Another month has passed us by, and August brings us closer to the end of the season. However, several new tracks and albums have dropped to lift our spirits. With brand new projects like Khalid's Sincere, Maren Morris' Intermission, and 49 Winchester's Leavin' This Holler, the beginning of August promises bright things ahead.

A slew of singles dropped, too, from exciting collaborations like Charli XCX's "Guess" remix with Billie Eilish and Jessie Murph's new track with Teddy Swims to new offerings from Big Sean, Jhené Aiko, Jelly Roll, Suki Waterhouse, and more. Whether you're looking for full projects or a few new playlist additions, you will not be disappointed.

As you prepare to close out summer, be sure to check out these 10 new songs and albums.

Just 24 hours after Charli XCX set the internet ablaze with a tease of her next collaboration, she not only unveiled the special guest, but she also dropped the track as a New Music Friday-eve gift: a remix of "Guess" with her fellow pop queen, Billie Eilish.

The pulsating song keeps the same club-ready aesthetic of the original from Charli XCX's brat, but taps into the sexual fluidity of Eilish's HIT ME HARD AND SOFT with the "LUNCH" singer adding a new verse (fans particularly went into a frenzy over Eilish's line "Charli likes boys but she knows I'd hit it"). The track offers a raunchy brand of girl power, further emphasized by the underwear-strewn video, as the unworn undergarments will be donated to survivors of domestic violence through I Support the Girls.

Seven-time GRAMMY-winner Kacey Musgraves is expanding the well she first introduced in March. With the release of Deeper Well, Musgraves showcased a softer side of herself that she discovered during periods of self-introspection following significant changes in her life.

Now, with Deeper into the Well, she takes us further along on her journey. Musgraves gave a taste of the additional seven songs with the release of her single "Irish Goodbye," which narrates the tale of someone struggling to find forgiveness for someone who abruptly left. The extended edition also includes two new features, "Perfection" with Tiny Habits and "Superbloom" with Leon Bridges.

The release comes one month before Musgraves is set to kick off her Deeper Well World Tour in Pennsylvania; she'll hit cities on both coasts, and conclude in Nashville in December.

Read More: For The Record: Why Kacey Musgraves' Timeless Album Golden Hour Still Shines 5 Years Later

Maintaining her message of confidence and self-worth, Saweetie releases "My Best," an unapologetic anthem that emphasizes knowing your worth and surrounding yourself with people who prioritize your best interests.

The music video visually represents Saweetie's personal growth, both as an individual and as an artist. Shot at hometown landmarks like her high school and childhood neighborhood, she invites fans on a nostalgic journey of introspection — while also reminding them to stay true to themselves.

Learn More: Meet The First-Time GRAMMY Nominee: Saweetie On Her Long-Awaited Album Pretty B^^^^ Music & Why Women Rappers "No Longer Need A Co-Sign"

Four years after her smash "Dance Monkey" took over the world, Tones and I releases her second studio album, Beautifully Ordinary. The follow-up to 2021's Welcome to the Madhouse, the 16-song project reflects the artist's growth, exploring themes of nostalgia, love, and self-acceptance. Each song invites listeners to embark on an emotional, personal journey with Tones and I, offering a source of catharsis for those who relate to her experiences.

Tones and I first gave listeners a taste of the project in June with lead single "Dance With Me," a track that delves into themes of heartbreak and desperation. Despite its underlying message of loneliness, the track retains Tones and I's signature upbeat rhythms and vibrant instrumentals — and the rest of Beautifully Ordinary follows suit, offering intimate and heartfelt narratives through her radiant musicality.

Celebrating the six-times-platinum debut album that catapulted them to stardom, Sam Smith is releasing the 10th anniversary edition of In The Lonely Hour. This special edition features a reimagined version of their classic "Stay With Me," and a brand new track, "Little Sailor."

The original project launched Smith's career into the stratosphere, receiving critical acclaim and earning them four golden gramophones at the 2015 GRAMMYs, including Best New Artist.

"I feel so incredibly lucky to be celebrating this milestone with you," Smith wrote on Instagram. "My team and I have created this beautiful anniversary edition for us all, and for the last 10 years."

Learn More: 9 Times Queer Artists Made History At The GRAMMYs: From Elton John's Collab With BSB To Kim & Sam's "Unholy" Union

Fresh off going three-for-three at the 2024 GRAMMYs, Killer Mike delivers another potent project, Michael & The Mighty Midnight Revival, Songs For Sinners & Saints. A follow-up to his autobiographical album 'MICHAEL', the 10-song collection dives deeper into his personal narrative, offering an epilogue filled with introspection and celebration — including the poignant track "HUMBLE ME," which reflects on his arrest after winning his GRAMMYs in February.

Killer Mike provided fans with a gift, releasing the album as a free download for the first 48 hours. In support of the release, Killer Mike electrified audiences with six performances over three nights at the legendary Blue Note jazz club in NYC, including a live-streamed show that attracted nearly 100,000 viewers. This project is a testament to Killer Mike's ongoing dialogue with his audience, addressing both tribulations and triumphs. As the tour continues with a stop at Lollapalooza just one day after the album's release, fans can engage further with tracks like "NOBODY KNOWS" and "HIGHER LEVEL," which offer a glimpse into the rapper’s evolving journey and continued impact on hip-hop.

Still riding high from her vocals featured on Beyoncé's COWBOY CARTER, country star Tiera Kennedy releases her latest single, "Cry," which samples Justin Timberlake's 2002 Timbaland-produced hit "Cry Me A River." It's another taste of Kennedy's forthcoming debut album, which she dubs "R&B/country."

"I've been really inspired by the music I grew up listening to," Kennedy shared in an Instagram video. "Timbaland had a hand in a lot of those songs."

Known for her distinctive approach to blending genres, Kennedy invites listeners to immerse themselves in her world of creative storytelling with her latest track. "Cry" explores the narrative of someone who has made their bed and has to lie in it, while Kennedy has already moved on.

