In February, Beyoncé added to her record-breaking legacy by becoming the first Black woman to top Billboard's Hot Country Songs chart with her single "TEXAS HOLD 'EM."

"I feel honored," she shared on Instagram in a countdown post to her RENAISSANCE sequel, Act II: COWBOY CARTER, out March 29. "My hope is that years from now, the mention of an artist's race, as it relates to releasing genres of music, will be irrelevant."

Since she first dabbled in country music with "Daddy Lessons" in 2016, the icon has received consistent backlash about whether she belongs in the genre. That same year, audiences campaigned for a boycott against the Country Music Awards for her performance of the track alongside The Chicks, later resulting in its erasure from promotional advertisements. And eight years later, the conversation returns as radio listeners question if her music should air on country stations.

Ironically, if you look back through music history, you will quickly discover that Beyoncé isn't the first (and certainly not the last) Black musician doing country music. 

In fact, the genre plants its sonic roots in negro spirituals and field songs, written on slave plantations. African American Vernacular English continues to influence contemporary chart-topper's lyricism and vocal twang. The banjo, which descends from the West African akonting lute, remains one of the quintessential instruments of the genre. Whether Beyoncé or the many artists who came before her, nothing sits at the heart of country music more than Black art.

To understand the full scope of Black creatives' impact in country, GRAMMY.com examines some of the influential tracks and moments of those who have made their mark on the genre and the music industry — from DeFord Bailey's Grand Ole Opry debut in 1927, to Darius Rucker's post-Hootie & The Blowfish country foray in 2008, to Breland's 2021 fusion of country and hip-hop.

DeFord Bailey — "Pan American Blues" (1927)

Before there was Mickey Guyton, Darius Rucker, or even Charley Pride, there was DeFord Bailey, the "harmonica wizard" from Tennessee.

After performing locally, another musician introduced Bailey to Nashville powerhouse radio station WSM's manager, George D. Hay, who later invited him to join the Grand Ole Opry — making Bailey the first Black member. He quickly rose to become one of the program's highest-paid players at the time, largely thanks to his iconic instrumental tune, "Pan American Blues," which imitated the sounds he heard from the railroad during his childhood.

As of press time, the only other Black inductees in the Grand Ole Opry are Rucker and Pride.

Lead Belly — "In The Pines" (1944)

"My girl, my girl, don't lie to me/ Tell me, where did you sleep last night?/ In the pines, in the pines/ Whether the sun don't ever shine/ I would shiver the whole night through," Huddie "Lead Belly" Ledbetter questions in the Appalachian folk song, "In the Pines."

Though Lead Belly isn't the original writer of the song, his chilling vibrato on the recording inspired singers for years to come, including Kurt Cobain, who later covered the track in Nirvana's 1993 MTV Unplugged performance under the title "Where Did You Sleep Last Night?" and named the '40s country blues legend his "favorite performer."

Linda Martell — "Color Him Father" (1969)

In "Color Him Father," Linda Martell narrates the heartfelt tale of a stepdad who embraces his new paternal role to a widowed mother and her seven children. It's also the song that propelled her to stardom, landing her a historic performance as the first Black woman on the Grand Ole Opry stage and later opening the door for debut album, Color Me Country.

After the project was released, Martell stepped away from the limelight, but her impact lived on. She was the inspiration for contemporary luminaries like Mickey Guyton: "The fact that she was there was groundbreaking ... She gave me the courage to be here," Guyton told Rolling Stone in 2020.

Charley Pride — "Kiss an Angel Good Mornin'" (1971)

Through his nearly seven decades-spanning career, Charley Pride became a certified hitmaker and one of the most renowned pioneers of his time. By 1987, he amassed more than 50 Top 10 hits on Billboard's Hot Country Songs chart, with 30 peaking at No. 1 — including his most notable single, "Kiss an Angel Good Mornin'."

After Pride passed away from COVID-19 complications in 2020, the response to his death highlighted the magnitude of his legacy, receiving condolences from Dolly Parton, Billy Ray Cyrus, and perhaps the most personal from Darius Rucker.

