when you’re not that well-connected and you don’t have the infrastructure. You need to know people. It’s not like back in the days when you could write a song in your basement and you send it to someone. Those things can happen, but now it’s more relationship-driven.

In Wolf Cousins, we were all scouted mainly from Warner Chappell and from some smaller publishing companies. Max and Shellback had this idea, and had their eyes on us for a couple of years. When they felt like it was time—"Ok, now we can try to pull this off!"—they formed this group of people. I think that song was my ticket in. I haven’t asked!

I have to imagine you were a fan of Max’s before meeting him.

It’s almost surreal. Even though he’s from Sweden, people don’t recognize him on the street here, really. You build this story, this legend of this man, where everything he touches becomes gold. But when I first met him, it was years before. He helped me with a song, because he just wanted to be nice because I worked with someone, Alexander Kronlund, on a track. Max swung by the studio and wanted to help. That was… super scary. But that’s more from my side, because he’s a very normal man—with great taste in music! [Laughs.]

I don’t know if I’m worthy. He is so much about the music, to put in the work, to leave no stone unturned. It’s not a sprint, it’s a marathon. You work hard, and it takes time. His passion for music was the most striking thing about him. To me, he is a warm, loving person that cares—a music nerd, essentially. Everything that you imagine, that you thought might be so scary, "Oh, how am I worthy"—all of a sudden you jump into this process where it’s all about the music, and there are no egos! He’ll say, "Maybe we should do this—what do you think?" [Feigns shock.] "What do… I think? Uhhhh..."

With Max, you switch focus to what you’re trying to achieve and what you’re trying to do. All of the other things fade away. But when you say it like that, it’s still surreal to actually be a part of this with him. Working with the people I literally saved articles about from Swedish newspapers—"Oh, Rami [Yacoub] programmed the drums for this Number One record with Britney Spears"—like, I still have that piece of paper cutout from the article! It’s very, very cool. Now they are my friends and my extended family.

But I guess it’s always like that: you build up ideas about people with great power and great knowledge and great success and achievements. Then you realize, they’re normal people that are just very passionate about something.

What other lessons have you taken away from working with Max?

He is very good at creating a safe environment in the room, so people become the best versions of themselves, so you can make all the mistakes, so you can try the crazy ideas and stumble over the happy accidents that can become the core of the song. That’s a very helpful lesson—you can use the accumulated energy in the room, in a way, to let people shine. Create a great environment. Write things. Make all the mistakes. And, maybe later, fix things! Then you can rework things and work on the arrangements. If you just stop the flow to fix things in the moment, the energy falters.

Max is great with people. He makes you feel great. The first time I was in a room with him, he made me feel like I could do something. There were no differences between us, essentially. He asked for my opinions. The thing with him that I think is so cool is that he has great taste. A lot of people talk about how our team has formulas, or steps to follow when we make songs. I don’t know who said that or came up with those things, because there are no structures or magic tricks. That’s totally made up. In his case, I think he follows his gut feeling.

As a young producer/songwriter, you’re very close to things. He is really good—which comes with experience—at taking a step back and seeing the whole thing. He paints with a bigger brush. "What’s the drama here? If this part is very crowded, maybe we need something to balance it here. The energy needs to come down. If you listen to this 20 times, you'll realize we need to work on this passage here."

He’s good at pulling back and looking at a song from a mile away.

Yeah! He’s very versatile, but watching him, I was like, "Oh, this is how the pros work." You can switch focus. You can be granular: "What’s wrong with the bass line? What’s wrong with the kick drum?" Then you can zoom back and say, "Ok, how does this feel? What’s the function of this part? How do we make this part as strong and as clear as possible?"

He also stresses the importance of vocals. That’s one of the big things he’s taught me: work hard on the vocals. Sit there. Do a lot of takes. Let the lead vocal flow naturally. Spend time on that. There are no shortcuts to that. You need to work hard on it. Back in the day, it was just a matter of doing more takes, more takes, more takes. Now we have tools so you can easily comp and make the best version of a vocal take. But essentially what you hear in a song, you hear the vocals, you hear a kick drum, and some music. If you don’t get that right, the rest of it doesn’t matter.

What intentions do you approach sessions with? How do you go in and leave with the best possible work?

I always have an idea of what it could be. "What if this artist did this? What do I wanna hear this artist do?" Most of the time, as a producer in the room, you’re responsible for getting the energy going. Everything comes from deep conversation. In terms of getting a vibe going, you as a producer need to bring something that sparks something else. I never come unprepared, but I like to start everything from scratch. Maybe that’s the benefit of playing instruments—you play something and it’s more like creating on the spot.

One thing I wanna be good at is tuning into the room. Like, "Oh, people are reacting to this!" You can feel when you’re doing something, playing certain chords, when people feel like it’s special—without even saying anything. You do it a lot of times, you have a lot of sessions, and you become good at feeling that energy and what people are reacting to.

With that said, it’s hard. You want to follow the energy, but you also have to steer it, but you don’t want to box anyone in. It doesn’t feel right to say that I help people do their thing and I’m not part of it, because I am, of course. Sometimes I do more than steering. Like when we did “Easy” on Troye’s EP, that morning I had that [sings the verse melody] on my synth. Troye came into the room, heard it, and that started something.

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Let’s talk about that creative collaboration with Troye. He’s someone you’ve returned to work with on his new In A Dream EP. How did you two first meet, and why do you keep returning to that relationship?

Troye and I met as a booked session. He came to Sweden for a week or two in 2017, and was meant to work with a lot of people. The first day was nice, and the second day was a good session, but sometimes you need the release of, "Oh, we’ve got something." That came on day three. Day two was close, so he canceled his session the next day. We weren’t supposed to have the third day, but we had it and that’s when "My My My!" was written. He’s just a wonderful person to be around. He has that impact on people. Creatively, he’s very open. He’s very receptive. He always comes to the studio inspired by something: "There was this movie, or this novel, or this coffee shop where the vibe was cool!"

Somehow, he finds an angle. He’s very good at verbalizing and putting his feelings into words. That’s very inspiring to me—an artist who has visions and ideas and brings things to the table. It’s not like you’re meeting him and he’s like, "Ok, what’re we going to do today?" He’s not like any other artist to me. That’s why we keep coming back to each other, because we have a lot of fun together. We find common ground, where I get to be free and he gets to be free and we can create something together.

For his new EP, he came here last year, and I don’t think he was ready for a new album. He didn’t have a plan for "a new big record!" Maybe that’s a sign of the times, too, that artists just want to make music and put it out as a quicker process. This project captured something that he’s been going through since last summer. We just started working.

The first song that felt like we were on to something was "Take Yourself Home." That’s one really cool thing as a songwriter and producer, to create these relationships with artists. You get to develop something together. You feel like you have your thing going. He knows that when we’re working, we have something special.