Explore More: A Brief History Of Black Country Music: 11 Important Tracks From DeFord Bailey, Kane Brown & More

Returning with his third studio album, electronic artist Gryffin embarks on a new era and unveils a fresh side of his artistry with PULSE. The 14-track album features collaborations with a range of artists, including Rita Ora, Disco Lines, MAX, and more.

"PULSE is a return to why I fell in love with dance music in the first place, and this is the most creatively inspired I've felt in years," said Gryffin on Instagram. "I can't wait for you all to hear the new sound and feel the passion I've put into these tracks."

After more than a year of not releasing music, John K is back with a new single, "Lost." It's a song that vulnerably reveals feelings of completeness after finding the right person — a fitting narrative for the happily married singer, who is expecting his second child with his wife, Lenée.  . Becoming a father is one of the several major life changes John K has experienced in the past few years, all of which have shaped his upcoming music and brought his musical artistry to the next stage.

"I was writing with the aim of challenging myself to do something I hadn't done before," John K said in a press statement. "I shattered the box of what I thought I had to be, and it allowed me to get to deeper levels of honesty and really gain even more confidence. I took risks, and I honestly expressed myself.

After releasing two albums within four months in 2022, Jack White has essentially gone silent since — until now. Just two days after announcing his sixth studio album, No Name, the rock icon unveils his latest masterpiece.

The 13-track album stays true to White's DIY philosophy, with the recording, production, and mixing all handled by the artist himself at his own Third Man Studio. Even before the album dropped on Aug. 2, reviews were already glowing, with Variety calling it the album "fans have been lusting for" due to its parallels to the rip-roaring rock of his former band the White Stripes — but "without seeming retro or leaning too heavily on nostalgia."

Explore More: Songbook: A Guide To Jack White's Musical Outlets, From The White Stripes To The Dead Weather & Beyond

Ahead of his forthcoming album, Album of the Year #1 Funkateer, Bootsy Collins has released "Pure Perfection," a smooth, sultry track featuring German rapper FANTAAZMA and rapper Giz. The track also features one of the funk icon's legendary alter-egos, "Bedroom Bootsy," who brings a sultry tone to the tune.

Due Oct. 25 (the day before Collins' 73rd birthday), Album of the Year #1 Funkateer includes an 18-song track list with contributions from Snoop Dogg, Wiz Khalifa and more. And if the smooth, thumping vibe of "Pure Perfection" is any indication, the funk vet is ready to take fans on a trippy musical journey — one that only Bootsy Collins can moderate.

Whether viewed via a cardboard sleeve, plastic jewel case, or online thumbnail, the album cover can be pivotal to the perception of the music it envelops. After all, long before a single note has been played, it essentially serves as a record's first taster. None more so than in the pre-streaming, crate-digging age when consumers had to venture into brick-and-mortar stores, often relying on little more than an eye-catching image to choose their latest pet sound. Now, in time for the 2026 GRAMMYs, the Recording Academy has added a new Category celebrating what is very much an art form in its own right.

The concept of adding artwork to an album cover is credited to Alex Steinweiss, an art director hired in 1938 by Columbia Records to make the typical brown paper bags a little more aesthetically pleasing. By the end of the following decade, the practice had become commonplace, and pretty soon, creatives such as Neil Fujita, Bob Cato and Reid Miles were able to build entire careers on making vinyl pop off the shelf.

Of course, it was when the album format began to take precedence over the hit single that cover art entered its dominant era. The Beatles, the Rolling Stones, and every other artist that spearheaded the rock and roll revolution recognized the power that a 12" sleeve could hold. The psychedelic, prog-rock and heavy metal scenes became particularly enamored, too, adorning their musical masterpieces with elaborate imagery left open to copious amounts of interpretation.

Although much smaller in size, the album cover continued to thrive throughout the advent of the cassette tape and then the compact disc, with designers — including portrait photographer Annie Leibovitz, Dutch film director Anton Corbijn, and kitsch guru David LaChapelle — simply adopting different techniques to wow the crowds. And while the rise of the internet has reduced the eyeball space even further, artists are still keen to ensure that their visual representation aligns with their sonic.

No doubt that the debate over who should win Best Album Cover at the 2026 GRAMMYs is already starting. In honor of the new Category — as well as some other exciting changes for next year's telecast — GRAMMY.com revisits some of the covers that have made a mark on pop culture since the first GRAMMYs in 1959. From simple portraits to fantastical collages, here's a look at 34 that are arguably just as memorable, if not more, than the albums themselves.

Read More: 5 Reasons Why The 2026 GRAMMYs Updates Are Game Changers

1960s

Jimi Hendrix — Are You Experienced

The Jimi Hendrix Experience gave us two classic album covers for the price of one with their game-changing 1967 debut. Shot by Bruce Fleming, the original U.K. sleeve featured its eponymous frontman adopting a Dracula-like stance next to bandmates Noel Redding and Mitch Mitchell. But for its North American release, Karl Ferris repositioned the trio as a "group travelling through space in a Biosphere on their way to bring their unworldly space music to earth." Taken at Kew Gardens via the du-jour style of the fisheye lens, its deeply psychedelic aura was considered a much better fit for the Summer of Love.

The Beatles — Abbey Road

The Beatles literally stopped traffic while shooting the cover that turned an otherwise unremarkable London street into a tourist landmark. The Fab Four had initially planned to hike up the Himalayas for their 11th LP, but eventually decided a zebra crossing walk outside their EMI recording studio would suffice. Photographer Iain MacMillan was given just 10 minutes to capture the legends in all their sharp-suited — and in Paul McCartney's case, barefoot — glory. Of course, the Merseysiders' entire back catalog could have graced this list. But despite their label's concerns over the lack of a title or band name, it's Abbey Road's portrait of both unity and individuality that remains the group's defining image..

The Doors — Morrison Hotel

In one of those remarkable twists of popcultural fate, Ray Manzarek just happened to stumble across an L.A. establishment with the exact same name of the album he was scouting cover locations for. It needed a spot of subterfuge, however, for the stars to truly align. Indeed, with its front-of-house receptionist unwilling to play ball, The Doors and photographer Henry Diltz had to wait until he was called away, and in a matter of just seconds, snap the contemplative window gaze that ironically would put the Morrison Hotel on the global map.