"I couldn't have done what I do, I don't think, if there hadn't been Charley before me," Rucker said in an essay for Billboard. Pride served not only as an icon but also as a mentor to Rucker, and his kindness ultimately gave Rucker the courage to do the same for the next generation.

Cleve Francis — "You Do My Heart Good" (1992)

As a cardiologist and songwriter, Dr. Cleve Francis certainly knew a "good heart."

In his 1992 track, "You Do My Heart Good," Francis sings about a budding love that shows him how to see life in a beautiful light. The song eventually became the second single from his Liberty Records debut LP, Tourist in Paradise.

Francis later founded the now-defunct Black Country Music Association in 1995 to foster an inclusive environment in the Nashville music scene and provide resources to aspiring singers. Under his advisory, the BCMA, with the help of Warner Bros., produced From Where I Stand, a record book of Black artists' contributions to the genre.

Darius Rucker — "Don't Think I Don't Think About It" (2008)

Before 2008, many knew Darius Rucker better as Hootie, thanks to his remarkable '90s run as frontman of jangle pop band Hootie & the Blowfish. But with his second album as a solo act, 2008's Learn to Live, the world met Darius Rucker, the country artist.

Fittingly, he chose a heartbreaking ballad for his first country single — "Don't Think I Don't Think About It," a heartbreaking ballad about a man who wonders what could have been in a previous relationship. The choice resonated with country listeners:  "Don't Think I Don't Think About It" debuted at No. 1 on Billboard's Hot Country Songs chart, making Rucker the first Black country artist to have a chart-topper since Pride in 1983. 

Kane Brown — "Heaven" (2017)

Since his major label debut, Brown has possessed a unique boy-next-door charm, less "Western" than his peers. "Not laced up in a tight belt and buckle hat," but proof that "you can be who you want to be, and you can still listen to country music," his manager, Martha Earls, told Variety in 2018.

Take "Heaven," a romantic ballad with the Southern drawl and instrumentation of a classic country tune. But when you add Brown's R&B influence and natural swagger, the track invites audiences both in and outside of country.

Though Brown now has 12 No. 1 songs on the Country Airplay chart, "Heaven" is undoubtedly the country star's biggest song to date thanks to its crossover qualities and romantic resonance. And just last year, "Heaven" became only the seventh country artist in history to receive a diamond certification from the RIAA; Brown is the second Black country artist to achieve the feat, as Rucker's anthemic cover of "Wagon Wheel" reached diamond status in 2022.

Mickey Guyton — "Black Like Me" (2020)

In a 2020 interview with Rolling Stone, Mickey Guyton recalled that she wrote "Black Like Me" at a writer's retreat in 2019, thinking, "There is no way that anybody is going to accept this." But at the height of the Black Lives Matter protests after the murder of George Floyd in 2020, there was no doubt that it was what the industry, especially the country genre, needed to hear.

"It's a hard life on easy street/ Just white painted picket fences far as you can see/ If you think we live in the land of the free/ You should try to be Black like me," she croons on the chorus.

The single made Guyton the first-ever Black woman nominated for Best Country Solo Performance at the 2021 GRAMMYs, and also helped her earn nominations for New Female Artist Of The Year and New Artist Of The Year at the Academy of Country Music Awards and the Country Music Association Awards, respectively, in 2021..

Guyton continues to use her voice for advocacy, from speaking out on racial issues to chronicling the Black experience on her 2021 album, Remember Her Name. 

Breland — "Throw It Back" (2021)

Since making his debut with "My Truck" in 2019, Breland has been praised for his innovative fusion of country, gospel, hip-hop, and R&B. But beyond his sonic landscape, he's also inviting some unlikely choreography into the genre: twerking.

"If she got a shot of whiskey, she know how to throw it back/ She turn up for Elvis Presley, told the DJ, 'Throw it back,'" Breland cheers in the chorus of the trap-infused track.  "If you sexy and you know it, make it clap."

"Throw It Back" features Keith Urban, whoappreciates Breland for his confidence to go beyond the mold of country music's expectations. "He's one of the only artists I've ever met that does not care at all what something sounds like or what box it fits. If he likes it, if it catches his ear, he wants to be a part of it in some way," Urban explained to Taste of Country in 2021.