Plus I imagine there’s something fulfilling for both of you in the ability to return to a collaboration time and time again, because you each know how the other works, and the walls have already come down. It’s probably easy to get back into the swing of making art again much more quickly.

It’s less of the speed dating you have to do in this industry—which can be amazing. But I love that, too, when you just jump into something. Oftentimes that’s when you stumble upon an idea that becomes something. And since it’s the first time you meet, you’re doing a little extra. You want to be the best version of yourself. That versus all the things you were saying about being comfortable with someone… having that trust that I can have a bad day and it’s ok, we’ll come back tomorrow and do another song, a better song? That’s special.

Have you found that one-day magic with anyone recently?

One song in a day that turned out really fun and great was working with Sabrina Carpenter. We did a song called "Bad Time." We just jumped on it. As a producer from Sweden working with an American artist, you think, “Can I be here? What can I do? What can I contribute?” But you go in with that energy like, “OK, I’ve got one day. I have to do my best. I have to give it my all.” It’s that feeling! It becomes like sports. You have a limited time.

I was so hyped that day. It was all done in a day, I think. I worked so hard on that. I remember sending it to her and she was like, [shocked voice] "…. Did you do this already?" That was a really nice experience. Of course not every session goes like that. Maybe when you’ve proven yourself a little bit, in the industry, when you’ve gotten your name out and people want to work with you again, you can get more time. That’s always preferable—to make the mistakes and also to explore the more obscure stuff. To push boundaries a little bit. "This is your sound—but can it be this, too?" Maybe you don’t want to waste taking a wild chance, a leap of faith, when you just have one day. Maybe you end up doing more safe stuff when you have limited time.

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One artist you did have the time with is Allie X, whose album Cape God you produced. How did that partnership come about?

We met by accident. I was working with Troye on Bloom in Los Angeles in 2017. I heard a song at the gym on my Discover Weekly playlist, and I said, "Oh, I like this, what is it?” It was Allie X’s "Paper Love." I mentioned that to Troye and he said, "Oh, that’s a friend of mine! I should bring her to the studio. Maybe she could come tomorrow." She came the day after and that was the day we wrote "Plum" [for Troye]. That was our first connection. I knew very little of her artist project and what her songs were like.

When she came to Sweden, we were supposed to work a week, kind of randomly. It was just writing—me, Allie, and James Ghaleb, who’s a friend of mine. No one knew if we were writing for her, or to pitch, or for someone else. And Allie is hilarious. She can go crazy and jump around the room and throw cushions and make weird noises, and she can be super deep in conversations. She’s super intelligent.

We had a guitar and we started jamming. She said something like, "I have a line: 'I want to be near fresh laundry / It’s been too many years of not folding.'" Me and James were like, "…right." But we found something! "Fresh Laundry" was the first song we did. It was a crazy week. We worked almost around the clock in six days. We ended up with "Fresh Laundry," "Rings a Bell" and "Regulars." We had a week in L.A. too, and after that, she asked me to do the whole thing.

Working with Allie has been very liberating, because she is so in favor of me being creative and trying weird, obscure stuff. She’s willing to stretch things and push a little bit, musically. I come from jazz, with chords and chord progressions and modulations between keys and songs. I felt that this was a way for me to stimulate that side of myself. Sometimes you can feel boxed in. Some pop artists just want to do their thing—and that’s great. Some artists are more open. There’s always a balance between that and what the music needs. I felt, working with Allie, there was more space to evolve these things musically.

My job is to make the music sound like their world. Sometimes they think they know what they want it to sound like. All of a sudden, you stumble over something they didn’t see coming. Then that becomes the core of it. Allie had no idea that the Cape God sound was going to be that. It’s something that happened when our worlds collided. I think in those cases, that’s the producer’s biggest role. You help the artist to create their vision, sonically.

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You worked with Britney Spears on "Hard to Forget Ya" on Glory. Hers is one of the most iconic, singular voices in modern pop—you can’t ever unhear it. How do you even begin to produce those vocals?

Tell me about it. When I started making music, one of my main goals was to have a Britney Spears song. That was like the last boss in the video game. [Laughs.] The song was actually written during the first songwriting camp in Las Vegas for Warner Chappell. Justin Tranter, Julia Michaels, Mattman & Robin were all in the room next to us. Two of the songs—my song and "Do You Wanna Come Over?"—were written on the same day. Karen Kwak [the executive producer of Glory] was coming over the day after to listen to both of the demos. It was such a fast process.

For some reason, I had that rhythm [sings the melody of the song’s chorus] when I woke up that day. I brought that into the room. Both Chi and Blu, from [songwriting and production duo] Nova Wav, and Ian Kirkpatrick and Edward Drewett were all there. I knew Karen was coming over so I said, "Can we do something for Britney? Just for fun? She’s an icon, she’s amazing, let’s just do it." So we did.

Working on that song, there were a lot of things to fix. The foundation was great and felt really Britney, like something she could do. It felt great. But I took it home to Sweden and worked on it, and Ian worked on it too and sent me files. The Nova girls were out in the countryside and they sent me voice notes. It was a puzzle making that song, but we got it to work, so I sent it to Karen again. Then we didn’t hear anything. All of sudden, we heard: "Britney wants to record it. She loves it."

I couldn’t be there to record her. I was devastated. It was in a hurry too. I think it was one of the last songs she recorded for Glory. But I got the vocals in. One of the things I remember so strongly is her voice has this frequency, that tone that defined my teens. I couldn’t work on it for the first half hour, because I was literally shaking. I was shaking! I feel embarrassed to say this, but I was like, "It’s her. It’s her. It’s HER!" Working on that song and on the vocals… [shakes his head in disbelief]

I had to go back and ask her to re-sing some parts, and I sang a couple of ad libs and said, "Can you do that?" She did and then I felt like, "I can’t believe Britney Spears is singing my words and ad libs back to me." The younger version of myself and myself as a grownup were just over the moon and up in the clouds.

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You also netted a song with Taylor Swift on Reputation, "So It Goes…" Did that connection come through Max?

I’d just become a father. I was not in the room when the melody and the lyrics were written. Max and Shellback did half of the album with her in L.A., and I had done this [instrumental] track—which is weird too, because I don’t do tracks. No one really does tracks on our team now. But I’d started that idea. Shellback was looking through things on his computer, listened to that track, and Taylor reacted to it. "Oh, what’s that? That’s special. I haven’t done anything like that. Can we do that?"

So they were vibing and doing melodies, and Taylor had the lyrics. She wrote everything quickly. I woke up—this is the funny part of the story—and someone is FaceTiming me at 6:30 in the morning. I’ve just had a child. I was up all night and my eyes were bloodshot and my hair was crazy. I saw it was Shellback and I ignored the call, put my phone away, and jumped into the shower. My girlfriend is like, "Can you answer your phone? Someone’s calling you constantly, it’s Johan [Shellback]! Can you just take it?" I got out of the shower with a towel wrapped around me and I texted Shellback like, "Ok, it’s 6:30 a.m., I am so tired, I’ve been up all night, and I just got out of the shower. Can I call you back later?" He said, "No. Call me. Now." [Laughs.]