Velvet Underground & Nico — Velvet Underground & Nico

No-wave pioneers Velvet Underground and self-proclaimed "Chelsea Girl" Nico also omitted their names on the cover to their seminal self-titled debut, allowing its designer to take full credit instead. After all, it was Andy Warhol's idea to represent their magnum opus with the image of a moldy banana, and on its early pressing, tempt record buyers to "peel slowly and see." It was a typically playful approach that counterbalanced the dark and discordant sounds hidden within. This is the moment where modern art and modern pop truly collided.

1970s

Cream — Disraeli Gears

Australian artist Martin Sharp certainly ensured that Cream's second album Disraeli Gears stood out from the crowd. The multi-talent, who also co-wrote Side B's opener "Tales of Brave Ulysses," attempted to capture its fluorescent sound with a decidedly trippy collage of colors, florals and photos taken in London's Hyde Park and Scotland's Ben Nevis. Presiding over all the organized chaos are the trio themselves, including an atypically clean-shaven Eric Clapton, positioned like the Mount Rushmore of psychedelic rock.

Joy Division — Unknown Pleasures

The Cambridge Encylopaedia of Astronomy might not initially appear to be the stuff of British post-punk history. But it was while perusing the 1977 tome that Joy Division guitarist Bernard Sumner spotted a series of pulsar radio waves that subsequently became the scene's defining image. With a little help from Factory Records designer Peter Savile, who reversed the original's black and white lines to make it look 'sexier,' the cover perfectly encapsulated the stark, atmospheric and curious nature of the Mancunians' cult classic Unknown Pleasures, and nearly a half-century on, it remains a T-shirt favorite.

Pink Floyd — The Dark Side of the Moon

A Black Magic chocolate box was the brief given to album cover maestros Hipgnosis for Pink Floyd's pièce de résistance The Dark Side of the Moon. Just as they'd done with their previous collaborations with the prog-rockers, designers Aubrey Powell and Storm Thorgerson thought completely outside the box — or should that be prism — using a striking combination of colors and physics for a sleeve that perfectly reflected the group's visually dazzling live shows. It's an image that has become synonymous with the Brits more than any other, proving that sometimes, the simplest ideas really are the best.

The Clash — London Calling

"Unfortunately, you always sort of tend to destroy the things you love," bassist Paul Simonon once remarked, referring to the iconic cover of The Clash's London Calling. The bassist had smashed his guitar to smithereens during a 1979 gig at New York's Palladium in frustration of some overzealous security. And while photographer Pennie Smith believed her snap — accompanied by green and pink lettering inspired by Elvis Presley's self-titled debut — was too out of focus to grace the double album, it proved to be the perfect visualization of punk rock's defiance.

The Rolling Stones — Sticky Fingers

Four years after his banana peel stunt, Andy Warhol once again toyed with the concept of the album sleeve for the Rolling Stones' ninth LP Sticky Fingers. This time, he incorporated a working zipper and perforated belt buckle which, when opened, revealed a pair of white briefs emblazoned with his famous name. Contrary to popular belief at the time, the crotch in question didn't belong to the group's rubber-lipped frontman. Not that designer Craig Braun was forthcoming in quashing the rumor: "If girls think that that's Mick's d—, we're going to sell more albums," he later admitted about the gimmick, which took cover artwork to new provocative heights.

Willie Colón — La Gran Fuga

"Armed with Trombone and Considered Dangerous," cautions the cover of Willie Colón's collaborative album La Gran Fuga (The Big Break) in an inspired mock-up of a Most Wanted poster. Committing to the bit, designer Izzy Sanabria also throws in a cheap "mugshot"-style photo of the salsa pioneer, a series of fingerprints, and a warning that his musical partner in crime, Puerto Rican singer Héctor Lavoe, is on the run, too. In fact, the whole charade was so convincing that the very real FBI insisted their name be removed from the sleeve. This was album artwork at its most tongue-in-cheek.

1980s

Bruce Springsteen — Born in the USA

Sporting the classic white T-shirt and denim jeans (alongside a pocketed red baseball cap), Bruce Springsteen embodied the All-American hero while posing in front of the Stars and Stripes for his seventh LP Born in the USA. Much to photographer Annie Leibovitz's chagrin, however, The Boss' brooding features remained entirely out of view. "In the end, the picture of my ass looked better than the picture of my face," he later admitted about the cheeky artwork that found its way into 30 million homes.

N.W.A. — Straight Outta Compton

Firmly living up to their tag of the "world's most dangerous group," the cover of N.W.A.'s debut, Straight Outta Compton, saw the rappers in full-on gangster mode. All six members look ready and willing to send their unseen victim — "I just lay on the ground and they pointed what hopefully was an unloaded gun down at the camera," photographer Kevin Poppleton later quipped — sleeping with the fishes. But it's Eazy-E who's got his hands on the trigger in a truly menacing cover that foreshadowed all the lyrical and sonic aggression ahead.

Run-D.M.C. — Raising Hell

"I hate to admit it but there wasn't a 'concept' concept for that album," art director Janet Perr has admitted about her work on Run-D.M.C.'s mainstream breakthrough. Yet it was by capturing the hip-hop pioneers at their true essence, without any bells or whistles, that made Raising Hell's artwork so authentic. Although their signature Adidas trainers are out of sight, Joseph "Run" Simmons and Darryl "D.M.C." McDaniels (not officially signed to their Profile Records label, Jam Master Jay was restricted to the back cover) still ooze Hollis cool.

Talking Heads — Remain in Light

Talking Heads' Chris Frantz and Tina Weymouth drew upon the knowhow of the Massachusetts Institute of Technology to create one of the first computer-generated album covers. Relegating their initial plans of a warplane collage to the back, Remain in Light instead splashes portrait photos of all four members with crude red 'paint' for a disturbing image that makes them resemble bloodied bank robbers. The inverted "A"s in the group's name only adds to the sense of unease.