The War and Treaty — "Blank Page" (2022)

The War and Treaty are making the most of their "Blank Page."

The husband-and-wife pair — Michael Trotter Jr. and Tanya Trotter — began their musical journey together in 2016.  Seven years later, thanks to their first major label EP, 2022's Blank Page, they also started making history. The War and Treaty became the first Black duo to receive a nomination for Duo Of The Year at the 2023 Academy of Country Music Awards, where they also delivered a stirring performance of the EP's title track, a heartfelt song about a new slate in love. 

Six months later, they made history again as the first Black pair nominated for Duo Of The Year at the 2023 Country Music Association Awards; they took the stage there as well, performing"That's How Love Is Made" from their 2023 album, Lover's Game. 

They added to their growing legacy at the 2024 GRAMMYs as well,  receiving their first GRAMMY nominations. "Blank Page" earned the duo a nod for Best American Roots Song, and they also were up for the coveted Best New Artist.

Tanner Adell — "Buckle Bunny" (2023)

When Beyoncé dropped "TEXAS HOLD 'EM" and "16 CARRIAGES" in February, country newcomer Tanner Adell readily tossed her cowgirl hat into the ring to become Queen Bey's next collaborator. "I hope Bey decides to sprinkle me with a dash of her magic," she pitched in a tweet that has now garnered more than four million views.

Adell's music is reminiscent of Beyoncé's own empowered narratives, particularly the 2023 single "Buckle Bunny," which even declares that she's "Lookin' like Beyoncé with a lasso." Like Breland, Adell brings a hip-hop flair to country music, exemplified by the thumping beats and rap-inspired singing of "Buckle Bunny."

As artists like Adell, Breland, Kane Brown, and more continue to push the boundaries of the country genre, they'll also remind listeners of its rich lineage in Black culture — past, present, and future.

Why 2024 Is The Year Women In Country Music Will Finally Have Their Moment

Amid the excitement of first-round voting for the 2025 GRAMMYs, we've reached the end of another week that's been filled with new music. 

Case in point: eschewing the traditional Friday release schedule, Maggie Rogers and J. Cole both dropped singles midweek to help fans get over the proverbial hump with new tunes.

In other news, James Blunt marks the 20th anniversary of his 2004 breakout debut Back to Bedlam — which spawned global smash "You're Beautiful" and remains the best-selling album of the 2000s in his native UK — with a special re-release. Plus, Rod Wave hits a new stride with his latest LP Last Lap, rising country stars Erin Kinsey and Carter Faith each deliver new EPs, respectively titled Gettin Away With It and The Aftermath, and EARTHGANG team up with T-Pain for "Love You More," the lead single off their upcoming album, Perfect Fantasy.

Below, dive into 10 of the best new releases of the week from JENNIE, The Kid LAROI, GloRilla, and more.

Remember late September? Maggie Rogers sure does. On her wistful new single "In The Living Room," which arrived by surprise on Tuesday (Oct. 8), the former Best New Artist GRAMMY nominee reflects on a lost relationship as she belts out, "All of the things, we pulled apart/ I let it go, it doesn't matter/ The seasons change, it broke my heart/ But I will always remember you/ When we were dancing in the living room."

Directed by Grant Singer, the accompanying music video brings Rogers' lyrics to life as she performs in a wood-paneled apartment complete with green carpet, a bare mattress and a brooding love interest played by Luka Isaac. 

"It's a song about the beauty and pain of memory, and the way that interweaves with reality when you're processing the exit of a person in your life," the "Alaska" singer/songwriter said in a statement upon the song's release.

Attention, BLINKs and RUBIES! JENNIE's first solo single since launching her Odd Atelier label is more than a "Mantra," it's a bonafide playbook for all the pretty girls to live by. "Pretty girls don't do trauma, no more drama/ We already got a full day/ Pretty girls that you gon' remember, know that you could never/ nothing ever trigger me/ This that pretty girl mantra, she's that stunna/ Everyone knows she is me," the K-pop idol sings over horn blasts and thumping bass on the chorus.

