Updated Feb. 22, 2023.

To highlight Women's History Month this March, we dug into our archives all the way back to the GRAMMY Awards' beginnings in 1958 to acknowledge the women who have made GRAMMY — and music — history. From the first women to ever win a GRAMMY to the top GRAMMY-winning woman, first female GRAMMY performers, and the first female GRAMMY host, here are at 10 examples showing how women blazed trails in music and left their indelible marks in GRAMMY history.

Ella Fitzgerald: The first woman to win multiple GRAMMYs

The 1st GRAMMY Awards took place in 1958, and women were among the first crop of recipients. The first female multiple GRAMMY winner was jazz singer Ella Fitzgerald, who took home two statues: Best Vocal Performance, Female and Best Jazz Performance, Individual. The roster of first-time female GRAMMY winners also included Keely Smith, Salli Terry, Barbara Cook, Pert Kelton, Helen Raymond, and Renata Tebaldi.

Read More: 5 Artists Who Prove That The Great American Songbook Is Brilliantly Alive

Who were the first women to win GRAMMYs in the General Field?

The General Field categories — Record, Song and Album Of The Year and Best New Artist — are among some of the most coveted awards in music. Astrud Gilberto became the first woman to win Record Of The Year when she won with Stan Getz for "The Girl From Ipanema" for 1964. The first Song Of The Year female win went to Carole King for "You've Got A Friend" for 1971. The first female Best New Artist was country singer/songwriter Bobbie Gentry. And the first female winner for Album Of The Year went to Judy Garland for 1961 for Judy At Carnegie Hall.

Carole King: The first woman to win multiple General Field GRAMMYs

The first woman to win multiple GRAMMYs in the General Field was King, when she swept Record ("It's Too Late"), Album (Tapestry) and Song Of The Year ("You've Got A Friend") for 1971. The first women to win multiple GRAMMYs in the same General Field categories include Roberta Flack, who took Record Of The Year for 1972 and 1973, for "The First Time Ever I Saw Your Face" and "Killing Me Softly With His Song," respectively. Lauryn Hill, Norah Jones and Alison Krauss have each won Album Of The Year twice, but only once in each case for their own recordings. Taylor Swift won Album Of The Year twice for 2009 and 2015, the first woman to do so as a solo artist. At the 59th GRAMMYs, Adele became the second solo female artist to win Album Of The Year twice. Additionally, she became the first artist in GRAMMY history to sweep Record, Song and Album Of The Year twice in her career, after doing so for 2011 and again for 2016.

Read More: For The Record: Inside The Historic Legacy Of Carole King's Tapestry At 50

Beyoncé: The woman with the most GRAMMY wins

At the 2023 GRAMMYs, Beyoncé made GRAMMY history. That night, she took home the GRAMMY for Best Dance/Electronic Music Album for her 2022 album, Renaissance, securing her place as the artist with the most GRAMMY wins ever — counting 32 total GRAMMY wins across her decades-long career. In her powerful, emotional acceptance speech, she gave a heartfelt thanks to her family — including her husband Jay-Z, with whom she is currently tied for the most GRAMMY nominations total, counting 88 each — as well as the queer community, who she shouted out for inventing the electronic/dance music genre. Her record-setting 32nd GRAMMY win at the 2023 GRAMMYs is just one of many monumental moments in Beyoncé’s storied history at the GRAMMYs.

Read: Who Are The Top GRAMMY Awards Winners Of All Time? Who Has The Most GRAMMYs?

Lauryn Hill, Cardi B, MC Lyte: The women who changed rap at the GRAMMYs forever

While rap music is a largely male-dominated genre, women have continued to evolve the sound since the beginnings of hip-hop. It's no surprise, then, that female rappers have also made GRAMMY history throughout the decades. With the release of her debut album, Lyte As A Rock, in 1988, MC Lyte became the first female rapper to release a solo album. She then followed the feat by becoming the first woman rapper to receive a GRAMMY nomination when her 1993 chart-topping song "Ruffneck" received a nomination for Best Rap Solo Performance at the 36th GRAMMY Awards in 1994.