1990s

2 Live Crew — Banned in the USA

From a distance, there's nothing particularly remarkable about the artwork for 2 Live Crew's fourth album. It's essentially just the group standing in front of the American flag in typical hip-hop attire. But shift your gaze toward the bottom right-hand corner and you'll notice a black and white sticker designed to ward off, but which only ever really enticed, the young and impressionable. Indeed, Banned in the USA was the first ever album to come equipped with a parental advisory sticker. By 1992, another 224 records had joined the potty-mouthed club; the sticker is still used in today's physical market, while streaming services will apply a similar "Explicit" tag to any tracks considered family-unfriendly.

blink-182 — Enema of the State

blink-182 promoted their second album Enema of the State with a blend of toilet humor and scantily clad visuals that perfectly aligned with the success of American Pie. The Californians apparently didn't know that model Janine Lindemulder — who they also chased in the promo for "What's My Age Again" — was in the adult entertainment industry when she was selected to brandish the blue glove in a provocative nurse's outfit. But a generation of hormonal teens, who ensured the cover art adorned more bedroom walls than any other at the turn of the century, thanked them anyway.

Britney Spears — ...Baby One More Time

While most international audiences saw a solemn Britney Spears praying angelically for the cover of her all-conquering debut album, her homeland's fans were treated to a more carefree image that better reflected her Mickey Mouse Club past. The teen princess looks the height of innocence as she kneels down smiling while surrounded by pastel pink. ...Baby One More Time's cover art essentially signaled an era in which pop became a playground for the girls (and the boys) next door.

Jay Z — Reasonable Doubt

Photographer Jonathan Mannion had planned to give Jay-Z's debut album a "Miami Vice meets the monarchy" look when it was titled Heir to the Throne. But on rechristening its vivid hustler tales Reasonable Doubt, it was decided that instead of flashy Versace suits, the Jigga Man should adopt a classic mafia persona instead. You might not be able to clearly see the rapper's face, but his hat, scarf and cigar instantly prove that he means business. And as Jay's first official studio album, Reasonable Doubt's powerful cover set the tone for how he would soon revolutionize the hip-hop world.

Lauryn Hill — The Miseducation of Lauryn Hill

Lauryn Hill went back to school to help sell the solo debut that promised a glittering career ahead. Indeed, alongside photographer Eric Johnson, the ex-Fugees singer returned to her New Jersey alma mater for a series of hallway, classroom and bus shots that tied in with the album title's theme. But it was the woodshop that appeared to inform The Miseducation's front cover, with Hill's familiar face cleverly made to look as though it had been etched on a timber desk. It's still one of the hip-hop scene's most unique covers, and perhaps all the more special because the multiple GRAMMY winner has still never been properly followed up.

Nirvana — Nevermind

Spencer Elden became the world's most famous baby in 1991 when an image of his naked four-month-old self swimming underwater (and chasing a string-tied dollar bill) adorned grunge's ultimate blockbuster.Nirvana's defiant Kurt Cobain, who'd conceived the idea after watching TV footage of water births, refused to cover the youngster up, insisting the only sticker he'd allow is one reading, "If you're offended by this, you must be a closet pedophile." Unfortunately, despite previously celebrating his contribution to Nevermind's success, the grown-up Elden is now trying to sue the band for "lifelong damages." Even so, it remains one of rock music's most striking (and unforgettable) images.

2000s

Amy Winehouse — Back to Black

"Amy was four hours late. She'd been partying all night. But she still managed to be cool and crazy." Photographer Mischa Richter certainly appeared to get the full Amy Winehouse experience when shooting the soul singer for the future GRAMMY-winning Album Of The Year Back to Black. Without knowing it, she also brilliantly captured the record's essence in a snap at her very own London home. Richter had no idea of the album's title when she snapped Winehouse in a darkroom adorned with blackboard paint. Showing little sign of the troubles ahead, the simple but effective image remains one of the most indelible of her tragically short career.

Gnarls Barkley — St. Elsewhere

Super producer Danger Mouse and soul man Cee Lo Green concocted a wild backstory for their chart-topping side project, claiming that Gnarls Barkley was a pal of Isaac Hayes, a former boyfriend of Mariah Carey, and a one-time English teacher for electro wizards Kraftwerk. Little surprise, therefore, that the cover for their debut album St. Elsewhere is similarly madcap, its nuclear explosion producing a cloud filled with everything from skyscrapers and speared army helmets to palm trees and purple tigers. It's a piece of art that practically demands listeners to give it their undivided attention.

Kanye West — The College Dropout

Conceptualized by Roc-A-Fella's in-house designer Eric Duvauchelle, The College Dropout promoted Kanye West's cuddly yet despondent looking mascot from single ("Through the Wire") to album cover. The Dropout Bear would also grace the rapper's follow-ups Late Registration and Graduation, the latter in animated form. But it's on the bleachers of a high school gym, surrounded by an array of 16th century gold ornaments, where the bear subverted hip-hop's typically macho posturing the most effectively.

*NSYNC — No Strings Attached

No one could accuse *NSYNC of failing to commit to their sophomore's puppet-master concept. As well as playing marionettes in the video for third single "It's Gonna Be Me," the boy band also tied themselves up by strings on its theatrical cover art. Justin Timberlake and co. were, of course, alluding to the domineering presence of RCA and their controversial former manager Lou Pearlman, both of whom they'd also been involved in lengthy lawsuits with. More than 2.5 million Americans instantly bought into No Strings Attached's metaphor, breaking a Billboard record for first-week sales.

Outkast — Stankonia

The American flag once again adorned an iconic album in 2000, although it looked noticeably different to the one raised for Born in the USA. Outkast not only inverted its famous stars, they also swapped out its red and blue for black, a monochromatic color scheme that helped the hip-hop duo take center stage. A shirtless, leather pants-clad André 3000, very much looking like a Jimi Hendrix-esque rock star, and a more casually dressed Big Boi adopt very different poses, perhaps reflecting Stankonia's billing as a utopia where "you can open yourself up and be free to express anything." It takes a brave act to tamper with the Stars and Stripes, but the sleeve proved that few hip-hop acts are as fearless.

