Just as May gave way to June, Halsey posted an unflinching video depicting their illnesses, and released a poignant song about themselves: "The End."

But the end of what, exactly? The end of making music, which Halsey dragged themselves from poverty to doggedly pursue? God forbid, the end of a life? No, they're referring to something even more bracing: the end of all things.

"If you knew it was the end of the world / Could you love me like a child? / Could you hold me in the dark," Halsey sings in the chorus of the aching ballad. "If you knew it was the end of the world / Would you like to stay a while? Would you leave when it gets hard?"

Listening to the brutally honest, detail-stuffed "The End," you practically squint under fluorescent hospital lights: it's one of the most personal, and risk-taking, singles Halsey has ever penned. And there are a lot more where that came from. Along with the song, Halsey also announced they've recorded a new album, the title of which they haven't disclosed just yet.

"Let's try something different this time and start at 'The End,'" the three-time GRAMMY nominee wrote on Instagram, before sharing a carousel of photos and videos detailing their brutal health journey. Here's everything GRAMMY.com could find about their forthcoming fifth album.

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First Things First: They're On A New Label

If you need a refresher, Halsey had a very public break with their previous label, Capitol Records, whom they were with for eight years. The snafu was over their single, "So Good," which Halsey claimed was on ice until "they can fake a viral moment on TikTok."

A year later, Halsey left Capitol, and soon inked a deal with Columbia Records. Their fifth album will be their debut with Columbia.

They're Eyeing A "Rebirth" — And A Path To Wellness

Within said Instagram carousel, Halsey reveals the state of their physical vessel — and their burning desire to get right with their body.

"I'm giving myself two more years to be sick," the 29-year-old says, rubbing their legs to soothe the pain. "At 30, I'm having a rebirth, and I'm not gonna be sick, and I'm gonna look super hot and have so much energy, and just get to re-do my twenties in my thirties."

"Long story short, I'm Lucky to be alive," they wrote in the caption. "Short story long, i wrote an album." As such, expect the new album to tackle all of the above, and unfold it into unexpected shapes and dimensions.

They've Unveiled A New Website

Along with all this, Halsey has revealed a mysterious website, ForMyLastTrick.com. Peruse its array of digital badges; they undoubtedly, cryptically tie into their new album, from a cigarette butt (they quit a few years ago) to a cartoon X-ray machine to a Casper-like ghost clutching a sign: "You won't find me here." Whatever the intent behind that statement, you'll find a lot of Halsey in this collection of symbols.

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It's Going To Be Emotional

Last fall, Halsey hinted that their fifth album would be a highly personal, internal affair. "Not pictured: me splitting myself in two everyday so that I can give you my deepest wounds (and a handful of perfect joys) for the 5th time in 10 years," they wrote on Instagram.

Thankfully, Halsey's in one piece — and seemingly on the creative roll of their lifetime. As the "chaos and confetti of big singles and album releases" continues, keep checking this piece for up-to-date information on Halsey's latest offering.

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Since the 2021 release of SOUR, critics and listeners alike have touted Olivia Rodrigo for her knack to eloquently pen the relatable woes of adolescence and the pitfalls of falling in love too hard. Her latest single, "vampire," is no different.

Despite trading in her "drivers license" teenage loverboy for an older man, the perfectly executed expression of agony remains. As Rodrigo wails on the chorus, "You made me look so naïve/ The way you sold me for parts/ As you suck your teeth into me/ Bloodsucker, famef—er/ Bleeding me dry like a g——n vampire."

But before there was Rodrigo, there was Avril Lavigne, Taylor Swift, and Alanis Morissette — none of which would be where they were without pioneers of diaristic songwriting, Carole King and Carly Simon. Thanks to the immortalization of their music, we can relive the shift from poetic disclosures of hurt, which King exemplifies on "It's Too Late," to more unrepentant, straightforward jabs (like Kate Nash says on "Foundations," "Don't want to look at your face 'cause it's making me sick") and harrowing battle cries (as Miley Cyrus roars, "I came in like a wrecking ball"). 