Just a few years later, Lauryn Hill continued the history-making streak at the 1999 GRAMMYs when she won the GRAMMY for Album Of The Year for her monumental 1998 album, The Miseducation Of Lauryn Hill, becoming the first rap artist to win that major category. Two decades later, Cardi B ushered in another GRAMMY first: At the 2019 GRAMMYs, she became the first solo female rapper to win the GRAMMY for Best Rap Album for her 2018 debut album, Invasion of Privacy.

To this day, women continue to influence the sound and impact of rap music and hip-hop culture around the world.

Read More:5 Women Essential To Rap: Cardi B, Lil' Kim, MC Lyte, Sylvia Robinson & Tierra Whack

Ella Fitzgerald, Wanda Jackson: The first women to perform on the GRAMMYs

The first televised GRAMMY event, a taped "NBC Sunday Showcase," in honor of the 2nd GRAMMY Awards, aired Nov. 29, 1959. It was Fitzgerald's performance on this broadcast that earned her the distinction of being the first woman to take the GRAMMY stage. When the GRAMMYs transitioned to a live television broadcast format for the 13th GRAMMY Awards in 1971, the first solo female performer was country singer Wanda Jackson singing "Wonder Could I Live There Anymore."

Bonnie Raitt: The most GRAMMY performances

Singer/songwriter Bonnie Raitt is the woman who has performed the most at the GRAMMYs. From her first solo performance of "Thing Called Love" at the 32nd GRAMMY Awards in 1990 through her latest performance in honor of B.B. King with Chris Stapleton and Gary Clark Jr. at the 58th GRAMMY Awards, Raitt has graced the stage nine times. In a tie for a close second are Franklin and Whitney Houston, who each notched eight career GRAMMY performances.

Read More: Bonnie Raitt Essentials: 11 Songs That Showcase The Breadth And Depth Of The 2023 GRAMMYs Song Of The Year Winner

Whoopi Goldberg: The first female GRAMMY host

Whoopi Goldberg served as the GRAMMYs' first female host at the 34th GRAMMY Awards in 1992. An EGOT (Emmy, GRAMMY, Oscar, and Tony) winner, the comedian already had an impressive array of credentials when she helmed the GRAMMY stage. Not one to shy away from pushing the envelope, she delivered arguably one of the raunchiest jokes in GRAMMY history when referencing the show's accounting firm: "I must tell you, Deloitte & Touche are two things I do nightly."

And the first female Special Merit Awards recipients were?

The inaugural Recording Academy Special Merit Award was given in 1963 to Bing Crosby, but it wasn't long until women made their mark. Fitzgerald was the first woman to receive the Lifetime Achievement Award in 1967. The first woman to receive a Trustees Award was Christine M. Farnon in 1992, who served as The Recording Academy's National Executive Director for more than 20 years. Liza Minnelli became the first female artist to receive a GRAMMY Legend Award in 1990.

The first recordings by women to be inducted into the GRAMMY Hall Of Fame

The GRAMMY Hall Of Fame, established in 1973 by the Recording Academy's Board of Trustees to honor outstanding recordings that were made before the inception of the GRAMMY Awards, inducted its first female recipients in 1976. Billie Holiday's "God Bless The Child" marked the first solo female recording. Gershwin's Porgy & Bess (Opera Version), featuring Camilla Williams, and the original Broadway cast version of "Oklahoma!," featuring Joan Roberts, were inducted into the Hall that same year.

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

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.

In 1997, all-female R&B groups were thriving: TLC already had seven Top 10 hits on the Billboard Hot 100, En Vogue had numerous platinum singles, and Xscape reached No. 1 more than once. Soon, a quartet of teenagers would burst upon the scene and leave an indelible impact.

While Destiny’s Child are now canonical in the world of '90s and early aughts R&B, the group initially experienced spotty success. Their 1997 debut single, "No, No, No (Part 2)" peaked at No. 3 on Billboard’s Hot 100 and was certified platinum. Yet their eponymous album, released in February 1998, only hit No. 67. Their follow up single, "With Me," also failed to set the charts ablaze. 

Destiny’s Child's underwhelming chart performances could’ve easily derailed the budding group. Fortunately, the four ambitious girls from Texas had other plans. 

