The full list of nominations for the 2023 GRAMMYs has arrived, and the music industry has quickly taken to social media to celebrate the latest honorees.

Read on to share in the excitement with some of the 2023 GRAMMY nominees, including Lizzo, Bad Bunny, Omar Apollo and more.

The 2023 GRAMMY nominations are officially here. See the complete list of nominees across all 91 GRAMMY categories.

It's about damn time. Lizzo woke up feelin' good as hell this morning, tweeting in all caps: "I JUST WOKE UP WHATS GOING ON?!?!? 😱" Fans were quick to tell her that she was nominated for 5 GRAMMY Awards, which brings her career GRAMMY nominations total up to 13.

Bad Bunny kept celebrations sweet and simple, tweeting the name of his album Un Verano Sin Ti with a red heart emoji upon hearing the news. His fourth solo studio album was nominated for Album Of The Year and Best Música Urbana Album.

Coldplay extended warm gratitude to the Recording Academy on Twitter, excitedly sharing their three GRAMMY nominations this morning. Music Of The Spheres was nominated for Album Of The Year as well as Best Pop Vocal Album, and the band's collaboration with BTS, "My Universe," is up for Best Pop Duo / Group Performance.

Brazilian singer and Best New Artist nominee Anitta tweeted a video of her thrilled live reaction, adding that her GRAMMY nomination is "the biggest achievement I could ever imagine."

Below in the thread, she shared appreciation for her fellow nominees: "Lots of love for all the other nominees making history ❤️"

First-time nominee Omar Apollo, whose debut studio album Ivory dropped this year, also shared his excitement for his Best New Artist nomination on Twitter.

Miranda Lambert said it best on Twitter: "Giddy up it’s Grammy time!" The former GRAMMY winner and country singer thanked The Recording Academy and congratulated her friends on Twitter.

After finding out she was nominated for Best New Artist and Best Melodic Rap Performance for "Big Energy (Live)," rising rapper Latto excitedly posted on Instagram and Twitter, encouraging people to never give up on their dreams.

Sam Smith and Kim Petras' track "Unholy" was nominated for Best Pop Duo/Group Performance. Petras shared a video of her and loved ones teary-eyed, and later tweeted a slew of reactions including a thank you to Smith.

Several artists took to Instagram stories to share their excitement.

Rising pop artist GAYLE, whose song "abcdefu" was nominated for Song Of The Year, posted selfies of herself with running mascara — the first slide reads "I'M CRYING WHAT," and the second reads "SONG OF THE F–ING YEAR."

Italian rock band and Best New Artist nominee Måneskin expressed love on their Instagram: "OMG! We can't believe our eyes and ears but we just got nominated as Best New Artist at the #GRAMMYs. We really couldn't be more THANKFUL and excited about it ❤️❤️❤️"

Bluegrass singer Molly Tuttle, also nominated for Best New Artist, reposted the Recording Academy's reel announcing the category and captioned it: "Is this real??? 😭😭😭😭"

2023 GRAMMY Nominations: See The Complete Nominees List

 The 2023 GRAMMYs, officially known as the 65th GRAMMY Awards, returns to Los Angeles' Crypto.com Arena on Sunday, Feb. 5, 2023, and will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT.

The eligibility period for the 65th GRAMMY Awards is Friday, Oct. 1, 2021 – Friday, Sept. 30, 2022. All eligible awards entries must be released within this timeframe.

The Recording Academy and GRAMMY.com do not endorse any particular artist, submission or nominee over another. The results of the GRAMMY Awards, including winners and nominees, are solely dependent on the Recording Academy’s Voting Membership.

Twenty-six-year-old rapper Anycia truly lives in the present. The Atlanta-born artist describes her most viral hits as if they were everyday experiences — she's simply going out of town on "BRB" and mad at a partner in "Back Outside" featuring Latto. 

Despite her calm demeanor and cadence, Anycia is a self-proclaimed "firecracker" and credits her success to her long-held confidence. 