Below, revisit 15 songs by empowered women, from 1971 all the way to 2021, who reclaimed the breakup narrative with their fervent sentences of damnation — because, as the age-old saying goes, hell hath no fury like a woman scorned.

Carole King — "It's Too Late" (1971)

When Carole King released "It's Too Late" in 1971, it marked a new era of songwriting. Discussions about divorce were generally unheard of, but even more so when initiated by a woman. Yet, King carried on to unapologetically release "It's Too Late," which later won a GRAMMY for Record of the Year and is lauded by Rolling Stone as one of the 500 Greatest Songs of All Time.

On this folky track, King and her husband's inevitable parting is on the horizon, but she isn't resentful per se. Instead, she's more troubled by the embarrassment of her husband's growing discontent, admitting, "I feel like a fool." And at this point, she's ready to move on and can be grateful for the times they've shared. 

Carly Simon — "You're So Vain" (1972)

In her '70s chart-topper, Carly Simon narrates the tale of an arrogant man who believes every woman is enchanted by his aura. But the folk songstress wants to make it very clear she's not impressed by his embellished stories or luxurious closet.

Usually, it's easy to guess the subject of a breakup song, but "You're So Vain" has led to decades of speculation. Many have assumed it could be about James Taylor, who Simon married in 1972 and divorced in 1983, or Mick Jagger, who provided vocals to the track (a theory that was later debunked). To this day, she has only revealed the track's inspiration to a select few, including Taylor Swift, who names Simon as one of her role models.

Joan Jett And The Blackhearts — "I Hate Myself For Loving You" (1986)

Joan Jett might not give a damn about her bad reputation, but she despises nothing more than her ex-lover making her look like a lovesick fool.

On "I Hate Myself for Loving You," the '80s chanteuse wraps herself around a classic glam rock beat, unveiling her contempt for a man who's neglected her. Stripped of her pride, Jett begins to resent herself for holding onto her feelings — as evidenced by the song's title. 

She tries to hide her dwelling desires ("I want to walk, but I run back to you") but ultimately fails to rid herself of the emotions, leaving her to fantasize about the sweet justice of one day roping him back in, just to leave him. 

Alanis Morissette — "You Oughta Know" (1995)

It's impossible to talk about scathing breakup songs without acknowledging Alanis Morissette's quintessential heartbreak anthem, "You Oughta Know." At the time of its release, the Jagged Little Pill single contained some of the most honest and vitriolic lyrics in existence.

Morissette begins with an illusive statement, "I want you to know that I'm happy for you," which, by the second verse, crumbles into a revelation, "I'm not quite as well, you should know." As she culminates into her most confessional, the instrumental rises into an addicting ruckus, with Morissette revealing the thoughts most of us would be too ashamed to admit: "It was a slap in the face how quickly I was replaced/ And are you thinkin' of me when you f— her?"

Shania Twain — "That Don't Impress Me Much" (1997)

Shania Twain has a particular superpower of delivering each of her lyrics with an air of lightheartedness and confidence. So, when you hear a track like "That Don't Impress Me Much," her disappointment and irritation becomes undetectable.

A quick examination of Twain's story proves — despite the song's bouncy melodies — she's jaded by her ex's preoccupation with his vehicle, appearance and intelligence. Sure, he might be perfect on paper, but he lacks the qualities of a forever lover, and his unmerited ego should be reserved for true big shots like Elvis Presley and Brad Pitt.

Michelle Branch — "Are You Happy Now?" (2003)

In the opening verse of "Are You Happy Now?," Michelle Branch pleads, "No, don't just walk away/ Pretending everything's okay, and you don't care about me." At first, she is in disbelief that her once admirer would swiftly brush her off, but as she reaches the chorus, she begins to question whether his actions were a lie all along.

Her mind racing, Branch teeters between shameless questions of "Do you really have everything you want?" and "Could you look me in the eye and tell me you're happy now?" But by the song's end, she gets the most satisfying payback of all — peace without him: "I'm not about to break/ 'Cause I'm happy now."