The high-fashion visual accompanying the track's release, meanwhile, is filled with fiery choreography and a cavalcade of colorful vehicles, from a creamy white Mercedes covered in a lace sheath to a cherry-red big rig. The latter might just rival the size of the glittering disco ball of a tank Jennie's famous for riding atop in the videos for BLACKPINK smashes "DDU-DU DDU-DU" and "Shut Down."

On his new single "Aperol Spritz," The Kid LAROI is double-fisting the fizzy orange cocktails on a trip to the club with his latest flame. While the singer doesn't explicitly name-drop girlfriend Tate McCrae on the swaggering track, he's certainly not shy about showing off his new love — as fans have recently seen everywhere from the MTV Video Music Awards to a romantic getaway in Bora Bora.

"There's a whole lot of girls up in here/ But can't nobody f— with my b—," he brags on the chorus, while the song's music video fittingly sees the Australian chased around a studio by a mass of shrieking female fans. Only when he trips and falls does the chase give way to an editorial-ready dogpile, with The Kid LAROI surrounded by the dozens of models as they all gaze coolly up at the camera.

After building substantial buzz for the past two-and-a-half years as one of the most explosive rappers to come out of Memphis, GloRilla finally delivers her debut album, GLORIOUS, via Interscope Records.

The long-awaited LP lives up to its title with a star-studded roster of guest features to support the viral sensation born Gloria Hallelujah Woods. For starters, girl power is out in full force, with the rapper's close pal and recent tourmate Megan Thee Stallion joining the fun for highlight "HOW I LOOK," while Latto and Muni Long each show up on respective cuts "PROCEDURE" and "DON'T DESERVE." Plus, GloRilla assembles Kirk Franklin, Chandler Moore, Kierra Sheard and Maverick City Music for gospel-infused outlier "RAIN DOWN ON ME" and declares herself "QUEEN OF MEMPHIS" with an assist from Fridayy on the album's triumphant closer.

Kane Brown slows things down to what's most important on his heartwarming new single, "Backseat Driver." The country star paints a sweet picture as the ballad opens early in the morning in a McDonald's drive-thru, "two muffins, one coffee and a little, bitty orange juice."

The backseat driver in question is Brown's 4-year-old daughter Kingsley Rose, who adorably peppers her famous dad with crucial questions like whether or not squirrels have houses in the trees and why God put stingers on honey bees. "It's crazy all the things she sees on the side of the road/ Out of that window beside her," he sings before concluding, "I wish I could be more like her/ My little danglin' feet, pretty in pink backseat driver."

The heartfelt track is the lead single from Brown's upcoming fourth studio album, The High Road, which will arrive Jan. 24, 2025. Along with revealing the album news on Oct. 9, the singer also announced a North American tour that will kick off March 13.

On Wednesday (Oct. 9), J. Cole dropped his latest single, "Port Antonio." Built over dual samples of Lonnie Liston Smith's spacey keyboard track "A Garden of Peace" from 1983's Dreams of Tomorrow and a pitched-up version of Cleo Sol's 2021 deep cut "Know That You Are Loved," the rapper revisits his autobiography by referencing "young Jermaine," who worked minimum wage jobs while watching everyone around him spend thousands on designer duds.

However, the root of the downtempo song — which precedes Cole's highly anticipated forthcoming project The Fall Off — sees him removing himself from the headline-making, diss track-filled feud between Drake and Kendrick Lamar that erupted earlier this year. (Back in April, Cole removed his own diss track "7 Minute Drill" after publicly apologizing to Lamar.)

Later in the song, Cole even name-drops Drake and gives credit where credit's due ("I ain't ashamed to say you did a lot for me"), before pointing out to his hip-hop peers and everyone listening, "F— all the narratives/ Tappin' back into your magic pen is what's imperative/ Remindin' these folks why we do it, it's not for beefin'/ It's for speakin' our thoughts, pushin' ourselves, reachin' the charts/ Reaching your minds, deep in your heart screamin' to find/ Emotion to touch, somethin' inside to open you up."