"I [command] any room I walk in, I like to introduce myself first — you never have to worry about me walking into the room and not speaking," Anycia tells GRAMMY.com. "I speak, I yell, I twerk, I do the whole nine," adding, "I see tweets all the time [saying] ‘I like Anycia because she doesn’t rap about her private parts’... are y’all not listening?" 

With authenticity as her cornerstone, Anycia's genuine nature and versatile sound appeal broadly. On her recently released sophomore LP, Princess Pop That, Anycia's playful personality, unique vocal style and skillful flow are on full display. Over 14 tracks, Anycia keeps her usual relaxed delivery while experimenting with different beats from New Orleans, New York, California, and of course, Georgia. 

"I'm learning to be myself in different elements. I'm starting to take my sound and make it adapt to other beats and genres," she says. "But this whole album is definitely a little showing of me dibbling and dabbling.

The rising hip-hop star gained traction in June 2023 with her sultry single, "So What," which samples the song of the same name by Georgia natives Field Mob and Ciara. When Anycia dropped the snippet on her Instagram, she only had a "GoPro and a dream." Today, she has millions of views on her music videos, collaborations with artists like Flo Milli, and a critically acclaimed EP, Extra. On April 26, she'll release her debut album, Princess Pop That, featuring Cash Cobain, Luh Tyler, Kenny Beats, Karrahbooo and others. 

Ahead of the release of Princess Pop That, Anycia spoke with GRAMMY.com about her influences, maintaining individuality, working with female rappers, and using her music as a therapeutic outlet.

This interview has been edited and condensed for clarity.

Where did the title Princess Pop That come from?

Princess Pop That is my little alter ego, and my Twitter and finsta name. It's kind of like a Sasha Fierce/Beyoncé type of situation. 

The cover of your album gives early 2000 vibes. Is that where you draw most of your inspiration from?

Yeah. My everyday playlist is literally early 2000s music. I even still listen to [music] from the '70s – I just like old music! 

My mom is a big influence on a lot of the music that I like. She had me when she was like 19, 20. She's a Cali girl and has great taste in music. I grew up on everything and I feel like a lot of the stuff that I'm doing, you can kind of see that influence.

I grew up on Usher, Cherish, 112, Jagged Edge, Bone Thugs-N-Harmony, Teena Marie, Luther Vandross and Sam Cooke. Usher was my first concert, ever and actually my last concert — I went to his residency in Vegas with my mom. That's like our thing.

I know you had your hand in many different professions — including barbering and working at a daycare — how did you get into rapping?

I always liked music, but [thought] girl, we need some money right now. Rapping and music is cool, but I always had one foot in and one foot out. When I was [working] my jobs, it was more this is what I need to be doing right now — but I wasn't happy. 

It got to a point where I noticed that I was doing all these things, and it worked but it wasn't working for me. I didn't want to get caught up; I didn't want to be stuck doing something just because it works. I wanted to do something that I actually love to do. I decided to quit both jobs because I was literally making me miserable. 

I feel like that's what happened with a lot of our parents — they lose focus of their actual goals or what they actually wanted to do, and they get so caught up in what works in the moment. One thing about me, if I don't like something I'm done. I don't care how much money I put into it, if I'm not happy and it doesn’t feed me spiritually and mentally I'm not doing it. Right after [I quit] I was in the studio back-to-back making music. It eventually paid off.

Walk us through your music making process. 

A blunt, a little Don Julio Reposado, a space heater because I’m anemic. Eating some tacos and chicken wings or whatever I’m feeling at the moment. It’s not that deep to me, I like to be surrounded by good energy in the studio. 

People like to say female rappers aren’t welcoming or don’t like to work with each other. You’re clearly debunking this myth with songs like "Back Outside" featuring Latto and "Splash Brothers'' featuring Karrahbooo. What was it like working with them and how did these collaborations come about? 