Avril Lavigne — "My Happy Ending" (2004)

"My Happy Ending" finds 2000s pop-punk maven Avril Lavigne grasping onto the shards of a broken relationship and trying to pinpoint where everything went wrong. She could have said the "wrong" thing, or her partner's misfit friends might have spoken negatively about her. But there is one thing she does know with certainty: there is no way to pick up the pieces.

Coming to terms with the truth, Lavigne repositions her anger toward the other person for stripping her of her fairytale ending, sarcastically acknowledging him for their time spent together over a somber piano: "It's nice to know you were there/ Thanks for acting like you care/ And making me feel like I was the only one."

Kelly Clarkson — "Gone" (2004)

Kelly Clarkson has traversed almost every emotion in love, from her epic breakup anthems like "Behind These Hazel Eyes" to her most recent LP chemistry. But "Gone" may just be her most unrelenting to date.

Introduced by its Breakaway counterpart "Since U Been Gone," the mononymous "Gone" extends Clarkson's journey of healing — this time, with a more explicit and mature diatribe against her ex's character. Rather than using trivial attacks, Clarkson instead chooses to call out his assumption she'd run back into his arms, later declaring an end to her toleration: "There is nothing you can say/ Sorry doesn't cut it, babe/ Take the hit and walk away, 'cause I'm gone."

Lily Allen — "Smile" (2006)

With "Smile," Lily Allen gets her sweet revenge through the sight of her former flame's tears and misfortune. But the lyrics of Allen's breakthrough single doesn't exactly clarify the specifications of her antics, only an explanation for its origins.

After a cheating scandal ends her relationship, her mental health plummets — until he comes crawling back for her mercy. Upon hearing his pleas, she comes to a realization: "When I see you cry, it makes me smile." And as the conniving music video shows, anyone who cheats on her will get their karma — perhaps in the form of organized burglary, beatings, and a laxative slipped into their morning coffee.

Kate Nash — "Foundations" (2007)

Following in the footsteps of her mentor Lily Allen, Kate Nash vividly paints the tragedy of falling out of love, made prismatic by her plain-spoken lyrics ("Your face is pasty 'cause you've gone and got so wasted, what a surprise!") and her charming, thick London accent.

In this story, Nash has not quite removed herself from the shackles of her failing relationship. In fact, she'd like to salvage it, despite her boyfriend's tendency to humiliate her and her irresistible urge to sneer back with a sarcastic comment. By the end of the track, Nash, becoming more restless, packs on new ways to inconvenience him — but in the end, still wonders if there's any saving grace to preserve their once blazing spark out of a fear of loneliness.

P!nk — "So What" (2008)

The year P!nk wrote "So What," she already had a bevy of platinum singles under her belt. With a gleaming social status and peaking career, she was apathetic to the temporary separation from her now husband, Carey Hart. Feeling the highs of newfound singlehood, P!nk was ready to incite personal tyranny, whether that meant not paying Hart's rent, drinking her money, or starting a fight.

Ironically, Hart appears as the antagonist in the music video, which P!nk revealed via her official fan website was a testament of their growth: "Carey hadn't heard the song before he did the video. That's how much he trusts and loves me [...] He gets it. He gets me," she said.

Taylor Swift — "Picture To Burn" (2006)

Taylor Swift has long solidified herself as the reigning queen of love songs, from ballads honoring the most committed relationships to diss tracks of heartbreaking adolescent flings. The latter houses one of the earliest (and most twangy) hits in Swift's sweeping catalog: "Picture to Burn."

In this deceivingly upbeat tune, Swift vows to seek vengeance on a boyfriend after he leaves her to date one of her friends — from getting with his friends to having her father give him a piece of his mind. And along the way, she will gladly dish out a few insults: "You're a redneck heartbreak who's really bad at lying/ So watch me strike a match on all my wasted time/ As far as I'm concerned, you're just another picture to burn."