I called him back and saw this girl on his couch. She goes, "Hi! It’s Taylor! How are you?" And I’m presenting myself [in a towel] after a shower… it was a very unpleasant picture for her. She goes, "We just heard the track. We had the melody. The lyrics are like this. I can read you the lyrics! I had this idea. What do you think about that?" And I was like, "…yes!" It was a very strange songwriting session for me, but I’m very thankful for that. It’s the one FaceTime call I’ll remember for the rest of my life.

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You've also produced two songs on Katy Perry's new record, Smile—"Teary Eyes" and "Not the End of the World." How did you get those cuts?

JKash [Jacob Kasher] brought me onto this project. This was in April. Everything was shut down and I couldn’t travel. He said, "We have this song, ‘Teary Eyes,’ maybe you could help with the production? We’d like something extra." I don’t remember what it sounded like or what I was supposed to do, but I was sent all the files and then I basically did my thing, together with the other producer, Andrew Goldstein, finding the balance and the final sound. Once we had that done, and it turned out really good, we did the same with the other song. In those cases, it’s more like enhancing things. All the parts are there. All the chords are there. The melody’s there! It’s the exciting part—and a little bit the scary part—of being a producer. It’s not like you go to school and you have this diploma or certificate that says, "Now you’re a producer. Go out into the world and produce!" Everybody has their own ways and learns it by just doing. How do you make your song sound great? It doesn’t matter how you do it, as long as you end up with a great product.

What you do in those cases is, you get files and then you do it the way you wanna do it. It’s hard to collaborate because there are no rules! I was happy to play a small part on those.

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You mentioned that landing a Britney song was one of your goals. Do you have other similar career achievements you’re dreaming of?

When it comes to fascination with vocalists, those tones that resonate in the body, I definitely want to have a Rihanna record. [Laughs.] I love the music she’s been doing lately. It’s so amazing. Bruno Mars is one of those too, someone who wows me. He’s doing his thing. It’s so fantastic to watch him in his element, and I think we’d have a fun day jamming in the studio.

To me, success is being able to do this at all. The next song you’re doing and working on, the feeling it gives you when it hits you right, when you get it to sound right or when you nail it—"Oh, there it is!"—and you can blast it and it feels good in your body… that’s success to me. Every time that happens, it’s success. If I can get to feel that, hopefully someone else in the world can feel that way too.

I’m still pinching myself, like, “Wow, I can do this. I can support my family by making music.” How cool is that? If I can do this in five years, that is true success. I’m 34 now. I’ve actually been in this industry for 15 years, but I haven’t been on this level for 15 years. Things take time. A lot of people fall off along the way. It’s not a fair industry at all. So I’m very humbled and very thankful and grateful that I can be doing this… but a Rihanna record would be nice. [Laughs.]

Ricky Reed Invites You Into 'The Room' Where It Happened

Some artists are lucky enough to have a moment: a song of the summer, a radio hit, or a point at which their song dominates the pop conversation. Before even launching her own singing career, Amy Allen has done just that — multiple times.

In 2022, the Maine native contributed to hit songs from Harry Styles, Lizzo, Charli XCX, and King Princess; at the 2023 GRAMMYs, she was one of the inaugural nominees for Songwriter Of The Year, Non-Classical, and celebrated an Album Of The Year win alongside Styles thanks to her work on Harry's House. And as of press time, two songs she co-wrote with Sabrina Carpenter are in the top 10 of the Billboard Hot 100 chart: "Espresso" and "Please Please Please," the latter of which hit No. 1.

When you have a resume and catalog as impressive as Allen's, it's hard not to get stuck in a run of highlights — but Allen's writing style is so full of remarkable emotional depth and inevitable hooks that her life and career deserves further exploration. After binging on classic rock and performing in rock and bluegrass bands in her youth, Allen began writing songs for others in the mid 2010s and has only continued to expand her impact on audiences and collaborators alike.

"Amy is a once-in-a-lifetime writer and friend — it all comes to her very naturally and effortlessly," Carpenter recently told Variety. "She's super versatile: She can wear any hat and yet it still feels authentic. I've learned a lot from her and admire what an incredible collaborator she is."

Along the way, Allen has continued honing her skills as an artist in her own right, releasing a handful of EPs and singles since 2015, initially under the name Amy and the Engine. But on Sept. 6, she's ready to fully introduce herself with her debut album — fittingly titled Amy Allen.

Just after Allen celebrated her latest No. 1 and released her newest single, "even forever," GRAMMY.com rounded up the key details you need to know about the singer/songwriter's diverse musical background, from her advocacy for female creators to seeing Harry Styles sing a song she co-wrote to a massive audience.

Her Origin Story Features A Lot Of Car Talk

Allen's early musical growth relied on four-wheeled vehicles to drive the plot forward — in many different forms. Growing up in rural Maine meant long car rides to for school and family outings, which in turn meant a lot of time with the radio.

"My dad is the biggest classic rock fan, so since I was little, I spent hours every day listening to music in the car with him and my sisters," she told Variety earlier this year.

When it came time for one of her sisters to start a band, the elder Allen named it No U-Turn, setting the theme. When the band needed a new bassist, Amy took up the low end at just 8 years old, learning classic songs from the likes of Tom Petty and Rolling Stones. The band started collecting opening spots at a bar in Portland, Maine, and lasted until Allen was in high school and her sisters had left for college. In addition, she started playing in a bluegrass band called Jerks of Grass alongside her high school guitar teacher.

Eventually, Allen thought about moving on and changing course. "I went to nursing school at Boston College for two years, and within a month of getting there I was like, 'I made a big mistake,'" she continued. After moving over to the prestigious Berklee School of Music, Allen started a new project, yet again turning to vehicular terminology: Amy and the Engine, who would go on to open for the likes of Vance Joy and Kacey Musgraves. The project's timeless indie pop charm shone brightly on singles like "Last Forever" and the 2017 EP Get Me Outta Here!, fusing references ranging from the Cranberries to the Cure.

She's A Major Champion For Women In Music

Back in 2021, Allen pondered whether it was time to carve up one of America's most prominent monuments. "Can you imagine tits on Mount Rushmore/ And Ruth Bader Ginsburg from dynamite sticks?" she sang on "A Woman's World," a highlight from her 2021 solo EP AWW!. The song backs off from that explicit ask, but the low-slung waltz of ghostly piano and gentle acoustic guitar still subversively slices at traditional gender roles and power dynamics. 

And while the track may focus its first verse on the Notorious RBG, Allen designed it as a more approachable anthem. "I felt very proud of that song. And it's something that I love to play live, because I think that it's nice as a woman to give that moment to other women in the audience where I see them," she told The Line of Best Fit upon the EP's release.