Karrahbooo and I were already friends before we started rapping. It was harder for people to get us to do music because when we were around each other we weren't like, "Oh we need to do a song together." We had a friendship. 

Working with Latto, we didn't collab on that song in the studio. I did the song myself after being really upset at a man. I made the song just venting. I didn't even think that I was ever gonna put that song out, honestly. Latto ended up hitting me up within a week's span just giving me my flowers and telling me she wanted to do a song [together]. I ended up sending her "Back Outside" because I felt like she would eat [it up] and she did just that. 

She did! Are there any other female rappers you’d like to work with?

I really want to work with Cardi B — I love her! I'm also looking forward to collaborating with GloRilla. 

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Many female rappers come into the industry and feel like they have to start changing themself to fit a certain aesthetic or archetype. However, everything about you seems super unique — from your voice to your style and appearance. How do you maintain your individuality? 

Being yourself is literally the easiest job ever. When you're doing everything you're supposed to be doing, you're being genuine while you're doing it and you’re just being 110 percent authentically yourself — I feel like everything works out for you perfectly fine. 

I haven't had the urge to change anything or do anything different. The reason people started liking me was because I was being myself. Even if it wasn't accepted, I'm not going to stop being myself. I do what works for me and I feel like everybody should just do what works for them and not what works for the people outside of them. 

That's what creates discomfort for yourself, that’s how you become a depressed artist — trying to please everybody [but] yourself. I feel like people lose sight of that fact. Aside from this being a job or a career for me now, it’s still my outlet and a way I express myself;  it's still my form of art. I will never let anybody take that from me. It's intimate for me. 

Speaking of intimacy, what was the inspiration behind "Nene’s Prayer"? I want to know who was playing with you.

I was just having a little therapy session in the booth and everyone ended up liking it. Instead of getting mad, flipping out and wanting to go to jail I just put in a song. Even though I said some messed up things in the song, it’s better than me doing those messed up things. 

Have you ever written a lyric or song that you felt went too far or was too personal?

Nope. A lot of the [topics] that I [rap about] is just stuff girls really want to say, but don't have the courage to say. But me, I don’t give a damn! If it resonates with you then it does, and if it doesn't — listen to somebody else. 

Exactly! What advice would you give to upcoming artists trying to get noticed or have that one song that pops?

If you got something that you want to put out into the world, you just have to have that confidence for yourself, and you have to do it for you and not for other people. I feel like people make music and do certain things for other people. That's why [their song] doesn't do what it needs to do because it’s a perspective of what other people want, rather than doing [a song] that you're comfortable with and what you like.

How do you want people to feel after listening to ‘Princess Pop That?’

I just want the girls, and even the boys, to get in their bag. Regardless of how you went into listening to the album, I want you to leave with just a little bit more self confidence. If you’re feeling low, I want you to feel like "I am that bitch." 

It's a no judgment zone. I want everybody to find their purpose, walk in their truth and feel like "that girl" with everything they do. You could even be in a grocery store, I want you to feel like the baddest bitch. 

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After establishing herself as a global pop star, Brazilian singer Anitta is bringing the music of her country to the forefront. On the just-released Funk Generation, the Latin GRAMMY nominee puts a spotlight on funk carioca — Brazilian funk.

On the 15-track album, Anitta sings in Portuguese, Spanish, and English over funk carioca beats, which are Brazil’s aggressive and hyper spin on genres like hip-hop and Miami bass. As with her previous releases, Funk Generation has elements of EDM, reggaeton, and pop, but the rhythms also known as baile funk are the star. The album represents a new era for Anitta, which she first kicked off in June with "Funk Rave," a single and video that captures the spirit of Brazil's favelas where funk carioca was born. 

Anitta later introduced Brazil's melodic funk subgenre to her global audience with the dreamy "Mil Veces." Now Anitta is expanding her funky world by bringing artists like Sam Smith, Brray, and Bad Gyal into her funky world.