Miley Cyrus — "Wrecking Ball" (2013)

Closing the door on her Hannah Montana days, Miley Cyrus' "Wrecking Ball" saw the childhood pop star in her most grown-up and vulnerable state to date. Months before the release, Cyrus had called off her engagement to her longtime boyfriend, Liam Hemsworth, paving the way for her thunderous performance on the Bangerz single.

Just as affecting as Cyrus' belting vocals is the track's iconic music video. Cyrus climaxes with a deafening cry — "All you did was wreck me" — as she swings across the screen on an actual wrecking ball, breaking down all her physical and metaphorical walls. 

Halsey — "You should be sad" (2020)

By the mid-2010s, the industry had put angst on the back burner in exchange for feel-good EDM and trap beats. Well, that is, at least, until Halsey entered the picture.

After just two years in the limelight, Halsey had cultivated a vibrant assortment of sonic melodrama — from the dirt and grime of toxic, failed love on tracks "Bad at Love" and "Colors" to the Bonnie and Clyde-esque heated passion of "Him & I."

In 2020, Halsey rounded out her discography with the genre-bending, introspective Manic, where a track like "You should be sad" commands your attention with matter-of-fact, vindictive comments: "I'm so glad I never ever had a baby with you/ 'Cause you can't love nothing unless there's something in it for you."

GAYLE — "abcdefu" (2021)

Unlike most love songs, GAYLE refuses to point her fury on "abcdefu" solely toward her heartbreaker. The then-16-year-old singer, instead, rages against his mother, sister and pretty much anyone (and anything) he's associated with — other than his dog — across a searing melody with a bewitching bassline.

Earlier this year, GAYLE revealed to GRAMMY.com that she was "angry at him and was angry at the people who enabled him and his behavior." That animosity was palpable in "abcdefu," creating a magic as empowering as it is cathartic — and, like many songs that came before it, proving that there can be power in pain.

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Olivia Rodrigo probably never imagined that a drive through the suburbs would become a rallying cry for anyone who's ever mourned a relationship. But when she released her debut single, the racing power ballad "drivers license," in January 2021, suddenly she had the biggest song in the world.

"drivers license" broke streaming and chart records upon its release, debuting at No. 1 on the Billboard Hot 100 and inspiring memes across social media. While it wasn't exactly uplifting —  Rodrigo vividly details the devastation of trying to move on from an ex, and laments the milestones they were supposed to celebrate together — the song became universally celebrated, sending listeners into a nostalgic haze of first heartbreaks. Everyone was screaming, crying and dancing at the same time. 

"drivers license," one could say, is the latest centerpiece of "sad girl" pop — the specific aesthetic of artists who write songs through a dreamy, yet raw lens of rage, pining, heartbreak or rejection. The music itself creates a spectrum of emotions where you might want to sway at one point, but scream like Zach Braff and Natalie Portman at the rock quarry in Garden State at another.

Though Rodrigo is one of the stars at the center of "sad girl" pop, it had been percolating long before the explosion of "drivers license." After all, artists like Fiona Apple and Alanis Morrisette were the poster girls for it in the mid-to-late '90s. But one could argue that this iteration of "sad girl" pop found its roots in the 2010s, thanks to artists like Lana Del Rey, whose palpable aching and loneliness became inescapable anthems like "Video Games" and "Summertime Sadness"; Taylor Swift, whose first crossover success Red spawned the still-heart-wrenching fan favorite  "All Too Well"; Robyn, who created the ultimate crying-at-the-club banger "Dancing on My Own"; and MARINA, care of the depressed-Barbie era of her album Electra Heart. 

Even with all of its origins, "sad girl" pop didn't truly begin to form its own sort of subgenre until Billie Eilish and her whispery, gloomy music emerged in 2016. Others have steadily begun following suit: Sasha Alex Sloan emerged with a debut EP aptly titled Sad Girl two years later; Gracie Abrams' intimate, diaristic tracks served as major inspiration for Rodrigo (who later recruited Abrams as a tour opener); Tate McRae has turned her insecurities into aspirational, sad-pop anthems like "she's all i wanna be."