It's been almost exactly one year since BoyWithUke revealed his face to the world in October 2023, and the TikTok star who once wore an LED mask to conceal his identity is already preparing to burn it all down. "Gaslight" serves as the TikTok star-turned-independent artist's latest single off his upcoming fifth album Burnout, which he's promised will be his final body of work under the stage name that made him famous.

Following fellow singles "Can You Feel It?" and "Ghost," "Gaslight" is a volatile, churning breakup track dedicated to a sociopathic love interest that BoyWithUke is determined to cut ties with…but not before getting a little revenge of his own. The accompanying music video plays out like a haunted horror show, but the musician gets the last laugh with a lyrical twist of the knife that you simply have to hear to believe.

Samara Joy — 'Portrait'

Eighteen months after winning Best New Artist at the 2023 GRAMMYs, Samara Joy returns with her latest full-length album, Portrait. Co-produced by Brian Lynch and recorded at the hallowed Van Gelder Studio, the LP contains eight new tracks including pre-release singles "You Stepped Out Of A Dream" and "Autumn Nocturne."

Portrait paints a lively picture of the Bronx-born jazz starlet's prodigious talents, as well as her electric chemistry with her eight-piece touring band. In fact, the entire body of work was conceived and fine-tuned during the GRAMMY winner's near-constant touring schedule in the two years since she released her 2022 breakout album, Linger Awhile. "I'm often the fifth voice, the fifth horn," Joy said in a statement coinciding with Portrait's release, adding, "I hope listeners will see that I'm a musician too."

It's been 15 years since Major Lazer dropped their debut album, 2009's Guns Don't Kill People… Lazers Do, and they're marking the milestone with a 15th anniversary re-release featuring unreleased tracks from the era.

The first track the trio — now consisting of Diplo, Walshy Fire and Ape Drums — are dusting off from the vault is "Nobody Move," another collaboration with Vybz Kartel, who previously appeared on the original album's second single "Pon De Floor" alongside Afrojack. On the bonus cut, the group crafts a swaying tropical groove over Kartel's laid-back but threatening refrain of "Nobody move, nobody get hurt."

Love has Dylan Gossett's head in the clouds — or at least the foliage — on his toe-tapping new single "Tree Birds." In fact, the rising Americana sensation employs the perfect amount of harmonica to properly communicate just how head over heels in love he is on the giddy track, which follows his recent Songs in the Gravel EP.

"You remind me that there's something up above/ Do I deserve all your love?/ I swear I don't/ When you need me, just know that I'll show up/ Oh I'll go anywhere, state, city or town/ I promise you're the best damn thing from the South," Gossett vows before letting out an ecstatic "hey yeah!" on the final chorus. The jubilant love song is sure to be a highlight of the Austin, Texas native's ongoing Back 40 Tour, which runs across North America through the end of November.

The annual GRAMMY Awards voting process this year kicks off Friday, Oct. 4, with First Round Voting for the 2025 GRAMMYs, a process that determines the nominees at the GRAMMY Awards each year. 

Voting Members of the Recording Academy, the organization behind the annual GRAMMY Awards, are able to cast their ballots for a variety of GRAMMY Categories to be awarded on Music's Biggest Night. The 2025 GRAMMYs, officially known as the 67th GRAMMY Awards, will be held Sunday, Feb. 2, at Crypto.com Arena in Los Angeles. Nominations for the 2025 GRAMMYs will be announced Friday, Nov. 8, 2024, so it's essential to get involved from the beginning. 

Before First Round Voting for the 2025 GRAMMYs gets underway, hear from some of music’s leading artists and Recording Academy Voting Members, including Troye Sivan, Coco Jones, Will Smith, John Legend, and others, speak about the importance of GRAMMY voting this year and every year.

Learn more about the Recording Academy's membership process and requirements.

For more information about the 2025 GRAMMY Awards season, learn more about the annual GRAMMY Awards process; read our First Round Voting guide for the 2025 GRAMMYs; read about the key updates happening at the 2025 GRAMMYs; read our FAQ (Frequently Asked Questions) section; view the official GRAMMY Awards Rules and Guidelines; and visit the GRAMMY Award Update Center for a list of real-time changes to the GRAMMY Awards process.