Shakira — Fijación Oral, Vol. 1

Who better to take inspiration from than the universe's first ever woman? Shakira was so enamored with the idea, she played Eve on the cover of Fijación Oral, Vol. 1 and its swiftly issued sequel. It was the former's more grounded cover that packed the biggest punch, however, as the Colombian, donning a see-through gown while holding a baby girl in her arms, fought back against the idea that women can't balance motherhood with a career.  . And though there wasn't an opportunity for Shakira to win a GRAMMY for Best Album Cover back then, Fijacion Vol. 1 did earn her both GRAMMYs and Latin GRAMMYs in 2006, including Album Of The Year at the latter.

2010s

Billie Eilish — WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?

Taken on her 17th birthday, the cover for her debut album instantly confirmed that Billie Eilish wasn't your average teen starlet. Sporting pure white contact lenses while posing demonically on a bed that had been plunged into darkness, the deliberately eerie artwork looked more suited to a classic '70s horror than a '10s big pop girl. WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? Eilish asked. This pure nightmare fuel suggests we didn't want to know the answer.

Katy Perry — Teenage Dream

After approaching the aptly named confectionary-based artist Will Cotton with the sole intention of buying a painting, Katy Perry was then persuaded to pose for one instead. The result, which sees the chart-topper lying nude in a cloud of pink cotton candy, ended up gracing the cover of the seven-time GRAMMY nominee Teenage Dream. Committing even further to the sweet concept, a limited number of sleeves were also sprayed with a bubblegum-like scent. Perry continued to apply its vivid color scheme throughout her imperial phase, inspiring numerous other big pop girls to embrace their playful, irreverent side, too.

Kendrick Lamar — To Pimp a Butterfly

Just as provocative, thought-provoking, and proudly confrontational as the Best Rap Album GRAMMY winner itself, the cover for To Pimp a Butterfly transports the hip-hop house party to the ultimate house. "Just taking a group of homies who haven't seen the world and putting them in these places that they haven't necessarily seen ... and them being excited about it," is how Kendrick Lamar described the monochromatic snap taken on the presidential lawn. The fact that the rapper's shirtless, cash-waving posse (and a baby) are surrounding a dead white judge, however, suggests that their jubilance is far more politically charged.

Rihanna — Anti

It's now been nine years since Rihanna committed to a full-length studio effort. But if Anti does prove to be Rihanna's last ever album cover, then she sure went out in style. Roy Nachum's striking artwork presents the Barbadian not as a world-famous adult, but a balloon-holding girl attending her first trip to daycare while blindfolded by a gold crown. "Sometimes the ones who have sight are the blindest," the superstar explained about the sleeve, which also came accompanied with a Chloe Mitchell poem written in Braille. It was a design that expertly reflected Rihanna's evolution from teen R&B princess to serious artiste.

2020s

Bad Bunny — Un Verano Sin Ti

Designed in conjunction with the L.A. graphic artist known as Ugly Primo, the cover for Bad Bunny's Un Verano Sin Ti is perhaps best described as "happy sad." On one hand, there are palm trees, sun rays, and dolphins gliding through the air. On the other, there's a despondent, one-eyed heart who looks like they'd rather be anywhere else. Adopting a coloring book visual style, the sleeve perfectly encapsulated the record's concept of "a summer without you." Perhaps the most remarkable thing about the album's (and it's cover's) melancholic themes is its juxtaposing success: Un Verano Sin Ti went on to become the first entirely Spanish album to top the year-end Billboard 200, and the first to receive an Album Of The Year GRAMMY nod.

Beyoncé — RENAISSANCE

Having recently appeared to ditch the concept of music videos, the album cover has now become Beyoncé's dominant method of expressing herself visually. And she certainly pulled out all the stops for her dance floor-focused seventh LP, RENAISSANCE, straddling a horse constructed from mirrored disco balls while sporting a silver, helix-shaped bodysuit. Shot by Dutch fashion photographer Carlijn Jacobs, the sleeve inevitably drew comparisons with both Lady Godiva and Bianca Jagger's iconic equine entrance at Studio 54, cementing Beyoncé as today's ultimate style icon.

Charli xcx — brat

There's not many album covers that can claim to have owned an entire season. But the lime green (Pantone 3507C, to be precise) artwork for Charli xcx's zeitgeist-defining sixth LP did just that, spearheading what would become known as Brat Summer. "I wanted to go with an offensive, off-trend shade of green to trigger the idea of something being wrong," the party starter explained about the remarkably effective sleeve that, despite its apparent simplicity, took five months to execute. The fact that everyone from the London Mayor to Kamala Harris adopted the same aesthetic proved it was very right.

The Weeknd — After Hours

The Weeknd certainly committed to the visual concept for fourth LP After Hours, which began with the red-suited star staggering around Vegas in the video for "Heartless" and concluded alongside an army of bandaged dancers at the Super Bowl. The R&B lothario also portrayed the character "having a really bad night out" on its cover, hence the blood, bruises and slightly Joker-esque grin that suggests he's actually reveling in all the chaos. Ultimately, it proved that the humble album cover could still cause a stir.

In the midst of brat summer, Addison Rae strutted onto the stage at Los Angeles' Shrine Auditorium. Joining her headlining friend Charli xcx for their "Von Dutch" remix, Rae's guest appearance was much more than just unabashed, spontaneous fun — it marked the beginning of a liberating new chapter.

Along with being Rae's first-ever live performance, the surprise moment set the tone for the confident singer/songwriter that would arrive with the sultry hit "Diet Pepsi" two months later. And almost exactly one year since her cameo with Charli, Rae is doubling down on her self-assured star power with her debut album, Addison.

Reflected by its colorful, kaleidoscopic album cover, Addison renders the vivid nature of Rae's artistic vision. Though she first saw success as a dancer (and one of the world's most famous at that, with more than 110 million followers and five billion likes across social media platforms collectively), Rae has focused more on music in recent years — and Addison epitomizes her multifacetedness.

"It's all under this one big umbrella of entertainment and performance: acting, dance, writing music," Rae tells GRAMMY.com. "Provoking people and getting them to feel things and question things and almost have an unexplainable feeling or desire to think about something deeper… it all kind of guides me in the same way. It's like, how can that feeling be activated the most intensely?"