"I'm going to accomplish making a lot of artists and people like funk," Anitta tells GRAMMY.com, adding that she hopes listeners "start embracing this rhythm that's very good, that invites you to dance, and that has an energy that's very unique to Brazil."

Funk Generation follows Anitta's rise to international stardom. Following a decade of making her mark in Brazil and later Latin America, Anitta went fully international with her 2022 album Versions of Me and the viral hit "Envolver." The album helped Anitta garner a GRAMMY nomination for Best New Artist in 2023 and a Latin GRAMMY nomination for Record Of The Year. She later told GRAMMY.com that "dreamed" of putting out a Brazilian funk album.

Anitta has made that dream come true with Funk Generation. Here are five takeaways from her genre-bending album, including insight from the Brazilian superstar herself.   

Anitta Said Making A Funk Carioca Album Was A "Challenge"

In March 2023, Anitta revealed that she was trying to get out of her contract with Warner Music, alleging a lack of support from the label. After parting ways with Warner in April, she signed a new deal with Republic Records and Universal Latin shortly after. It seems that her new label home offered the support she was looking for: She released "Funk Rave" in June 2023. 

"This funk album has been a challenge for me because it's not a rhythm that people are doing out there," she says. "It's something that’s very new that I'm going to introduce to people so they like it, listen to it, and try to do it as well."

She Wants to Continue To Breaking The Divide Between Latin America & Brazil

While Brazil is a part of Latin America, there still exists a bit of a cultural divide with Spanish-speaking Latin American countries because of language differences. On Funk Generation, Anitta aims to bridge that gap by featuring Latin music acts who embrace her  Brazilian funk vibes. 

On the sultry "Double Team," she is joined by Puerto Rican singer and rapper Brray and Barcelona-based artist Bad Gyal, who performed with Anitta for the first time at awards ceremony Premio Lo Nuestro in February. They get into the groove in Spanish with no problem alongside Anitta.

"It's been many years since Brazil has gotten to this international level, that a lot of people are listening to Brazilian songs, and I know I've worked a lot for this to happen," Anitta says. "More Latin artists coming to Brazil, who are curious and interested in making a career there.

"It's been very important for me to create this cultural exchange because the Latino countries and Brazil are side-by-side, but it's like there's a big barrier between them because of language," she continues. "With music, we can break through."

Sam Smith Embraces Funk Carioca For The First Time 

It’s not only Latin music acts who are getting in on funk carioca with Anitta. British superstar Sam Smith joins Anitta for the freaky "Ahi," and Smith's soulful voice soars over the sleek Brazilian funk rhythms. The collaboration shows how determined Anitta is to push the music of her country into the mainstream with Smith being one of most prominent pop artists from the UK to embrace the genre. 

The song also marks an important moment for LGBTQIA+ representation with Anitta, who is bisexual, teaming up with the non-binary GRAMMY winner.

Funk Generation Spotlights Brazilian Talent 

Anitta shares her platform with more Brazilian acts in the alluring "Joga Pra Lua," an EDM-infused funk banger that invites the listener to a block party where they get lost in the music. 

Translated to "play for the moon," the track is produced by fellow Brazilian DENNIS (who recently scored a global hit with the remix of "Tá OK" featuring Kevin o Chris, Karol G, and Maluma). Anitta is also joined on the track by Brazilian hitmaker Pedro Sampaio, who sings in Portuguese.

Anitta Is Looking Toward The Future Of Funk Carioca

Despite the few features, Funk Generation is an album where Anitta largely shines solo. She not only puts a spotlight on the Brazilian genre with this LP, but pushes it to new places. One of the standouts is the frenetic "Grip" where Anitta blends Brazilian funk with elements of Miami bass music that’s reminiscent of the ‘90s. She sings in Portuguese, English and Spanish throughout the song.