Her solo work sits in a long line of female pop and rock stars looking to lift others up — with Allen's list of influences including everyone from the Carpenters and Pat Benatar to No Doubt, Hole, and Siouxsie and the Banshees. But she's also aware of the shortcomings in the industry when it comes to behind-the-scenes matters, with female songwriters representing a disproportionately small percentage of the industry and often at lower revenue than their male counterparts. 

"It's important to have more women writing and performing so that younger girls can be hearing that and really connecting with that and resonating with that, and then being inspired to do that themselves," she continued. "I'm really excited to hear what the next generation of singer songwriters creates, and I want to do my part in making sure that they're able to."

She Went Full Circle With Selena Gomez

Allen's emotionally salient and indelibly quirky songwriting with the Engine caught the attention of more than just adoring fans. While on a tour stop in New York, she connected with Scott Harris, a songwriter who has worked with the likes of Shawn Mendes, Camila Cabello, Niall Horan, and Meghan Trainor; when Allen eventually moved to New York, she would take on some of Harris' writing sessions when he was in Los Angeles. One of those sessions spawned the first song she'd place with another artist: Selena Gomez's "Back To You," which ended up on the soundtrack for the second season of Netflix's teen drama "13 Reasons Why" in 2018. 

"I grew up listening to Selena Gomez, and I know that she's going to be a pop icon forever," Allen told People in 2020. "She's awesome. I was so psyched…It definitely propelled my career in the pop writing field further."

Two years later, she would re-team with Gomez for "My Mind & Me," a single released alongside a documentary film of the same title following the impact of the star's diagnoses with lupus and bipolar disorder on her career. The single similarly offers an openhearted, empathetic look at big mental health struggles, this time in the form of a sweeping, cathartic power ballad driven by stumbling syllables and stair-step piano. 

The track was shortlisted for Best Original Song at the 2023 Academy Awards, charted in more than a dozen countries, and, perhaps most importantly, seemed to have made quite the connection with Gomez. "Honestly, it was therapeutic for me," the pop star and actress told Variety in 2022. "I felt super connected to what I was singing and what I was saying."

She Loves Seeing Her Collaborators Live

Songwriters often wind up hidden behind the scenes, unable to really gather the impact that their artistic expression is making on others. But thankfully, Allen has been able to catch a peek in on the arena-sized reactions for some of her biggest collaborators. 

One of Allen's most-played co-writes is "Adore You," a highlight from Harry Styles' 2019 album, Fine Line, which has nearly 1.7 billion streams on Spotify alone as of press time. The buoyant, slippery burst of Fleetwood Mac-indebted funk pop embodies the start of an infatuation, and fans similarly felt under the song's spell. And Allen finally got to see that feeling come to life at Styles' album release show at the Kia Forum in Los Angeles in 2019. 

"Watching Harry, I was really nervous because the album had only been out for a couple days and I wasn't sure if anybody would know that song," Allen told Variety in 2020. She also noted that the song was a hard turn from more heartbroken tracks she'd written for the likes of Halsey. "'Adore You' was my first feel-good song, so I'm psyched about that," she added.

Though not in person, Allen got a similar bolt of joy when she was able to watch Lizzo perform Styles' track for BBC Radio 1 in 2020. "I idolize Lizzo," Allen continued. "It really just goes to show that the right song can be performed by many different people." 

Little did Allen know that she'd get to celebrate a GRAMMY nomination and win alongside Lizzo and Styles, respectively, just three years later. She co-wrote "If You Love Me" from the flute-jamming pop star's 2022 record Special, which was nominated for Album Of The Year at the 2023 GRAMMYs, where Styles' Harry's House (which featured Allen's co-write "Matilda") won the coveted honor.

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She Shapeshifts Her Songwriting For Each Artist

When a songwriter has to split their tracks up between multiple different artists, it might be difficult to ensure that each track sounds appropriately fitted to each performer. For Allen, it all comes down to knowing when to follow the rules and when to break them. 

"Sometimes we'll be writing and someone will say, 'It should go straight to the chorus here,' and in my brain I'm like, 'But we need a pre-chorus!' — you know, following the ABCs of songwriting," she told Variety. "But I've really been trying over the last couple of years to deconstruct some of those — that you don't need to pull out all the tricks all the time. It can actually make the song more interesting."

In fact, it might come down to what she prioritizes when sitting down to write, rather than which rules to follow. While walking the red carpet for the 2021 Ivor Novello Awards for songwriting and composition, Allen explained her perspective on songwriting formulas to PRS For Music: "When I'm writing for myself, I usually start with the verse and move my way through, and lots of other times when I'm writing with another artist I make sure the chorus is bulletproof."

The GRAMMYs Are Helping Change Her Family's Perspective On Her Career

Allen earned her first GRAMMY nomination in 2022 for her work on Justin Bieber's Justice, but her most meaningful nomination came a year later for Songwriter Of The Year, Non-Classical at the 65th Annual Awards ceremony (alongside Nija Charles, The-Dream, Laura Veltz, and Tobias Jesso, Jr.). While Allen had a hard time contextualizing the recognition, it helped her loved ones better understand the impact of her career.

"I'm just so grateful…Even my closest family and friends, they're like, 'I've listened to this artist for so long, or I listened to this song on the radio, and I had no idea there was a team that helped make this happen,'" she told VERSED: The ASCAP Podcast in 2022. "People like me growing up in small towns, we don't know that being a songwriter for a career is an option… I watched the GRAMMYs when I was growing up, and if I had known that people were making great careers, I would've gotten on the track a lot earlier."

Though the inaugural award ultimately went to Jesso, Jr., Allen seems to agree that he's deserving of the honor — he's one of her collaborators on her upcoming album.

Maine Will Always Be Home — and An Inspiration

For those who haven't been to Maine, a quick look at Allen's social media will reveal just how stunning the American Northeast can be. Among TikToks promoting her music, Allen almost inevitably drops in a clip displaying the expansive natural beauty of her home state — whether she's on a rope swing over a dazzlingly blue pool of water, or dropping a front spin while skating on the ice, or watching the massive waves from her family home.

"POV: ur back home in maine and wondering why u ever left," she plastered over one particularly stunning TikTok montage of a dazzling day swimming amongst waterfalls. The only thing as beautiful as the scenery is the music behind it is an unreleased track about missing home — proof that Maine will always be part of her, and that she clearly made the correct choice in following her songwriting dreams.

Three months after OneRepublic began promoting their sixth album, Artificial Paradise, in February 2022, the band unexpectedly had their biggest release in nearly a decade. The pop-rock band's carefree jam, "I Ain't Worried," soundtracked Top Gun: Maverick's most memeable scene and quickly became a global smash — ultimately delaying album plans in favor of promoting their latest hit.