Rae has been chasing that feeling ever since she moved to Los Angeles in 2019 to pursue dance and content creation full time. While the feeling almost instantly resonated with a social media audience, it presented some challenges as she explored other avenues. Upon releasing her debut single, "Obsessed," in 2021, it seemed the public was determined to still see Rae as an influencer, not yet an artist. The single was largely panned by critics, leaving her to question her musical path ("I just thought, Maybe I'm not good enough to do this," she told Vogue in 2023).

Yet, Rae didn't let the pressure creep into her head or heart, and she devoted herself to honing her sound and style. After a series of her rough demos leaked online in early 2022, the reaction indicated that she was doing something right: not only did listeners love them, they wanted more.

Along the way, Rae had met Charli xcx, who further helped her gain confidence in her artistry. By the end of 2023, Rae's musical dreams weren't so far off; she released her EP AR to positive reviews and scored a deal with Columbia Records. And once she wrote "Diet Pepsi" with songwriters Elvira Anderfjäard and Luka Kloser, Addison Rae the pop star was fully formed.

Swirling with hypnotic vocals and synths, "Diet Pepsi" captures the essence of Addison; the album spirals with an alluring desire and an untethered, joyful spirit. "I'm the ray of light/ I'm transforming and realigning/ I'll take you with me, high," she sings in the dreamlike "Aquamarine," embodying her metamorphic creative journey. Addison is a showcase of Rae's intense magnetism that comes with not just charisma and talent, but a hard-won belief in herself.

While the album is undoubtedly the product of the work she's put in, Rae insists that the people around her — Anderfjäard and Kloser, along with everyone from her stylist Dara to her choreographer Danielle Polanco to music video directors Mitch Ryan and Sean Price Williams — have been key to making her vision a success.

"We all have this equal desire to move people and to get people to connect and feel something deeply," the multi-hyphenate shares. "I think that is truly the magic of it all."

How did Rae manage to flip her narrative from underestimated social media star to one of pop's most engaging new voices? Below, Rae discusses her journey to her debut album, how she protects her peace, and what she's manifesting for 2025.

What was on your album inspo mood board? What does the world of Addison look and feel like to you?

Before I made any of the music, I was like, "What colors do I want to feel from the album?" Really early on — before "Diet Pepsi," the first song we made for the album — I had found shades of colors that I liked, and I printed them out and put them in a binder. It was this pretty aqua, then it was hot pink, super sunshiny yellow, a tone of green, and then a really beautiful vibrant blue. That told me that I wanted the album to be a lot of different things and not just one thing, and so that gave me a weird sense of guidance.

That happened naturally. We didn't really have a plan for what the album cover was gonna be, and then we shot it and printed the photos out, and that one just spoke to me so strongly, of what every song individually made me feel, [all] in one [photo]. It was just this rainbow energy that really inspired the songwriting — how can I encapsulate every shade, every feeling, every emotion, every sound that gave me enough to feel everything?

Tell me about an "aha" moment you had about the direction of your album when you were working on one of your singles.

To be honest, I think before I even started writing the album, [the] "Von Dutch" remix had happened, and that was my first "aha" moment as a songwriter, which was only last year.

When Charli and I did the session for "Von Dutch," she had sent me the track and was like, "I really want you to be on the remix of this song that I have coming out"... She prefaced what the song was about like, "Oh, it's kind of like to the haters and like 'you're just jealous.'" I was like, "Oh my God, I love this."

I told her, "I have a note [in my notes app with the lyric], 'You're sitting in your dad's basement, while I'm just doing me and following my dreams.'" I sent that to her and I was like, "How funny, this is kind of around that concept," and she was like, "Oh my gosh, we have to put that lyric in the song, like we have to keep it exactly the way you said it."

I was like, "Okay, perfect. I'm just gonna write down some other stuff and I'll send it to you and like let me know what you think," and I mindlessly wrote down a bunch of stuff that was inspiring to me, elaborating on that feeling of judgment from other people. It's such an old thing to say "when people are mean, they're just jealous," but I leaned into that…I sent [Charli] all of that and she was like, "Incredible, come to the session tomorrow and let's record the song."

I was so shocked to have Charli trust me so much with the lyrics that I was writing. It was really the first time that I felt confidence in myself as a songwriter, because obviously Charli is so incredibly talented and has been in this industry for so long. I['ve] started to lean on myself as a songwriter since that moment.

Some people might have the misconception that you suddenly discovered a passion for music recently. How long have you been wanting to pursue singing and songwriting, and what inspired you to fully pursue music? Was it that moment with Charli?

Because I grew up in competitive dance and [started dancing] at 6 years old, I think dance was always a really big motivation for me wanting to make music and to be a singer and an artist. When you dance to songs, you really get to learn a lot about music and musicality and rhythm, and I was always intrigued by the bigger picture of that and why I felt a certain way when I danced to songs, or why it made me want to move in a certain way. And since I was little, I loved to sing.

What I lean on in myself in my singing is being able to create some sort of world or energy or magic in vocal layering and harmonizing and really interesting ad-libs, and songwriting and melody being so strong that it's almost like this gravitational pull and makes you move… I love playing with different deliveries of lines, and I love pushing myself to explore new ranges that I have. I feel really confident in the way that I sound and the way that I sing, and I feel really confident in the imperfections in that as well.

It's been 4 years since your debut single. What have you learned about yourself as a singer or just about the music industry in the years since you released your debut single?

I learned that If you want something, you just have to keep working at it every single day. I love "Obsessed"... obviously my first single [is] always going to have a really special place in my heart. [But] at the time, I definitely had less confidence in myself as a songwriter, and I think I was a little bit more afraid of being vulnerable and raw.

I've learned that growth takes time and experience takes time. When "Obsessed" came out, a lot of people were like, "Why are you releasing music? You haven't struggled in music, you haven't put in the years that it takes to become an artist!" and I'm like, Well then, I'm gonna put in the years of the years of work!