Beyoncé Knowles, Kelly Rowland, LaTavia Roberson, and Le Toya Luckett were determined not to become one hit wonders, and quickly went back into the studio to record their sophomore album. Released on July 14, 1999, The Writing’s On the Wall became Destiny’s Child’s highest selling album and spawned some of their most iconic songs — one of which led to the group's first GRAMMY win. Not only did the album establish Destiny's Child as a household name, but it fine tuned the R&B girl group concept to perfection.

"We had no idea that The Writing's on the Wall would be as big a record as it was. Especially worldwide," Beyoncé said in a 2006 Guardian interview.

In celebration of the iconic album's 25th anniversary, read on for five reasons why The Writing’s On the Wall is the defining album of Destiny’s Child’s career.

Its Members Took Creative Control

On their debut album, Destiny’s Child tapped into the neo soul trend popularized by the likes of D’Angelo, Erykah Badu, and Maxwell — artists in their early-to-mid twenties with a maturity the teen quartet didn’t yet have. The references and creative direction clashed with the reality of the group members being so young.

"It was a neo-soul record and we were 15 years old. It was way too mature for us," Beyoncé tol the Guardian.

Heading back into the studio, the girls made sure to eradicate any misalignments and put more of themselves into their sophomore album. In an interview with MTV, the members said The Writing’s On the Wall had a fresher, more youthful vibe because "it comes from us." The quartet's fingerprints are all over the 16 track album: Each member co-wrote at least 50 percent of the album. 

"Even at the time, Beyoncé would produce a lot of their background vocals, and she was a leader even at a young age," Xscape's Kandi Burruss said in a Vice interview, reflecting on her work as a songwriter and producer on The Writing's On the Wall. This heightened presence enabled the group to develop lyrics that boldly reflected their opinions and youthful energy. In turn, The Writing's On the Wall netted a run of iconic hit singles.

Read more: Destiny's Child's Debut Album At 25: How A Neo-Soul Album From Teens Spawned R&B Legends

It Pushed R&B Forward 

Like its predecessor, The Writing’s On the Wall is very much an R&B album. However, Beyoncé's father Mathew Knowles — who still managed the group at the time — brought in producers who weren’t afraid to experiment. The result was a more commercial album that fused classic R&B with pop influences, creating a sound that was simultaneously contemporary and timeless.

Kevin "She'kspere" Briggs and Burrus (who would go on to co-write and produce TLC’s "No Scrubs") contributed to five of the album's tracks, shaping its overall sound and differentiating it from Destiny’s Child. The duo kept a few elements from the group’s debut effort, including the sing-rapping heard on "Bug A Boo" and "Hey Ladies." With syncopated beats, thumping basslines, and their knack for writing catchy hooks, Briggs and Burrus created R&B records with the perfect blend of chart-friendly accessibility.

On the Missy Elliott produced "Confessions," synthesizers, drum machines, and electronic garbling were layered to create a lush, futuristic backdrop. Further subverting the classic R&B ballad, Elliott paired what sounds like a cabasa to match Beyonce’s cadence throughout the verses which gives her laidback vocals an almost robotic feel. In addition to producing, Elliott’s velvety vocals also appear quite prominently on the chorus, adding to the track’s sonic tapestry.

GRAMMY-winner Rodney Jerkins was tapped to produce "Say My Name." The original beat Jerkins used was two-step garage, a subgenre of UK garage. No one else liked the sound, so he completely revamped the track into the GRAMMY-winning anthem we know today. Jerkins melded funk-inspired guitar and a call and response approach, then modernized them with a shimmery, polished production. This helped "Say My Name" become the group’s most listened to song on Spotify with over 840 million streams. Jerkins has even gone on record to say this is his favorite song he’s produced to date.

Read more: "Say My Name" 20 Years Later: Why The Destiny's Child Staple Is Still On Everyone's Lips

Its Music Videos Praised Black Culture

"For me, it is about amplifying the beauty in all of us," Beyoncé said in a 2019 interview with Elle when asked about the importance of representation. Even before her solo work, the importance of spotlighting Black culture was evident in Destiny's Child's music videos.