Two years later, "I Ain't Worried" is one of 16 tracks on Artificial Paradise, which arrived July 12. It's a seamless blend of songs that will resonate with longtime and newer fans alike. From the layered production of "Hurt," to the feel-good vibes of "Serotonin," to the evocative lyrics of "Last Holiday," Artificial Paradise shows that OneRepublic's sound is as dialed-in as it is ever-evolving.

The album also marks the end of an era for OneRepublic, as it's the last in their contract with Interscope Records. But for the group's singer, Ryan Tedder, that means the future is even more exciting than it's been in their entire 15-year career.

"I've never been more motivated to write the best material of my life than this very moment," he asserts. "I'm taking it as a challenge. We've had a lot of fun, and a lot of uplifting records for the last seven or eight years, but I also want to tap back into some deeper material with the band."

As he's been prepping Artificial Paradise with his OneRepublic cohorts, Tedder has also been as busy as he's ever been working with other artists. His career as a songwriter/producer took off almost simultaneously with OneRepublic's 2007 breakthrough, "Apologize" (his first major behind-the-board hit was Leona Lewis' "Bleeding Love"); to this day he's one of the go-to guys for pop's biggest names, from BLACKPINK to Tate McRae.

Tedder sat down with GRAMMY.com to share some of his most prominent memories of OneRepublic's biggest songs, as well as some of the hits he's written with Beyoncé, Adele, Taylor Swift and more.

I was producing and writing other songs for different artists on Epic and Atlantic — I was just cutting my teeth as a songwriter in L.A. This is like 2004. I was at my lowest mentally and financially. I was completely broke. Creditors chasing me, literally dodging the taxman and getting my car repoed, everything.

I had that song in my back pocket for four years. A buddy of mine just reminded me last month, a songwriter from Nashville — Ashley Gorley, actually. We had a session last month, me, him and Amy Allen, and he brought it up. He was like, "Is it true, the story about 'Apologize'? You were completely broke living in L.A. and Epic Records offered you like 100 grand or something just for the right to record the song on one of their artists?"

And that is true. It was, like, 20 [grand], then 50, then 100. And I was salivating. I was, like, I need this money so bad. And I give so many songs to other people, but with that song, I drew a line in the sand and said, "No one will sing this song but me. I will die with this song." 

It was my story, and I just didn't want anyone else to sing it. It was really that simple. It was a song about my past relationships, it was deeply personal. And it was also the song that — I spent two years trying to figure out what my sound was gonna be. I was a solo artist… and I wasn't landing on anything compelling. Then I landed on "Apologize" and a couple of other songs, and I was like, These songs make me think of a band, not solo artist material. So it was the song that led me to the sound of OneRepublic, and it also led me to the idea that I should start a band and not be a solo artist.

We do it every night. I'll never not do it. I've never gotten sick of it once. Every night that we do it, whether I'm in Houston or Hong Kong, I look out at the crowd and look at the band, and I'm like, Wow. This is the song that got us here.

We were halfway through promoting Dreaming Out Loud, our first album. I played basketball every day on tour, and I snapped my Achilles. The tour got canceled. The doctor told me not to even write. And I had this one sliver of an afternoon where my wife had to run an errand. And because I'm sadistic and crazy, I texted [songwriter] Evan Bogart, "I got a three-hour window, race over here. Beyoncé called me and asked me to write her a song. I want to do it with you." He had just come off his huge Rihanna No. 1, and we had an Ashley Tisdale single together.

When you write enough songs, not every day do the clouds part and God looks down on you and goes, "Here." But that's what happened on that day. I turn on the keyboard, the first sound that I play is the opening sound of the song. Sounds like angels singing. And we wrote the song pretty quick, as I recall. 

I didn't get a response [from Beyoncé after sending "Halo" over], which I've now learned is very, very typical of her. I did Miley Cyrus and Beyoncé "II MOST WANTED" [from COWBOY CARTER] — I didn't know that was coming out 'til five days before it came out. And when I did "XO" [from 2013's Beyoncé], I found out that "XO" was coming out 12 hours before it came out. That's how she operates.

["Good Life"] was kind of a Hail Mary. We already knew that "All the Right Moves" would be the first single [from Waking Up]. We knew that "Secrets" was the second single. And in the 11th hour, our engineer at the time — who I ended up signing as a songwriter, Noel Zancanella — had this drum loop that he had made, and he played it for Brent [Kutzle] in our band. Brent said, "You gotta hear this drum loop that Noel made. It's incredible."

He played it for me the next morning, and I was like, "Yo throw some chords to this. I'm writing to this today." They threw some chords down, and the first thing out of my mouth was, [sings] "Oh, this has gotta be the good life." 

It's the perfect example of, oftentimes, the chord I've tried to strike with this band with some of our bigger records, [which] is happy sad. Where you feel nostalgic and kind of melancholic, but at the same time, euphoric. That's what those chords and that melody did for me.

I was like, "Hey guys, would it be weird if I made the hook a whistle?" And everyone was like, "No! Do not whistle!" They're like, "Name the last hit song that had a whistle." And the only one I could think of was, like, Scorpion from like, 1988. [Laughs.] So I thought, To hell with it, man, it's been long enough, who cares? Let's try it. And the whistle kind of made the record. It became such a signature thing.

Adele — "Rumour Has It," '21' (2011)

"Rumour Has It" was the first song I did in probably a four year period, with any artist, that wasn't a ballad. All any artist ever wanted me to write with them or for them, was ballads, because of "Halo," and "Apologize" and "Bleeding Love."

I begged [Adele] to do a [song with] tempo, because we did "Turning Tables," another ballad. She was in a feisty mood [that day], so I was like, "Okay, we're doing a tempo today!"

Rick Rubin was originally producing the whole album. I was determined to produce Adele, not just write — because I wanted a shot to show her that I could, and to show myself. I stayed later after she left, and I remember thinking, What can I do in this record in this song that could be so difficult to reproduce that it might land me the gig?

So I intentionally muted the click track, changed the tempo, and [created that] whole piano bridge. I was making it up as I went. When she got in that morning. I said, "I have a crazy idea for a bridge. It's a movie." She listens and she says, "This is really different, I like this! How do we write to this?" 

I mean, it was very difficult. [But] we finished the song. She recorded the entire song that day. She recorded the whole song in one take. I've never seen anyone do that in my life — before or since.

Then I didn't hear from her for six months. Because I handed over the files, and Rick Rubin's doing it, so I don't need to check on it. I randomly check on the status of the song — and at this point, if you're a songwriter or producer, you're assuming that they're not keeping the songs. Her manager emails my manager, "Hey, good news — she's keeping both songs they did, and she wants Ryan to finish 'Rumour Has It' production and mix it." 

When I finally asked her, months later — probably at the GRAMMYs — I said, "Why didn't [Rick] do it?" She said, "Oh he did. It's that damn bridge! Nobody could figure out what the hell you were doing…It was so problematic that we just gave up on it."