Read More: The Recording Academy Adds More Than 3,000 Women GRAMMY Voters Since 2019, Surpassing Its 2025 Membership Goal

Hope you're ready for a little musical time travel, because this week's New Music Friday is filled with music old, new and everything in between.

Luke Bryan finally unveils his latest album "Mind of a Country Boy" after teasing it with two years' worth of singles, and Moneybagg Yo adds seven new tracks to SPEAK NOW OR…, the deluxe edition of his fifth album Speak Now. Plus, Michael Bublé compiles the greatest hits collection Best of Bublé as he takes his seat in one of the spinning chairs on "The Voice"; Gavin DeGraw celebrates the 20th anniversary of his debut album with a re-recorded version, Chariot 20; and Christina Aguilera honors the 25th anniversary of her self-titled debut with live versions of classic singles.

Elsewhere, Rosalía is still riding high from the Sept. 24 release of her new single "Omega," Miranda Lambert teams up with Jake Worthington on new single "Hello S—ty Day," and Kygo recruits Imagine Dragons for "Stars Will Align." There's even two intriguing covers to enjoy: Sierra Hull's roots-laced rendition of the Grateful Dead's "Black Muddy River," and Nile Rodgers and Cedric Gervais's revved-up dance remix of the Sister Sledge classic "We Are Family." 

Below, press play on nine more new releases, including a surprise side project from Lady Gaga to celebrate her starring turn in Joker: Folie á Deux, a powerhouse duet from country powerhouses Cody Johnson and Carrie Underwood, a solo career kick-off from Måneskin frontman Damiano David and more.

One week before the curtain rises on Lady Gaga's latest acting role in Joker: Folie à Deux, Little Monsters got something else they've long been waiting for: a brand new album from their queen.

Gaga's Harlequin serves as a companion album to the upcoming Joker, filled with thrillingly genre-defying reinterpretations of the Great American Songbook that give insight into the lush soundtrack playing inside the mind of Lee Quinzel — the pop star's take on Harley Quinn opposite Joaquin Phoenix's clown-faced Arthur Fleck.

Songs like the free-wheeling "Get Happy" and "That's Life" (made famous by Judy Garland and Frank Sinatra, respectively) land stylistically in the realm of Gaga's GRAMMY-winning jazz albums with late friend Tony Bennett, and the album also contains a pair of original tracks — the waltzing "Folie á Deux" and vulnerable centerpiece "Happy Mistake." All of it should keep Little Monsters everywhere temporarily sated as they anxiously await LG7.

Stevie Nicks pens a powerful rallying cry for women's rights in the form of new single "The Lighthouse." Spurred to action following the Supreme Court's overturning of Roe v. Wade in 2022, the legendary singer/songwriter said in a statement that she's been working on the anthem "ever since."

Nicks continued: "I have often said to myself, 'This may be the most important thing I ever do. To stand up for the women of the United States and their daughters and granddaughters — and the men that love them."

The iconic Fleetwood Mac frontwoman refuses to pull any punches on the timely protest anthem, warning, "Don't close your eyes and hope for the best/ The dark is out there, the light is going fast/ Until the final hours/ Your life's forever changed/ And all the rights that you had yesterday/ Are taken away/ And now you're afraid/ You should be afraid."

Cody Johnson teams up with Carrie Underwood for "I'm Gonna Love You," the first bonus track off the deluxe edition of his 2023 album Leather and the "American Idol" champ's first release since news broke she'd be replacing Katy Perry on the judging panel of the reality show's ABC reboot.

On the stunning ballad, the two country stars weave together an all-encompassing love story that lasts a lifetime. "So good that it almost hurts/ Steady and true as a Bible verse/ My heart skips just thinking of you/ Go on and bet it all, baby we can't lose," they sing in harmony as herds of wild horses thunder across the screen in the Dustin Haney-helmed music video.