In "Bills, Bills, Bills," we see the group play the role of hair stylists in a salon which is an obvious nod to Beyoncé's mother’s longstanding relationship with all things hair. Near the end of "Bug a Boo," the members change into their version of majorette costumes and dance in front of a marching band. Majorettes and marching bands have a vibrant legacy within HBCUs; almost 20 years after this video premiered, Beyoncé revisited this very concept for her 2018 Coachella performance. 

It Delivered Mainstream Success 

The Writing’s On the Wall was a hit across the charts. The group earned their first No. 1 singles on Billboard’s Hot 100 with "Bills, Bills, Bills" and "Say My Name." Promotions for the latter also reinvigorated album sales and helped shift another 157,000 copies (an impressive 15 percent increase from their first-week sales). The fourth and final single, "Jumpin’, Jumpin’" was released during the summer of 2000 and became one of the most played songs on the radio that year.

Songs from the album were nominated at both the 42nd and 43rd GRAMMY Awards. Destiny’s Child took home their first golden gramophone at the 2001 GRAMMYs, winning Best R&B Performance by a Duo or Group with Vocals for "Say My Name." The single also won Best R&B Song and  was nominated for Record Of The Year. 

With 14 nominations, Destiny’s Child remain the most nominated girl group in GRAMMY history. With worldwide sales of 13 million, The Writing’s On the Wall is also the fourth best-selling girl group album of all time.

It Expanded The Concept Of "Girl Power"

The Writing’s On the Wall was much more than catchy, radio-friendly tunes. Lyrically and in production, the album reintroduced Destiny’s Child as the architects for their own lives. The tongue-in-cheek Godfather-inspired intro tees up each song with a commandment for their partners and, at times, for themselves.

Often misconstrued as a gold digger anthem,"Bills, Bills, Bills" empowers a woman to confront a lover who's financially taking advantage of her. This is a far cry from the theme of a young woman focused on finding love — a common theme on Destiny's Child —  and puts their confidence on full display. "So Good" is a sassy, uplifting anthem which explicitly addresses haters with pointed lyrics like "For all the people ‘round us that have been negative/Look at us now/See how we live." Destiny's Child was sending a clear message: they’re going to be fine regardless of what others say. 

And when the group became tabloid fodder due to unexpected lineup changes, "So Good" took on a new meaning for persevering through hard times. While there are some songs with morally questionable lyrics — we’re looking at you ‘"Confessions" — the consistent message of embracing one’s self-worth and independence is clear. 

After finishing the first mixes of their new album, Kehlani knew exactly what she needed to do: head to Las Vegas. 

The L.A.-based, Oakland-born singer/songwriter had always identified with Sin City: "I’m full of juxtapositions," she tells GRAMMY.com. "Vegas is this crazy bright light city in the middle of a vacant desert that has weddings and also strippers." Fittingly, Kehlani harbored a very Vegas-like image in their head while creating Crash, a record built on blaring neon, glowing smoke, and the highest highs.

Crash drops June 21, and is Kehlani's fourth solo album. She burst onto the scene in 2009 as a member of teen sextet PopLyfe, but their 2014 debut solo mixtape Cloud 19 announced a far more complex character. Their debut full-length, SweetSexySavage, was released three years later to critical acclaim, with two more albums and a handful of platinum-certified singles following. As if that weren’t enough, Kehlani added acting, appearing in "The L Word: Generation Q" and a cameo in Creed III. 

And while Crash embodies the evolution and growth through all those experiences, the record builds a hyper-real language all their own. Beyond any sense of R&B or pop, soul or hip-hop, Crash finds Kehlani chasing passions that refuse to fit in any box, shifting multiple times within a track — refusing to focus on anything but the moment. 

"A crash isn't anything from the past. It isn't the anxiety of what's about to happen," she says. "It's the height of the moment. It's right now."

Nearing the release of Crash, Kehlani spoke with GRAMMY.com about finding inspiration from international music, getting their five-year-old to sing on the album, and their need to stage dive.

What’s it like living in Los Angeles after growing up in the Bay Area?

I moved to L.A. when I was about 17. I had already left the house. I left the house at 14, and by the time I was almost 18 it was the appropriate time for me to situate in a new place. L.A. and the Bay are like cousins. Do we have differences? Absolutely, things that are fundamental to us, but when you leave California, you can really see that we're just like a big family.