So after "Obsessed" came out, I took a break from releasing music and I was in the studio all the time. I was writing and forcing myself to feel uncomfortable in writing alone, and then I slowly started eliminating elements of the room. [Meaning] I started off writing music in rooms of four people — it'd be me, two songwriters and a producer, and I think initially that felt like the right thing for me to do, to learn the ropes and to learn how people write. When I first came [to LA] I was like, I don't even know how to write songs in the right way. Or is there a right way?

Growing up, I always thought music was so magic and I could never understand the intricacies of going to a session and writing music with people. When I was little, I was like, Hannah Montana wrote it all and did it all, you know what I mean? As a kid, you don't think about the fact that there's a million moving pieces inside of a song.

There's so many different parts to it. Since you mentioned collaboration, you worked a lot with Luka and Elvira, and you've spoken a lot about your amazing creative team as well. What's most important to you when it comes to collaboration, and what sort of creatives do you like to surround yourself with?

I got really lucky meeting Luka and Elvira because we had such a quick spark of inspiration and passion and comfortability that I think is really hard to find, and I can't believe we found it so quickly. We made "Diet Pepsi" the same day that we had met each other and first worked together, so it was really this cosmic, beautiful, magical thing that is so unexplainable. It doesn't even make sense to us — we're like, How did we even get there?

But the entire album is [written by] just me, Luka, Elvira, with one additional girl that's [a co-writer] on "High Fashion." That is so rare in itself to have a room of women in a studio, creating something so freely, and [something so] feminine and deep and beautiful and magical, and [that's] such a reflection of womanhood and my experiences and their experiences combined. We really leaned on each other, and that came so naturally. My other creative relationships [are the same way].

I'm so lucky that I get to work with people that I consider my best friends… For me, it was making sure everybody I brought into the project felt really strongly about the music first, and then as a result, we really came together and created something that reflected the music. Obviously, like I said, I work with a team of artists that are artists on their own, and having them there to bounce ideas off of and brainstorm and really just make it as beautiful and multi-perspective as possible.

It makes me so happy that you're surrounded with so many amazing friends that share that similar passion.

I know, I really am lucky. It feels like we're in school and somehow found our group of people that just love creating things really passionately and intensely, [especially] every single person that is involved in the music videos.

The music videos are such a huge part for me; that was an essential component, creating music with a visual world and a visual language and dance incorporated into that, and being able to act in my videos and really put on a true performance in a lot of ways.

A really powerful relationship in my life is my relationship with a camera. And I think it's been very obvious that that's been a thing for a while. Since I started on TikTok, all of these things come together as a way that I can connect with a camera and really convey emotions through the screen. That is a tool that I love to use. It's a natural gift for me to be able to communicate through that, so the music being so close to my heart and me really opening up and sharing my feelings in a songwriting sense could really aid and be a companion to the visuals.

Speaking of your relationship with the camera, you don't post as much online as you used to — but at the same time, your album does share insight into your life. Was that intentional, like you wanted to let the album do the talking instead of your socials?

Yeah, definitely. Early on in my career, I had a bit of time where I was very open to sharing every detail of my life and putting myself on display, and I realized pretty quickly that although I was posting a lot and sharing a lot, I wasn't actually sharing my perspective or my feelings towards things in my life. The music became such a strong outlet for that because I could do it in a way that I felt comfortable and safe and protected, and allow it to connect with people in a way that wasn't so direct, maybe, but still very truthful.

I also was posting so much that didn't really say a lot, and I think the music says so much. I therefore don't think I need to be posting, you know, the intricacies and the ins and outs of everything. I do think the music should speak for itself.

In order to put the emphasis and the value on the music and the visuals that my team and I have so carefully crafted and put our hearts and passions into, I want to give that all the attention that I can because of how much hard work has gone into it. I don't need to distract from it.

When you first started getting followers in college, did it take you a while to adjust to the fame? How do you preserve your peace today? Is it through making music?

It's always a work in progress, preserving your peace. Growing up is an interesting experience, and sometimes I'm like, How do people do this? Like, how do people navigate life? I have no idea.

But yeah, music has been such a safe space for me, and so I've gone into the studio with an open heart and an open mind… it's almost like therapy in those moments to be able to really express yourself in ways that you feel comfortable in. Music was always an escape for me and such a comfort space. I really lean on music to give myself that peace and expression, and to feel like I'm working through things slowly but surely.

What are some of the most special moments for you since you've officially launched your music career?

Obviously performing with Charli was such an eye-opening experience. My first ever time performing was with Charli, and so was my second time performing. Having someone like her to show me how much hard work and dedication and being true to yourself pays off has been incredible. I really appreciate everyone that I collaborate with because they are so open and willing to hear me spill out all my wildest dreams, and they are willing to and excited to be a part of making those things happen.

What are your biggest goals for your music career, and what are you manifesting for 2025?

I'm a big believer in manifestation and speaking things into existence, and I think I've done that throughout my whole career this far.

I'm hoping that I will get to do a lot more live performances and my interpretation of my music for people in-person, and I'm hoping that the album is received really well. For me, it's less about the way that it performs number-wise or on the charts — it's really about people connecting with it, and being open to receive the music and feel it for what it is, which is a reflection of my life experiences and my heart, and growing up and understanding this crazy world a little bit more every day.

I hope I get to spend a lot more time with the people that I create with and love. That's kind of my goal for 2025, to continue growing as an artist. This is my first album, and I think there's a lot of high expectations for me, which I really appreciate and love because I do think that it helps me to push myself for greatness.

But I also do have understanding of the fact that it is my first album, so I try not to put too much pressure on myself. I'm growing as an artist and I'm developing every single day… so I'm giving myself grace and time.

*Editor's note: This article was updated on June 5, 2025 with information about the 2024 and 2025 GRAMMYs.*

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

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

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

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

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

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

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

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

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

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

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

Lady Gaga - "Born This Way" (2011)

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

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

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

Frank Ocean - "Forrest Gump" (2013)

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

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

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

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

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

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

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

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

Janelle Monáe - "Make Me Feel" (2019)

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

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

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

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

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

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

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

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

Queer Women Dominate Major Categories — 2024

Queer artists made an unforgettable mark at the 2024 GRAMMYs saw — especially queer women. For the first time, three of the four major Categories were swept by women who are part of the LGBTQ+ community. Miley Cyrus took home her first GRAMMY Award, winning Record Of The Year and Best Pop Solo Performance for her empowerment anthem "Flowers." Billie Eilish won Song Of The Year for "What Was I Made For?," her tender ballad from Barbie, while Victoria Monét captured Best New Artist in addition to winning Best R&B Album and Best Engineered Album, Non-Classical for her critically acclaimed Jaguar II.