While "sad girl" pop isn't exactly new (most music trends are cyclical, of course), the way that people are clinging to it is. "There's a cliche about pop that it represents a retreat from reality, an escapist fantasy world where listeners get to leave their fears and anxieties in a vision of Katy Perry's 'Teenage Dream' or fun.'s 'We Are Young,'" says Nate Sloan, host of Switched on Pop and assistant professor of musicology at USC Thornton School of Music. "But modern listeners — especially young people — are pushing back against that paradigm, celebrating artists like Billie Eilish, Halsey, and girl in red, who don't shy away from the troubles of the world but sublimate them into their music." 

Their music, in turn, helps them cope with their own "lived realities." It's equal parts celebration of the artist and found community for someone who, in a world away, relates.

Which is why the rise of "sad girl" pop feels synonymous with the current state of the world. To varying degrees, we've all endured the trauma of a pandemic that hasn't ended, particularly the mental and emotional toll of isolation and anxiety that has transpired. There's also been the weight of police brutality, school shootings and the impending death of democracy for people to bear. Finding comfort in nostalgia — especially within pop culture — was natural for many.

Some retreated to the music, TV or films they listened to when they were teenagers, while others sought relief in music that evoked the feeling of being young and carefree. It's also why recent vulnerable, melancholy pop tracks became such a balm — and ultimately solidified the power of "sad girl" pop.

But the group that seems to be drawn to this niche pop aesthetic are teenagers. It makes sense: Gen Z is coming of age at a time when there's less of a stigma around discussing mental health. Celebrities and artists are arguably more open than ever about their struggles — Shawn Mendes, for instance, has often shared his battle with anxiety, sharing a super honest message with fans in April; Selena Gomez opened up about her bipolar diagnosis in 2020, and launched a multimedia company dedicated to mental health this year.

And it isn't just young women dominating this niche area of pop. Male artists like Conan Gray, Dean Lewis, Jeremy Zucker and Lewis Capaldi are delivering bedroom pop anthems ranging from angsty to wistful, overall unafraid to showcase raw vulnerability. Their music has proven to similarly resonate, with Capaldi's pained breakup ballad "Someone You Loved" hitting No. 1 on the Hot 100 in 2019 and Dean Lewis' "Be Alright" reaching No. 1 on Billboard's Adult Pop Songs chart that same year.

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"Shame is gradually being removed, so people are talking more about their feelings and their mental health — and audiences can relate to it," says Jodi Milstein, MA, LMFT, LPCC, music therapist.

When their emotions are reflected back to them in a song by a public figure, sometimes that's the key to getting help and seeking therapy. "A lot of times, we can't tell people, 'you need to do this, this and this to feel better.' We just have to set an example," Milstein explains.

Gen Z is much less filtered than other generations, and more candid about their own mental health struggles, as a 2018 survey by the American Psychological Association and a 2019 report by the American Psychiatric Association showed. And it's not uncommon to see them pouring their hearts out on TikTok or Instagram. But their connection to hyper-vulnerable music is also the result of where they are in their lives. Because their brains are still developing, they "tend to have a more difficult time modulating their emotions," says Sloan.

"At the same time, they feel things more deeply than adults might, especially music," he continues. "Studies have shown that the developing brain creates strong neural pathways between music and emotion in the teenage years, so that the music we listen to at that phase of our lives tends to stay with us, no matter how far we get from that period.".

Despite the lyrics — or even the mood — of the artist, "sad girl" pop is no different than other subgenres of music. "What's true of 'sad girl' pop is true of all music: it's essential to try and hear a piece of music as expression, not fact," Sloan adds.

In other words, girl in red may be singing about depression in "Seratonin," but it doesn't mean that the listeners themselves are depressed. They could be, but they could also find catharsis or joy in hearing someone detail a similar experience. And at a young age, especially, there's so much power in being seen and heard by a song.