Whereas funk carioca played second fiddle to many other genres in her previous album, now the tables are turned in Funk Generation. She seamlessly blends pop with funk carioca in the fully English track "Love in Common" that could sneak those rhythms onto Top 40 radio. Anitta also finds a common thread between Brazilian funk, reggaeton, and Afrobeat in the multicultural banger "Aceita."

 The future of baile funk looks bright in Anitta’s hands.

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Danna Paola feels comfortable coexisting with her shadows. 

The Mexican singer, model and actress first appeared on television at age five, and has spent recent years dwelling on memories of her youth. Now 28, Danna is dismantling the myths and taboos around her artistic persona.

This process resulted in CHILDSTAR, which arrives April 11. Danna's seventh LP is her most authentic production and one where she makes peace with her childhood.

Accomplishing this freedom took her two years of therapy, the singer confesses to GRAMMY.com. "I deconstructed myself and my beliefs and unlearned many things to learn new ones. The pandemic also opened Pandora's box. That's where everything came out."

Through that self-discovery process, Danna knew she had to break with a constant that had accompanied her for two decades: acting. The last character she portrayed was Lucrecia in the Netflix series "Elite," a popular role that led her to reignite her music career after an eight-year hiatus. Beginning to live authentically, without the vices that fictional characters can leave behind, was the crucial step that led the Latin GRAMMY-nominated singer to CHILDSTAR.

CHILDSTAR follows a lengthy depression and a break from her management team, which Danna has described as controlling. On the new album, she embraces indulgence — singing about female pleasure for the first time in her career — and draws inspiration from her after-hour encounters. CHILDSTAR's darkly powerful electronic rhythms and synth-pop, tell a tale about a weekend of partying, alcohol, and sex to create the perfect escape from "your demons, your life, and your reality." 

Ahead of her album release, Danna Paola discussed the processes that led her to break with her past, how her boyfriend was instrumental to her return to the studio, the synthesizer that inspired the album's sound, and the gift that Omar Apollo left for her. 

This interview has been edited for length and clarity.

Tell me about the process that led you to co-produce for the first time.

This album is made with a lot of love, many hours, but above all, a lot of freedom. It's a very energetic and aggressive album, liberating.

It was a journey of introspection, empowerment, and self-confidence. Beyond being a sad story, the complete meaning of the album is not to talk and throw shade at my childhood. [It's about what] I have discovered since that first therapy session to find and make peace with my past, and that instead of being a place of embarrassment for me, it empowered me.

CHILDSTAR is the first album in my entire career where every inch, detail, and decision are curated and made by me. That's something that I am very proud of. I made an album for myself and that little Danna who has always wanted to do this. 

It is energetic, super intense, and sexual. Electronic music, funk, dance, synth-pop, and R&B lead me to drain all these emotions. The choice of each song, and the details and creating them from start to finish, [has] been very cathartic.

In "The Fall," you sing, "You don't know me, you don't know s–– about me. I'm not a shooting star." Was it painful to relive the memories of being a child star?

Yes. I grew up in 2000s television. Back then, creating a child's image came from a lot of machismo: being the perfect girl, the girl who doesn't speak badly, the girl who smiles for everything, and whose characters are all good. She can't do bed scenes, can't talk about sex. 

With this project, I embrace that [version of] Danna. I told that girl that everything would be fine. It's OK if you make mistakes, and it is OK to fall in love. Falling in love terrified me because I've been on different projects… every six or eight months; the longest a project lasted for me was a year. I made relationships with people and friends, [but] people always left my life. I built a pretty lonely life; I almost did not spend time with my family. I poured my life into work.

I had this distortion of reality where Danna Paola was the superheroine, and I forgot who Danna was. That's why I stopped acting; creating characters and being in someone else's skin was moving me further and further away from discovering myself as a human being in the ordinary course of life, of creating myself based on situations, emotions, and relationships. 

In therapy, of course, I understood that. I made peace, and today, I am discovering many beautiful things about myself as a child that were precious, happy, and full of love. Of course, I don't blame my parents because they did their best. Nobody teaches you how to be a child star from age five.