Had you been dreaming of L.A. as a place where you could pursue art? Were you already set on that goal?

It was the closest place that a young, very broke person could go and work in music. I'm sure there were other places with musical homes, musical cities, but if all I had to do was get on a $15 bus and go find someone to stay with in L.A., I was gonna do it for sure.

That’s the same ambition that I feel drives this new record, which is just so dense and full of surprises. That includes the lovely retro radio intro to "GrooveTheory," where you move from this ‘60s pop feel to the present. That’s such a smart way to foreground your evolution.

I think the second that we made that song and then turned it into ["GrooveTheory"], I was like, This feels like it encompasses where I'm headed, this whole new sound. 

Once that radio dials in and it comes in with R&B elements, it's producing where I'm headed, but also remembering that my core hasn't changed. Especially the energy of what I'm saying in the song, like, "I'm kind of crazy," it's introducing this energy difference on this album. I feel like that's the biggest change, and that's what's so prevalent in this whole rollout. Energetically, I'm on a whole different type of time.

You can sense it. 'Crash' feels really rooted in self-expression and personal growth, and when you listen to it as a whole, it really does seem like an evolution story. Beyond just the genre and style, how do you feel the way that you've expressed your true self has shifted over the years?

Thank you! That's been the feedback I've gotten from pretty much everyone who's listened, and I don't know what I expected, but it wasn't this. I have realized the public's understanding of me and the general consensus for so long, and I also realized how multi-faceted I am to people. 

People get really confused when I express all the sides of my personality. They’re either, like, "Okay, she makes really sweet love songs," or "We've seen you be political, we've seen you come out, we've seen you be a family member." And then there's a lot of people who are, like, "I feel like she's f—ing crazy. I've seen her in multiple relationships. I've seen her be angry. I've seen her get online and cuss people out." 

I want this next batch of music to feel like the most fiery parts of me. I want it to feel like the most present and energetic parts of me. I don't want anything to feel somber. I don't want anything to feel reminiscent. I think a lot of my albums in the past have been me looking back, and sitting in that feeling and detailing it. I just wanted [this album] to feel right here, right now, which is why the title came about. A crash isn't anything from the past. It isn't the anxiety of what's about to happen. It's the height of the moment. It's right now.

That’s unfortunately a story you hear too often about artists of color — that essentialization, where you can only be seen as one thing. R&B often gets hit with those same issues. Throughout your career you’ve stood up to those expectations, and "Better Not" on this album is such a good example of that. It’s a left turn, a stylistic contrast and an open conversation with the listener. You cleverly fuse that intentionality with a voice that’s stronger than ever.

In the past, I have had moments where I would make the song and [start recording], and there would be so many versions of each song on different microphones, recorded in different places.

"Let me try vocal production. Let me try to go back and work with this version again." I went back and did vocal production with Oak Felder, who did all the vocal production on SweetSexySavage. When I come back to some of my favorite vocal production moments, it was moments like "Distraction" or "Advice" or "Escape" — songs on my very first album — and I wanted to get that feeling again. Where it's lush where it needs to be, but also that I really mean what I'm saying. 

That started with the approach in the songwriting. Once I had the songs and I had to go back and deliver them, I had enough time to listen and listen, to learn the songs and identify with them. We would make music all day and then go out, and we would be in this sprinter van on the way to going out, and, like, bang, the songs we just made, the energy was just different. It allowed me to be present in a different way where my voice is able to show up like that.

Learn more: R&B Isn't Dead: Listen To 51 Songs By Summer Walker, Josh Levi & More Artists Who Are Pushing The Genre Forward

Which again ties perfectly to crashing into the present. As someone from South Africa, I love that the other guests that you included represent different cultural viewpoints. You worked with Young Miko from Puerto Rico, Omah Lay from Nigeria. Having that musical dialogue is so powerful.

We had so many conversations about how America's in the backseat often when it comes to music. We have our moments, and it's fantastic, like Beyoncé’s Cowboy Carter. There's a culture that is super American, that is Black, that historically needs to be dived into. It needs to be shown that we do have something here. 

So many people that don't speak Spanish bang Bad Bunny all day. Amapiano’s taking over; Tyla’s going up. It's really not here. So that wasn't a conscious choice. It's just what we've all been listening to, what we've been loving.