I was in a Beyoncé camp in the Hamptons writing for the self-titled album. [There were] a bunch of people in the house — me, Greg Kurstin, Sia — it was a fun group of people. I had four days there, and every morning I'd get up an hour and a half before I had to leave, make a coffee, and start prepping for the day. On the third day, I got up, I'm in the basement of this house at like 7 in the morning, and I'm coming up with ideas. I stumble across that chord progression, the guitar and the melody. It was instant shivers up my spine. 

"Lately I've been losing sleep, dreaming about the things that we could be" is the only line that I had. [My] first thought was, I should play this for Beyoncé, and then I'm listening to it and going, This is not Beyoncé, not even remotely. It'd be a waste. So I tabled it, and I texted the guys in my band, "Hey, I think I have a potentially really big record. I'm going to finish it when I get back to Denver."

I got back the next week, started recording it, did four or five versions of the chorus, bouncing all the versions off my wife, and then eventually landed it. And when I played it for the band, they were like, "This is our favorite song."

It was my second session with Taylor. The first one was [1989's] "I Know Places," and she sent me a voice memo. I was looking for a house in Venice [California], because we were spending so much time in L.A. So that whole memory is attached to me migrating back to Los Angeles. 

But I knew what she was talking about, because I lived in New York, and I remember the feeling — endless possibilities, all the different people and races and sexes and loves. That was her New York chapter. She was so excited to be there. If you never lived there, and especially if you get there and you've got a little money in the pocket, it is so exhilarating.

It was me just kind of witnessing her brilliant, fast-paced, lyrical wizardry. [Co-producer] Max [Martin] and I had a conversation nine months later at the GRAMMYs, when we had literally just won for 1989. He kind of laughed, he pointed to all the other producers on the album, and he's like, "If she had, like, three more hours in the day, she would just figure out what we do and she would do it. And she wouldn't need any of us." 

And I still think that's true. Some people are just forces of nature in and among themselves, and she's one of them. She just blew me away. She's the most talented top liner I've ever been in a room with, bar none. If you're talking lyric and melody, I've never been in a room with anyone faster, more adept, knows more what they want to say, focused, efficient, and just talented.

I had gone through a pretty dry spell mentally, emotionally. I had just burned it at both ends and tapped out, call it end of 2016. So, really, all of 2017 for me was a blur and a wash. I did a bunch of sessions in the first three months of the year, and then I just couldn't get a song out. I kept having, song after song, artists telling me it's the first single, [then] the song was not even on the album. I had never experienced that in my career.

I went six to nine months without finishing a song, which for me is unheard of. Andrew Watt kind of roped me back into working with him. We did "Easier" for 5 Seconds of Summer, and we did some Sam Smith and some Miley Cyrus, and right in that same window, I did this song "Sucker." Two [or] three months later, Wendy Goldstein from Republic [Records] heard the record, I had sent it to her. She'd said, very quietly, "We're relaunching the Jonas Brothers. They want you to be involved in a major way. Do you have anything?" 

She calls me, she goes, "Ryan, do not play this for anybody else. This is their comeback single. It's a No. 1 record. Watch what we're gonna do." And she delivered.

My memory is, being in lockdown in COVID, and just being like, Who knows when this is going to end, working out of my Airstream at my house. I had done a lot of songs for movies over the years, and [for] that particular [song] Randy Spendlove, who runs [music at] Paramount, called me.

I end up Zooming with Tom Cruise [and Top Gun: Maverick director] Jerry Bruckheimer — everybody's in lockdown during post-production. The overarching memory was, Holy cow, I'm doing the scene, I'm doing the song for Top Gun. I can't believe this is happening. But the only way I knew how to approach it, rather than to, like, overreact and s— the bed, was, It's just another day.

I do prescription songs for movies, TV, film all the time. I love a brief. It's so antithetical to most writers. I'm either uncontrollably lazy or the most productive person you've ever met. And the dividing line between the two is, if I'm chasing some directive, some motivation, some endpoint, then I can be wildly productive.

I just thought, I'm going to do the absolute best thing I can do for this scene and serve the film. OneRepublic being the performing artist was not on the menu in my mind. I just told them, "I think you need a cool indie band sounding, like, breakbeat." I used adjectives to describe what I heard when I saw the scene, and Tom got really ramped and excited. 

You could argue [it's the biggest song] since the band started. The thing about it is, it's kind of become one of those every summer [hits]. And when it blew up, that's what Tom said. He said, "Mark my words, dude. You're gonna have a hit with this every summer for, like, the next 20 years or more." 

And that's what happened. The moment Memorial Day happened, "I Ain't Worried" got defrosted and marched itself back into the top 100.

Tate McRae — "Greedy," 'THINK LATER' (2023)

We had "10:35" [with Tiësto] the previous year that had been, like, a No. 1 in the UK and across Europe and Australia. So we were coming off the back of that, and the one thing she was clear about was, "That is not the direction of what I want to do."

If my memory serves me correct, "greedy" was the next to last session we had. Everything we had done up to that point was kind of dark, midtempo, emotional. So "greedy" was the weirdo outlier. I kept pushing her to do a dance record. I was like, "Tate, there's a lot of people that have great voices, and there's a lot of people who can write, but none of those people are professional dancers like you are. Your secret weapon is the thing you're not using. In this game and this career, you've got to use every asset that you have and exploit it."

There was a lot of cajoling. On that day, we did it, and I thought it was badass, and loved it. And she was like, "Ugh, what do we just do? What is this?"

So then it was just, like, months, months and months of me constantly bringing that song back up, and playing it for her, and annoying the s— out of her. And she came around on it. 

She has very specific taste. So much of the music with Tate, it really is her steering. I'll do what I think is like a finished version of a song, and then she will push everyone for weeks, if not months, to extract every ounce of everything out of them, to push the song harder, further, edgier — 19 versions of a song, until finally she goes, "Okay, this is the one." She's a perfectionist.

I love [our latest single] "Hurt," but my favorite song on the album is called "Last Holiday." I probably started the beginning of that lyric, I'm not joking, seven, eight years ago. But I didn't finish it 'til this past year.

The verses are little maxims and words of advice that I've been given throughout the years. It's almost cynical in a way, the song. When I wrote the chorus, I was definitely in kind of a down place. So the opening line is, "So I don't believe in the stars anymore/ They never gave me what I wished for." And it's, obviously, a very not-so-slight reference to "Counting Stars." But it's also hopeful — "We've got some problems, okay, but this isn't our last holiday." 

It's very simple sentiments. Press pause. Take some moments. Find God before it all ends. All these things with this big, soaring chorus. Musically and emotionally and sonically, that song — and "Hurt," for sure — but "Last Holiday" is extremely us-sounding. 