SOPHIE's posthumous, self-titled album is equal parts love letter to the late producer (whose life was cut devastatingly short after falling from a rooftop in Athens, Greece in January 2021) and an enduring testament to her influence as an avant garde pioneer of hyperpop, electronica and underground dance music.

Completed by her family, SOPHIE's 16-song project is filled with the producer's trusted collaborators and friends, including Kim Petras (lead single "Reason Why"), LIZ (one-two punch "Live in My Truth" and "Why Lies"), Hannah Diamond ("Always and Forever") and more.

"Sophie didn't often speak publicly about her private life, preferring to put everything she wanted to articulate into her music," SOPHIE's family shared on social media ahead of the album's unveiling. "It feels only right to share with the world the music she hoped to release, in the belief that we can all connect with her in this, the form she loved most. Sophie gave all of herself to her music. It's here that she can always be found."

After nearly 10 meteoric years fronting Måneskin, Damiano David launches his solo career with the unveiling of his debut single "Silverlines."

Produced by Labrinth, the intimate track is a surprising departure from the Italian rock god's signature, high-energy stylings. Instead, David shows off a more vulnerable and emotional side of himself as he sings, "I feel sorrow no more/ The calm after the storm/ And peace belongs to me/ Until my tears run dry/ And clouds fall from the sky / And all my fears, they disappear/ And I see silverlines."

Rahim Redcar — 'HOPECORE'

Just 15 months after releasing the transcendent concept album PARANOÏA, ANGELS, TRUE LOVE, the artist formerly known as Christine and the Queens officially retires his stage name and reintroduces himself to the world as Rahim C Redcar with the new LP HOPECORE.

Though just seven tracks compared to its predecessor's sprawling triptych of angelic visitations in 20 songs, HOPECORE is equally prodigious in its ambition. Redcar shifts his gaze from the heavens to the club, describing pulsating highlights like "ELEVATE" and "DEEP HOLES" as "a call of the flesh, a prayer for justice and freedom" and "a healing, metatronic purple grid."

To support the latest chapter in his artistic vision, the French auteur will embark on a club tour of Europe and the U.S. this November, with stops in London, Amsterdam, Paris, Berlin, New York, and more.

Continuing the momentum from his 2022 single "SLUT ME OUT" featuring Sexyy Redd, NLE Choppa doubles — and triples — down on the raunch factor with his new project SLUT SZN.

The eight-track collection contains both "SLUT ME OUT 2" and "SLUT ME OUT 3" featuring Whethan and Carey Washington as well as "SLUT ME OUT 2 — COUNTRY ME OUT" with J.P. Other tracks include opener "Gang Baby," recently released single "Or What" and Yausel LM collaboration "Catalina."

Mickey Guyton delivers the heat with her sophomore album, House on Fire. On pre-release single "Make It Me," the four-time GRAMMY nominee splashes her country sound with a dose of flirtatious dance-pop while album cut "My Kind of The Country" finds her happily eschewing Nashville elitism in favor of inclusivity ("Go on make yourself at home/ On my side of the country") as she leads a do-see-do-ing line dance and proudly declares, "Yeah, we got country coast to coast!"

Elsewhere, the LP includes "Nothing Compares To You," a resplendent duet with Kane Brown and "Scary Love," a tribute to her three-year-old son Grayson in the wake of a recent near-death experience.

A decade after their last release, The Fray returns with a new EP, appropriately titled The Fray Is Back.

Now a trio following the departure of frontman Isaac Slade in 2022, the four-time GRAMMY nominees behind 2000s hits like "How to Save a Life" and "Over My Head (Cable Car)" deliver more reliable pop-rock anthems like the wistful "Time Well Wasted" and the crescendoing "Don't Look Down." To mark the new era of the band, The Fray have also embarked on a headlining tour across the U.S., with sold-out stops in Washington, D.C.; New York City; Chicago and more.

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

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

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

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

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

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

Its Members Took Creative Control

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

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

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

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

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

It Pushed R&B Forward 

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

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

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

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

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

Its Music Videos Praised Black Culture

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

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

It Delivered Mainstream Success 

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

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

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

It Expanded The Concept Of "Girl Power"

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

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

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