Read more: 11 Women Pushing Amapiano To Global Heights: Uncle Waffles, Nkosazana Daughter, & More

Speaking of guests, I wanted to ask about your daughter, whose voice is on "Deep." Was she just in the studio and you got her singing?

So those vocals on that, that’s actually my little sister and my goddaughter. And [my daughter] was in the room and she started singing along. She has perfect pitch; she's always freestyling or singing or making something up. 

I was like, "You want to just go sing on it?" What's on there is her first take. Literally. She did it the first time, all the way through, perfectly. I was like, "Well, that's it, guys. I can retire." 

That track is so lush. It feels so alive. Were you working with a full band?

[Producer] Jack Rochon, who I did a lot of the music with, he just is a freaking genius music whiz. Honestly, he's one of the most humble people that I know, and deserves credit for how amazing a lot of this album is.

Talking about touchstones, there's a Prince energy to the title track. Did you have any new inspirations or influences for this record?

Thank you! My main focus for this album came from going on tour for my last one and making such a pretty, sweet, intimate album, and then playing some of the biggest venues of my career. At some point I had to rearrange the setlist to add in a lot of the album before that one, because it was just more energy on the stage. By week two of tour, the setlist had completely changed. I knew that I was playing venues on this next tour that I've dreamt about, places that I can't fathom that I'm playing, like Barclays Center. 

I do a lot of things for, like, my inner child, and this is such a move for my inner child. Like, You're about to go play Barclays. Do you want to look back and say, ‘I rocked out and played Barclays’? I'm a person who headbangs on stage. I stage dive. I wanted to create an album that would ring through a venue like that. I want people to be engaged again. I'm not looking for the lighters and the somber, holding each other — which will occur regardless, because it's a me show. 

But I really wanted people to be in their bodies, and their heart’s exploding and the ground’s shaking. So that's what we accomplished. I wanted to have fun. This album is so fun to me. It’s a place of fire in my heart.

It took me a second to get the word play on "Eight." I loved the track, and then suddenly I was like, 'Oh… I knew there was something raunchy going on here.'

[*Laughs.*] "Eight" was super fun, and shoutout to the boys that I did it with, because they made it everything for me. 

I didn't come up with the wordplay. My boys did. Like, "This is how you talk!" I was like, "It is! This is perfect." Once I got in to fix things, add things, add my own spin, and finish writing, my favorite part was that it sounds like a Brandy song. She's my favorite.

I also wanted to ask about the Nina Sky sample on "After Hours."

That was mine. I was like, "What can we flip that when it comes on, my generation loses their mind?" And for me, every single time that Nina Sky comes on in the club, everybody's like "Woo!" And then you see how many songs were made from that same sample, and they're all songs that make us lose our minds. 

I went into the room with the producers, and I was like, "So, I want to flip this, but I want you to make it to where it doesn't become one of those where the whole thing is just a sample."

Similarly, "Lose My Wife" balances breeziness with high emotional stakes. Is finding a balance like that just natural for someone so capable of juxtaposition?

The second that we established that [the record] felt like Vegas, I knew what components were missing from the energy of how I feel the second my car crosses the line into the city of Las Vegas. I knew I was missing that feeling of the next morning when you realize you went on this high and you come down. I wanted to create these scenarios that weren't necessarily applicable to me, but captured that emotion. I've been there before, and I want people to be like, Damn, I've been there before. I know this feeling. 

I recorded that song at 4 in the morning with a sinus infection. The second that we finished it, everybody was like, "You can never re-sing that. Don't try to make another version, you're not gonna be able to sound like that again." All the chatter in the background of that song is really everybody who was in the studio that stayed up to just hang out. We had the tequila out, it was perfect. That was probably one of my favorite moments of making the album.

It takes a while as an artist to reach a place where you can capture those moments. You said before that people try to figure you out, and I mean this in the best possible way, but it feels like now you don’t care if they can’t figure you out.

I don't give a f—anymore, yeah. And that was a very important thing for me to learn. I used to care so much, and I would spend so much time explaining myself online, in music, in interviews, on stage. I realized that you're damned if you do, damned if you don't. 