The biggest enemy that we've had over the course of 18 years, I'll be the first to volunteer, is, this ever-evolving, undulating sound. No one's gonna accuse me of making these super complex concept albums, because that's just not how my brain's wired. I grew up listening to the radio. I didn't grow up hanging out in the Bowery in CBGBs listening to Nick Cave. So for us, the downside to that, and for me doing all these songs for all these other people, is the constant push and pull of "What is their sound? What genre is it?" 

I couldn't put a pin in exactly what the sound is, but what I would say is, if you look at the last 18 years, a song like "Last Holiday" really encompasses, sonically, what this band is about. It's very moving, and emotional, and dynamic. It takes me to a place — that's the best way for me to put it. And hopefully the listener finds the same.

As summer rolls on, more tracks from artists across all genres continue to drop, and we couldn't be more excited. With album releases from John Summit, HARDY, OneRepublic, and Cat Burns to fresh singles from collaborations including Alesso and Nate Smith, July 12 brings a handful of new music to enjoy.

As you stroll through the weekend, make sure to check out these nine musical projects:

Serving as the lead single from 143, her first studio album since 2020, Katy Perry releases "Woman's World," a new pop track celebrating girl power and womanhood. Perry wrote the track alongside songwriter Chloe Angelides and producers Dr. Luke, Vaughn Oliver, Rocco Did It Again!, and Aaron Joseph.

Initially teasing the track through social media, the song drew attention from pop fans globally. The lead single from 143 marks both a comeback and a new era for the American Idol judge. "I set out to create a bold, exuberant, celebratory dance-pop album with the symbolic 143 numerical expression of love as a throughline message," Perry explains in a press statement.

Guess who's back? Eminem returns with his twelfth studio album, The Death of Slim Shady (Coup De Grâce). The album appears to be his last project before retiring his notorious alter ego, Slim Shady.

A standout track on the album is "Guilty Conscience 2," a sequel to the 1999 collaboration with Dr. Dre. Leading up to the album release, Eminem dropped two singles, "Houdini" and "Tobey," featuring Big Sean and BabyTron. The album is both a blast from the past and a revived representation of the renowned Detroit-raised rapper.

Premiering the song at her Machaca Fest set, Nelly Furtado returns to music with "Corazón," the lead single off her new album 7. The track is an upbeat dance song with lyrics in both Spanish and English, along with drums and flutes that bring it to life. The track was two years in the making, according to Furtado on Instagram.

"The essence of the song is that we're just out here living and trying to do our best," Furtado told Vogue. "Even when we make mistakes, it's coming from the heart. When it comes from the heart, it's never a mistake."

7 is set to captivate both loyal fans and new listeners. Centered around the vibrant theme of community, Furtado felt an irresistible pull toward creating new music, inspired by the diverse communities around her. The spirited energy of the DJ community that breathes new life into her pop classics to this day and the passionate online community yearning for her return, spurred by her collaborations with Dom Dolla and Tove Lo and SG Lewis, have both played a crucial role in Furtado's renewed artistic journey.

Amidst the viral resurgence of her 2019 track "Bags" on TikTok, indie sensation Clairo unveils her eagerly anticipated third studio album, Charm. Co-produced with GRAMMY-nominated Leon Michels of El Michels Affair, this enchanting project underscores a striking blend of musical artistry and innovation.

"I want afterglowing, and when I call a car / Send me eyes with the knowing that I could pull it off," she sings in "Sexy To Someone," the lead single from the album. Putting introspective lyricism at the forefront of all her projects without sacrificing quality instrumentals, this album is no exception.

In this genre-crossing collaboration, electronic artist Alesso joins forces with country singer Nate Smith on their new single, "I Like It." Though an unexpected blend of styles, the song blends elements from both artists' sounds, seamlessly combining country and dance as they proudly declare, they "like it like that."

With Alesso's electrifying instrumentals perfectly complementing Smith's spirited country vocals, the track captures the essence of summer in a song and is set to make waves throughout the season.

Featured as the official theme song for the upcoming movie "Kingdom IV: Return of the Great General", Japanese rock band One Ok Rock releases "Delusion:All." The upbeat, cinematic track is the band's latest contribution to the "Kingdom" movie soundtrack series, following their 2019 song "Wasted Nights." 

"It's been a while since we wrote 'Wasted Nights' for the first series of 'Kingdom,' and we are very honored to be a part of the movie again," said vocalist Taka in a press statement. "We tried to reflect "the various conflicts going on in the world today and the modern society" in the song, while making it blend into the worldview of 'Kingdom.'"

A love letter to her community and a deep dive into the intricacies of adulthood, Cat Burns presents her debut album, Early Twenties. Accompanying the album is a captivating short film directed by Libby Burke Wilde. The film tells the individual narratives of each character, touching on themes of mental health, relationships, and personal identity, mirroring the album's essence. 

With this well-rounded creative project, Burns showcases her full artistic prowess, making these releases a testament to her pioneering creative vision.

Making a triumphant return to music after 12 years, Uncle Kracker breaks down the boundaries between genres once again with his latest album, Coffee & Beer. The 13-track album intertwines country, pop, and rock, offering a musical journey that ranges from high-spirited anthems to laid-back, mellow tracks. 

"I wanted to give my fans a soundtrack to summer and what's better than the balance of first coffee…then beer? Coffee & Beer is going to be a fun one. Cheers," Uncle Kracker said in a press statement.

Drawing inspiration from the golden era of '70s Congolese rumba, Ghanaian highlife, and Nigerian afrobeat, the Meridian Brothers unveil Mi Latinoamérica Sufre. This concept album integrates the electric guitar into tropical Latin music in an innovative fashion. The album showcases a dynamic tapestry of sounds, blending cumbia, champeta, soukous, Brazilian tropicalia, and psychedelic rock, making it an exciting sonic journey.

Every June, Pride Month offers a time for the LGBTQIA+ community to reflect and raise awareness — but also, to party it up. While there were plenty of Pride anthems to pack playlists prior to this year, the past 12 months have seen some flawless new additions from a mix of fresh talent and long-standing stalwart artists that the queer community happily embraces.

While there's no set template on how to create an undeniable Pride anthem, there are major hallmarks: high-energy tempo, candid lyrics, delicious camp, and an undeniable groove. Between pop bops and dance floor jams, no Pride party is complete without at least a couple of the songs listed below. Cheers to the cathartic power of music to usher in another season of acceptance and equality. 

You play it when you wake up. It's on the radio on the way to the club. It's playing at the club. Heck, it's even blasting at the gym the next day. 2024's newly crowned pop princess, Sabrina Carpenter, released an instant classic when she unfurled "Espresso" in April — more than enough time to learn the lyrics by Pride Month.

With an infectious melody targeting your ears like a jolt of morning caffeine, its steaming dose of memorable lines ("I'm working late/ 'cause I'm a singer") are the handiwork of Carpenter along with three veteran lyricists, including close collaborator Steph Jones, Amy Allen (Harry Styles, Selena Gomez) and Julian Bunetta, who is perhaps best known for his plethora of work with One Direction. "Espresso" marks further proof that if there's one thing Carpenter knows it's how to command an audience, whether through her captivating stage shows or viral, story-telling music videos that link together (including for recent single "Please, Please, Please").