The album led you to shine a light on your darkest sides. What did you discover about yourself and Danna as a person and artist?

I was terrified to take risks, to speak, or to create. [To me] creating a project takes a long time, at least with music. I discovered that, for me, [making music] is a spiritual act. It is an everyday practice. It is to continue to discover and continue to learn. It's falling in love again with my profession and giving the industry another chance.

I also learned that our capacity for reinvention is infinite so we can start over. Today, I also begin to be a little more human. However, I don't aspire to be an example for anyone. I want to share my experiences and the lessons I have learned so I can move forward, continue to love what I do, and not lose myself. I used to say that I wouldn't make it to 27. That was in my head.

I'm making a wonderful balance between my personal life and my work. I'm also building my family at home with my boyfriend [artist Alex Hoyer], my two little dogs, my friends, and my chosen family. It's making peace and creating the life of my dreams.

Do you like who you are now?

I love it. I continue to polish many things about my personality. I work hard to be a better human being. Life is about learning and transforming yourself. I can release another album in a couple of years; I may release another this year. I don’t want to stop making music. [I want to] continue transforming myself through my art. 

In the first two tracks, "The Fall" and "Blackout," you repeat that people don't know you. How would you describe the Danna of this record? 

She's a woman who is very sure of who she is, and nobody has given anything to me. I'm in love with my project, my music, and my life, and I'm enjoying it a lot.

I struggle a lot with fame, but today, I present myself as a liberated woman in a good headspace. I don't pretend to be perfect or an example for anyone. Quite the opposite; all I do is share experiences, lessons, and music.

I'm an artist in every sense of the word. I'm a creative, honest person and have a lot of love to give, and I love receiving it, too. That should be mutual. It's an energetic practice that when one really does things with love, the universe always rewards it.

In songs like "Atari" and "Platonik," you openly sing about female sexual pleasure. Is it the first time in your career that you sing about your sexuality? 

Yes. This album is very sexual. There's a taboo when it comes to women talking about sex. In reggaeton, there are thousands of ways in which we can talk about sexuality. In my case, I had always considered it forbidden. 

It's what I told you about the kid [actress] who doesn't [about sex], who's a virgin until marriage. There is no richer pleasure than sex and the sexual pleasure you can have as a woman. There's liberation, to feel good about yourself, with your body, and also the sexual education that I can also share with generations.

This liberation with my femininity is something that I also discovered: The pleasure of being a woman and having many experiences in my life that have led me today to enjoy who I am, to have a happy sex life, and to share it through my music.

In "Platonik," you discuss sexualizing a platonic relationship with a woman and sing "I can't help what I think in my bed." Why was exploring that relationship important to you?

I had a platonic love with a girl at a stage of my life. I kept this to myself; it was a personal experience that opened the conversation to a beautiful story.

I wrote this song with [producer and songwriter] Manu Lara. We made it in half an hour. This song has something unique because, besides talking about a personal experience that is also super sexual, it talks about universal love.

That's why I say that CHILDSTAR is an album of many stories that have marked my life and beyond, talking about only the childhood stage, which is what everyone speculates, but that's not the case.

You’re flirting more with synth-pop in this album. What caught your attention about this genre?

It comes from this aggressive part of saying, here I am. For me, electronic music connects and drains emotions. Every time I've been out partying, electronic music has been liberating for me, and when I put it together with pop and these lyrics, it has become a new way to enjoy the genre.

While creating CHILDSTAR in Los Angeles, I fell in love with a Jupiter [synth] we found at Guitar Center. That synthesizer is in every song. The inspiration [to use the instrument] comes from John Carpenter's synth album [Lost Themes III: Alive After Death]. In it, I discovered synthesizers had a way of incorporating sound design and darkness into the album. 

[Synth-pop is] the expression of that need to bring out the energy I had stuck through music. It’s an emotional purpose, the connection I have with electronic music.