I've been so forward-facing with my heart my entire career that I've left a lot of room for people to consistently pedestal me and then critique me, for people to want to tear me down. I realized I'm just being present, here, existing loudly in front of a billion people, and whichever way that goes is how the cookies gonna crumble. Me giving a f—? I'm the only one it's affecting at this point, for sure.

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Moby’s past and present are converging in a serendipitous way. The multiple-GRAMMY nominee is celebrating the 25th anniversary of his seminal work, Play, the best-selling electronic dance music album of all time, and the release of his latest album, always centered at night. 

Where Play was a solitary creation experience for Moby, always centered at night is wholly collaborative. Recognizable names on the album are Lady Blackbird on the blues-drenched "dark days" and serpentwithfeet on the emotive "on air." But always centered at night’s features are mainly lesser-known artists, such as the late Benjamin Zephaniah on the liquid jungle sounds of "where is your pride?" and Choklate on the slow grooves of "sweet moon." 

Moby’s music proves to have staying power: His early ‘90s dance hits "Go" and "Next is the E" still rip up dancefloors; the songs on Play are met with instant emotional reactions from millennials who heard them growing up. Moby is even experiencing a resurgence of sorts with Gen Z. In 2023, Australian drum ‘n’ bass DJ/producer Luude and UK vocalist Issey Cross reimagined Moby’s classic "Porcelain" into "Oh My." Earlier this year, Moby released "You and Me" with Italian DJ/producer Anfisa Letyago. 

Music is just one of Moby’s many creative ventures. He wrote and directed Punk Rock Vegan Movie as well as writing and starring in his homemade documentary, Moby Doc. The two films are produced by his production company, Little Walnut, which also makes music videos, shorts and the podcast "Moby Pod." Moby and co-host Lindsay Hicks have an eclectic array of guests, from actor Joe Manganiello to Ed Begley, Jr., Steve-O and Hunter Biden. The podcast interviews have led to "some of the most meaningful interpersonal experiences," Moby tells GRAMMY.com. 

A upcoming episode of "Moby Pod" dedicated to Play was taped live over two evenings at Los Angeles’ Masonic Lodge at Hollywood Forever Cemetery. The episode focuses on Moby recounting his singular experiences around the unexpected success of that album — particularly considering the abject failure of his previous album, Animal Rights. The narrative was broken up by acoustic performances of songs from Play, as well as material from Always Centered at Night (which arrives June 14) with special guest Lady Blackbird. Prior to the taping, Moby spoke to GRAMMY.com about both albums. 

'Always centered at night' started as a label imprint then became the title of your latest album. How did that happen? 

I realized pretty quickly that I just wanted to make music and not necessarily worry about being a label boss. Why make more busy work for myself?

The first few songs were this pandemic process of going to SoundCloud, Spotify, YouTube and asking people for recommendations to find voices that I wasn’t familiar with, and then figuring out how to get in touch with them. The vast majority of the time, they would take the music I sent them and write something phenomenal.

That's the most interesting part of working with singers you've never met: You don't know what you're going to get. My only guidance was: Let yourself be creative, let yourself be idiosyncratic, let the lyrics be poetic. We're not writing for a pop audience, we don't need to dumb it down. Although, apparently Lady Blackbird is one of Taylor Swift's favorite singers.  

Guiding the collaborators away from pop music is an unusual directive, although perhaps not for you? 

What is both sad and interesting is pop has come to dominate the musical landscape to such an extent that it seems a lot of musicians don't know they're allowed to do anything else. Some younger people have grown up with nothing but pop music. Danaé Wellington, who sings "Wild Flame," her first pass of lyrics were pop. I went back to her and said, "Please be yourself, be poetic." And she said, "Well, that’s interesting because I’m the poet laureate of Manchester." So getting her to disregard pop lyrics and write something much more personal and idiosyncratic was actually easy and really special. 

You certainly weren’t going in the pop direction when making 'Play,' but it ended up being an extremely popular album. Did you have a feeling it was going to blow up the way it did?

I have a funny story. I had a date in January 1999 in New York. We went out drinking and I had just gotten back the mastered version of Play. We're back at my apartment, and before our date became "grown up," we listened to the record from start to finish. She actually liked it. And I thought, Huh, that's interesting. I didn't think anyone was going to like this record. 