Read More: Sabrina Carpenter Releases New Single "Please Please Please": Everything We Know About Her New Album 'Short N' Sweet'

Charli XCX — "360"

It's safe to say that Charli XCX is experiencing a new phase of her decade-long career as a critically acclaimed starlet. Her sixth studio album, BRAT, marks an evolution of her sound into a batch of adult tracks tailor-made for the club. As a result, it's spawned a number of viral memes among her legions of LGBTQIA+ fans, who have also boasted lime green avatars on social media in honor of what's being dubbed "brat summer."

It's no coincidence then that she'd release the project in the midst of Pride Month, led by the relentlessly pulsating single "360." With lyrics that have quickly already found itselves queer canon — "Drop down, yeah, Put the camera flash on" — the album boasts a hyperpoop energy and unapologetic individuality, making her recent spate of shows some of the hottest tickets in town.

Read More: Charli XCX's Road To 'Brat': How Her New Album Celebrates Unabashed Confidence & Eccentricity

Giddy up! One of the brightest out stars in the LGBTQIA+ musical universe, the ever-masked Orville Peck has made a name for himself as a queer outlier in the country music scene. So it stands to reason that he'd partner up with none other than Kylie Minogue — who had the defining song of Pride '23 in the form of "Padam Padam" — for their own anthem for 2024. The result is "Midnight Ride," a whistle-powered, Diplo-produced earworm that's perfect for a rainbow-tinted hoedown.

The team-up is part of Peck's forthcoming duets project, for which he recruited a cavalcade of singing partners for queer-themed country-tinged tracks in a unique two-volume album dubbed Stampede (which drops in full Aug. 2). The collaborators include Willie Nelson, who croons with Peck on the eye-raising ditty "Cowboys Are Frequently Secretly Fond of Each Other."

Dua Lipa — "Houdini"

When Dua Lipa released Future Nostalgia in 2020, it became an instant classic in the pop world and LGBTQIA+ lexicon alike, cementing Lipa (and songs like "Don't Start Now" and "Physical") into the grand pantheon of queer playlist magic. The pressure was on, then, for her follow-up to live up to its commercial success and fandom.

Cue "Houdini," from this year's Radical Optimism, a cathartic dance floor anthem by one of the gay community's newer idols. Aside from setting the perfect tone for Pride Month with its delicious hook and refreshing confident lyrics "(Prove you got the right to please me"), in an interview with  SiriusXM Hits 1, Lipa said the production of the track set the tone for the new project: "I was like, "Okay, I feel like now I know exactly what this album's gonna be and what it's gonna sound like."

Read More: Dua Lipa's Road To 'Radical Optimism': How Finding The Joy In Every Moment Helped Her Become Pop's Dance Floor Queen

The Challengers soundtrack

Who knew that a soundtrack to a tense and sultry tennis drama would yield an album fit for the dance floor? The thumping array of tunes that Trent Reznor and Atticus Ross churned out for Luca Guadagnino's Challengers has proved to be a hit beyond the film, with its synth-propelled soundtrack proving to be a unique and wild tracks, including the driving "I Know." 

Its embrace in the LGBTQIA+ community should come as no surprise considering the single note the director gave Ross before he started work. "The way he described 'Challengers' was in a one-sentence email," Ross told Variety earlier this year. "Do you want to be on my next film? It's going to be super sexxy.' Two x's."

Ariana Grande — "yes, and"

Ariana Grande is no stranger to gay-friendly anthems; in fact, she delivered one of 2020's most iconic Pride moments with her Lady Gaga duet, "Rain On Me." When her album eternal sunshine dropped earlier this year, it was no surprise that she'd offer a few more bops for a Pride playlist.

Among them is "yes, and," a Max Martin-produced hit that can get even your stiffest friend moving on the dance floor. Perhaps it's no coincidence, then, that the creative team took the sonic elements of ballroom culture — a uniquely queer LGBTQIA+ experience — and fused them with lyrics perfect for a personal Pride anthem. "Say that s— with your chest," she croons. We will, Ari!

Read More: Listen To GRAMMY.com's 2024 Pride Month Playlist Of Rising LGBTQIA+ Artists

If you've been on a dance floor in the recent past, odds are you've grooved to nostalgic beats courtesy the South Korean producer Peggy Gou. The breakout star is known for her unique brand of throwback dance jams, which carry a distinct '90s-era flavor that has led her to be embraced in queer spaces from Fire Island to West Hollywood. The most infectious, "(It Goes Like) Nanana").... samples the German artist ATB's 1998 track "9 PM (Till I Come)," no doubt a reaction to the recent revitalization of 90s-era culture popular in the LGBTQIA+ community, which provides a thumping link to queer culture past.

"For me,  the DJ is someone who teaches people the value of music and educates them," Gou told L'Official of her musical mission. "It is someone who transmits a beautiful memory and is somehow responsible for it."

Chappell Roan — "Casual"

While Roan has been a bubbling-under singer/songwriter for a handful of years, 2024 has proved to be decidedly her time to shine. Ever since the release of her debut album, 2023's The Rise and Fall of a Midwest Princess, her back catalog has logged impressive streaming numbers, and she's commanded massive crowds at the likes of Governor's Ball and Bonnaroo.

Part of her appeal comes from her unabashed candidness about her sexuality (Roan identifies as a lesbian) and resilience. Both are exemplified by her single "Casual," which is about a relationship that doesn't seem to get all that serious, for better or worse.

However, Roan told the Associated Press last year that normally she isn't so sexually candid.  "The songs kind of give me the opportunity to act like that, and say that, and dress like that," she explained. "It's mainly to piss off — it's all a rebellion. That's what it is. It is very empowering, I think, for a lot of people. ... It's just not as empowering to me as it is living out a fantasy."

Read More: Chappell Roan's Big Year: The 'Midwest Princess' Examines How She Became A Pop "Feminomenon"

By now, we've all heard Troye Sivan's infectious hit "Rush" or seen its viral music video — both of which earned the singer his first GRAMMY nominations this year. In the interim, his 2023 album, Something to Give Each Other, is filled with plenty of other tracks that speak intimately and eloquently about the queer experience.

Take, for example, the luscious "One Of Your Girls," a meditation on when a gay man has a transactional fling with an otherwise straight person. It subsequently has turned into yet another queer definitive anthem for the Australian star.

As a result, Sivan has turned into one of the musical heroes of the community: not only unabashedly talented, but an eloquent chronicler of the gay experience. Even better, as he told  NPR last year, his queer-focused projects are as cathartic for him as they may be for listeners. "There's a big element of pride in the fact that I am now so comfortably, openly gay."