"Several studies have shown that when listeners listen to sad music, they can experience [it] as if it was kind of empathizing with them," says Jonna Vuoskoski, associate professor in music cognition at the University of Oslo. "Music is almost like a virtual friend."

But while the music is resonating, there is a flipside to "sad girl" pop. The label, which has helmed the conversation around this music, can be diminishing to the artists who are pouring their feelings into these songs. Despite all of the aforementioned artists whose vulnerability has helped their listeners heal, filing music under "sad girl" writes off a person's — particularly a woman's — emotional trauma as something not to be taken seriously.

It can also glorify the idea that it's "cool" to be sad, which is rarely the intention of these artists. When it comes down to it, their songs are about as personal and vulnerable as one could get. They're creating deeply moving material — and an importantly deep connection with those who listen.

"They're speaking up for themselves — they're setting limits or setting boundaries," says Milstein. "On Instagram and Tik Tok, people get on there and will say, 'Hey, this happened to me, and I'm not gonna deal with this anymore.' People have been more expressive. You see other people actually talking about [this] stuff, which before you didn't see that."

From Abrams to Rodrigo, these artists aren't singing about their insecurities and pain for cachet: They're simply young women (and men) trying to navigate young adulthood. What they're sharing is courageous — and should they decide to move out of the "sad girl" box they've been placed in, we should be ready to grow with them.

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June—aka LGBTQIA Pride Month—is finally upon us! Joyful, upbeat music is an essential part of celebrating Pride, so GRAMMY.com would love to know what your favorite Pride anthem is. With music from gay disco icon Sylvester, drag queen superstar RuPaul, inclusivity advocate and Mother Monster Lady Gaga, young barrier-breaking cowboy Lil Nas X, and many more to choose from, we hope this list brings you joy as you contemplate your top rainbow bop.

Vote now in our poll below by Tuesday, June 15, and have a wonderful Pride!

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Halsey has launched the Black Creators Funding Initiative (BCFI), a special initiative that aims "to give funds, resources, and a platform to black creators," the singer wrote in an Instagram post announcing the campaign. 

The ongoing initiative, launched Thursday (June 11), will help Black creators of all practices and creative areas by amplifying their art and providing a platform for their voices and perspectives to be heard. Halsey and her team will fund the initiative entirely. 

"If you're an artist, poet, graphic designer, writer, film maker (sic), music producer, journalist, make up (sic) artist, or creator of any kind, we want to see your work and want to help achieve your goals," the artwork accompanying the BCFI announcement reads. In her Instagram post unveiling the fund, Halsey encouraged her followers to tag their favorite Black creators and use the #BLACKCREATORSFUND hashtag, writing, "Looking for black creators who want to enrich the world with their work."

According to her post, Halsey will promote the artists on her socials "to help launch their platforms" and will "provide resources, information, and points of contact, for as many people as we can."

BCFI will announce the first gifting recipients June 18. 

The biracial pop superstar—her mother is Italian and Hungarian and her father is Black with Irish ancestry—recently joined several protests against police brutality and racial injustice in the wake of the killing of George Floyd at the hands of Minneapolis police. 

Earlier this month (June 1), Halsey posted photos and videos from protests in Los Angeles where the GRAMMY-nominated singer was seen helping protestors who were hurt while attending the demonstrations. 

"It's easy from the comfort of your home to watch looting and rioting on television and condone the violent measures being taken by forces," she wrote on Instagram. "But what you don't see is innocent peaceful protestors being shot at and tear gassed and physically assaulted relentlessly. You think it's not happening, it's only the 'thugs' and the 'riots', right? The police are keeping you safe right? You're wrong. This is happening everywhere. And innocent people exercising their rights to speech and assembly are facing violence and abuse of power."

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On May 27, two days after Floyd's death, Halsey shared an impassioned Instagram post about the slain man in which she encouraged her followers to speak about his killing and the officers involved.

"If you have friends and family who are privileged enough to 'stay away from this kind of news,'" she wrote, "then take that f**king privilege away. Uplift the voices of black members of your community voicing their fear or outrage or grief." 

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