Indie rock supergroup boygenius — composed of Phoebe Bridgers, Lucy Dacus and Julien Baker — further solidified queer representation by winning Best Rock Song, Best Rock Performance, and Best Alternative Music Album for their emotionally potent work on the record. And pop icon Kylie Minogue added to the celebration, winning Best Pop Dance Recording for her viral hit "Padam Padam," thanking her LGBTQ+ fans for standing by her "through thick and thin." 

With these wins, 2024 cemented itself as a banner year for queer excellence and visibility on Music's Biggest Night. 

New Icons & Firsts — 2025

If 2024 was a triumph, the 2025 GRAMMYs proved that LGBTQ+ artists are now an indelible force at the GRAMMYs. Rising pop star Chappell Roan, known for her vibrant queer anthems and camp aesthetics, was crowned Best New Artist, using her platform to call for better wages and healthcare for working musicians. In a historic moment for hip-hop, bisexual rapper Doechii became only the third woman — and the first queer woman — to win Best Rap Album for her breakthrough project Alligator Bites Never Heal.

Meanwhile, St. Vincent continued to break boundaries, winning three GRAMMYs across rock and alternative Categories for her album All Born Screaming. Charli XCX took home a trio of awards and stunned audiences with her high-energy performance of "Von Dutch." And in a heartfelt moment of advocacy, Lady Gaga — who won Best Pop Duo/Group Performance alongside Bruno Mars — dedicated her acceptance speech to trans visibility, reminding the audience that "trans people are not invisible. Trans people deserve love."

From thrilling performances, including Chappell Roan’s euphoric "Pink Pony Club" and Lady Gaga’s stirring debut of "Abracadabra," to major category wins, the 2025 GRAMMYs showed that queer artistry isn’t just thriving — it’s reshaping the future of the music industry.

Over the past few years, there has been a notable increase in LGBTQIA+ representation within the music industry. From historic award show feats to coveted slots on festival lineups, artists like Chappell Roan, Lil Nas X, Sam Smith, and Troye Sivan have loudly and proudly proclaimed their sexuality in their music, performances and public personas.

It hasn't always been that way in the community, though, as many in the past faced public scrutiny and backlash for their sexual orientation, or for their songs' underlying themes and sexual explicitness. Between the 1920s and the '70s, there was an era of increased homophobia and conservatism brought on by the Great Depression and McCartyism, where queer artists kept their identities hidden and censored their music to protect themselves.

It wasn't until after the infamous Stonewall Riots of 1969 that a new wave of feminism and glam rock emerged to dominate the music scene. Glam rock legend David Bowie, who embraced his ambiguity and androgyny, sang a few songs referencing LGBTQIA+ culture, including drag queens in "Queen Bitch;" sex with the devil ("The Width of a Circle"); gender identity ("Boys Keep Swinging"); and dealing with bisexuality ("John, I'm Only Dancing").

Tom Robinson Band's "(Sing if You're) Glad to Be Gay," a song criticizing British society's treatment of gay people, made history by becoming a Top 20 hit in the late '70s, resulting in more gay anthems — and even artists — to emerge. Gloria Gaynor's "I Will Survive" and Chaka Khan's "I'm Every Woman" were blasted at every Pride event (and still are to this day); Diana Ross' 1980s hit, "I'm Coming Out," was written in a New York City gay bar, which propelled her to gay icon status. 

Read More: Pride Month 2025 Celebrations: Music Festivals In L.A., NYC & More

Even during the HIV/AIDS crisis, which set another level of homophobia, more songs were released that fought against the hate and embraced queerness. Frankie Goes to Hollywood's 1983 song "Relax" celebrated sexuality, defying social norms. British trio Bronski Beat's 1984 MTV hit, "Smalltown Boy," explored a young man's struggle with his sexual identity in a small town, where he faced harassment and yearned to find his place in the big city. 

The 1990s and early 2000s carved out more space for queer voices, including k.d. Lang, Melissa Etheridge, RuPaul, Tegan & Sara, and Linda Perry. After coming out in early 1993, Etheridge's first single, "Come to My Window," alluded to her sexual orientation: "I don't care what they think/ I don't care what they say/ What do they know about this love, anyway?"

Previously closeted singers like George Michael (who came out in 1998) wanted to address his controversial Beverly Hills arrest and break the social stigma of being gay in his song "Outside." As he told Attitude Magazine in 2004, "I think it's important that I can be out there and say that I'm a big tart and still have a big smash album. When I was tempted to give up in the middle of making this album, one of the things that made that difficult for me is that I would have felt I'd have let down a whole generation of young gay kids."

Read More: The Evolution Of The Queer Anthem: From Judy Garland To Lady Gaga & Lil Nas X

Today's queer artists are loud and unabashedly proud to talk about their sexuality, redefining gender and sexual fluidity, and creating new social norms. There are even more queer anthems by mainstream artists who are allies to the LGBTQIA+ community, from Lady Gaga's classic "Born This Way" to Kylie Minogue's GRAMMY-winning "Padam Padam."

Even this year's GRAMMYs celebrated the queer community, including Best New Artist winner Chappell Roan, who performed her hit "Pink Pony Club," a song about a safe space where LGBTQIA+ individuals can be themselves. Lady Gaga also used her acceptance speech in support of the trans community. "It's such an honor to sing for all of you. I just want to say tonight that trans people are not invisible. Trans people deserve love," she told the supportive crowd. "The queer community deserves to be lifted up. Music is love."

In celebration of Pride Month, GRAMMY.com has put together a playlist of LGBTQIA+ songs that celebrate being queer and proud. From Karin Ann to Todrick Hall to Billie Eilish, these artists are expressing their true, authentic selves.