You didn’t feel anything different during the making of 'Play?'

I knew to the core of my being that Play was going to be a complete, abject failure. There was no doubt in my mind whatsoever. It was going to be my last record and it was going to fail. That was the time of people going into studios and spending half a million dollars. It was Backstreet Boys and Limp Bizkit and NSYNC; big major label records that were flawlessly produced. Play was made literally in my bedroom. 

I slept under the stairs like Harry Potter in my loft on Mott Street. I had one bedroom and that's where I made the record on the cheapest of cheap equipment held up literally on milk crates. Two of the songs were recorded to cassette, that's how cheap the record was. It was this weird record made by a has-been, a footnote from the early rave days. There was no world where I thought it was going to be even slightly successful. Daniel Miller from Mute said — and I remember this very clearly — "I think this record might sell over 50,000 copies." And I said, "That’s kind of you to say but let's admit that this is going to be a failure. Thank you for releasing my last record."  

Was your approach in making 'Play' different from other albums? 

The record I had made before Play, Animal Rights, was this weird, noisy metal punk industrial record that almost everybody hated. I remember this moment so vividly: I was playing Glastonbury in 1998 and it was one of those miserable Glastonbury years. When it's good, it's paradise; it's really special. But the first time I played, it was disgusting, truly. A foot and a half of mud everywhere, incessant rain and cold. I was telling my manager that I wanted to make another punk rock metal record. And he said the most gentle thing, "I know you enjoy making punk rock and metal. People really enjoy when you make electronic music." 

The way he said it, he wasn't saying, "You would help your career by making electronic music." He simply said, "People enjoy it." If I had been my manager, I would have said, "You're a f—ing idiot. Everyone hated that record. What sort of mental illness and masochism is compelling you to do it again?" Like Freud said, the definition of mental illness is doing the same thing and expecting different results. But his response was very emotional and gentle and sweet, and that got through to me. I had this moment where I realized, I can make music that potentially people will enjoy that will make them happy. Why not pursue that? 

That was what made me not spend my time in ‘98 making an album inspired by Sepultura and Pantera and instead make something more melodic and electronic. 

After years of swearing off touring, what’s making you hit stages this summer? 

I love playing live music. If you asked me to come over and play Neil Young songs in your backyard, I would say yes happily, in a second. But going on tour, the hotels and airports and everything, I really dislike it.  

My manager tricked me. He found strategically the only way to get me to go on tour was to give the money to animal rights charities. My philanthropic Achilles heel. The only thing that would get me to go on tour. It's a brief tour of Europe, pretty big venues, which is interesting for an old guy, but when the tour ends, I will have less money than when the tour begins. 

Your DJ sets are great fun. Would you consider doing DJ dates locally? 

Every now and then I’ll do something. But there’s two problems. As I've become very old and very sober, I go to sleep at 9 p.m. This young guy I was helping who was newly sober, he's a DJ. He was doing a DJ set in L.A. and he said, "You should come down. There's this cool underground scene." I said, "Great! What time are you playing?" And he said "I’m going on at 1 a.m." By that point I've been asleep for almost five hours.

I got invited to a dinner party recently that started at 8 p.m. and I was like, "What are you on? Cocaine in Ibiza? You're having dinner at 8 p.m.  What craziness is that? That’s when you're putting on your soft clothes and watching a '30 Rock' rerun before bed. That's not going out time." And the other thing is, unfortunately, like a lot of middle aged or elderly musicians, I have a little bit of tinnitus so I have to be very cautious around loud music.

Are you going to write a third memoir at any point? 

Only when I figure out something to write. It's definitely not going to be anecdotes about sobriety because my anecdotes are: woke up at 5 a.m., had a smoothie, read The New York Times, lamented the fact that people are voting for Trump, went for a hike, worked on music, played with Bagel the dog, worked on music some more went to sleep, good night. It would be so repetitive and boring. 

It has to be something about lived experience and wisdom. But I don't know if I've necessarily gotten to the point where I have good enough lived experience and wisdom to share with anyone. Maybe if I get to that point, I'll probably be wrong, but nonetheless, that would warrant maybe writing another book.

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