Your boyfriend, Alex, was instrumental in making "XT4S1S" when you didn’t want to enter a recording studio. How was reconnecting with music with help from your romantic partner?

"XT4S1S" is the song that, to both of us, as a couple and as producers, connected us on a hefty level.

I was super blocked. It took me several years to get out of my depression hole. We returned one day from [La Marquesa park] here in Mexico, and started chatting. Alex opened his laptop and started pulling out a beat.

I started throwing melodies, and [shortly] we had the chorus. It brought me back to life. I started crying with excitement because I finally felt again these desires and this emotion that you feel when you create a song, and you can’t stop moving forward and keep creating.

I remember we recorded my vocals on a voice note and sent it to [the production software] Logic. Then, it took us four months to produce this song because it was a lot of discovery, in this case, for me as a producer.

Alex is a great musician, artist, a genius — and I don’t say that because he’s my boyfriend. Artistically, there’s a fascinating world inside his head that I have learned a lot from. 

The track "Amanecer," which features Omar Apollo, breaks dramatically with the story you tell in the album. Why did you end that party cycle with a more folksy, chill song?

"Amanecer" is a track that has us all in love. It was the last song I recorded for the album. 

I wrote it to my ex. On my birthday, he called me — I was already with Alex — and it was super weird. I always feared running into him on the street, seeing him with someone else, and feeling something. And it was the exact opposite. I had already healed internally, and that wound had stopped hurting. I stopped feeling all the emotions I had gone through in K.O., [the album nominated for Best Vocal Pop Album at the 2021 Latin GRAMMYs].

This song talks about knowing how to make peace and understanding how to let go. It’s the dawn of the album. It’s perfect to release all the drama, and all the intensity, and aggressiveness that is the entire album itself.

[The song invites you] to hug yourself and say everything will be fine. There is always an opportunity to start over. 

It also has a beautiful story. Manu [Lara] taught Omar Apollo the instrumental parts of the song, and he made some melodies. At the moment of receiving them, [Omar] agreed we would make a song together, [but] it was almost impossible to record together.

[Instead, Omar] told me "You can use the melodies I made" and left me the last part of "Amanecer." He left us with that magical essence.

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From commanding stages to blasting through stereos, countless women have globally graced the music industry with their creativity. And though they've long been underrepresented, tides are changing: in just the last few years, female musicians have been smashing records left and right, conquering top song and album charts and selling sold-out massive tours.

This year, Women's History Month follows a particularly historic 66th GRAMMY Awards, which reflected the upward swing of female musicians dominating music across the board. Along with spearheading the majority of the ceremony's performances, women scored bigtime in the General Field awards — with wins including Best New Artist, Record Of The Year, Song Of The Year, and Album Of The Year.

Female empowerment anthems, in particular, took home major GRAMMY gold. Miley Cyrus' "Flowers" took home two awards, while Victoria Monét was crowned Best New Artist thanks to the success of her album Jaguar II and its hit single "On My Mama." As those two songs alone indicate, female empowerment takes many different shapes in music — whether it's moving on from a relationship by celebrating self-love or rediscovering identity through motherhood.

The recent successes of women in music is a testament to the trailblazing artists who have made space for themselves in a male-dominated industry — from the liberating female jazz revolution of the '20s to the riot grrl movement of the '90s. Across genres and decades, the classic female empowerment anthem has strikingly metamorphosed into diverse forms of defiance, confidence and resilience.

No matter how Women's History Month is celebrated, it's about women expressing themselves, wholeheartedly and artistically, and having the arena to do so. And in the month of March and beyond, women in the music industry deserve to be recognized not only for their talent, but ambition and perseverance — whether they're working behind the stage or front-and-center behind the mic.

From Aretha Franklin's "RESPECT" to Beyoncé's "Run the World (Girls)," there's no shortage of female empowerment anthems to celebrate women's accomplishments in the music industry. Listen to GRAMMY.com's 2024 Women's History Month playlist on streaming services below.

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