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From the soft hums of Carole King's "It's Too Late" to GAYLE's fiery rage on "abcdefu," these 15 songs encapsulate the expansive emotions of women who put problematic exes in their place — far behind them.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Behind The Scenes Of The Eras Tour: Taylor Swift's Opening Acts Unveil The Magic Of The Sensational Concert

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Pop superproducer Jon Bellion is the man behind Tori Kelly's new ep, 'tori,' but he's also been involved with countless hits for more than a decade. Check out nine of Bellion's biggest songs, from Eminem to Jonas Brothers.

If the name Jon Bellion sounds familiar, it's probably because of his 2016 single "All Time Low." With its relentless "low-low-low-low-low" chorus, the electronic-fused pop confection scored Bellion his first major hit — as a solo artist, that is.

Prior to Bellion's breakthrough with his debut solo single, he'd already made a name for himself behind the scenes by writing and producing songs for the likes of Eminem, Jason Derulo, Zedd and CeeLo Green. And in the seven years since "All Time Low" became a top 20 hit, he's celebrated plenty of other smashes with some of pop's A-listers from Christina Aguilera to Justin Bieber.

This year alone, he worked with the Jonas Brothers to executive produce their statement-making record The Album, helped shape Maroon 5's "Middle Ground" — which is expected to be the lead single off the veteran pop-rockers' forthcoming eighth studio album — and teamed up with Switchfoot for an orchestral 2023 update of the band's 2003 breakout single "Meant to Live."

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Bellion's most recent work can be heard on Tori Kelly's new self-titled EP tori, which dropped July 28. Along with producing the project, Bellion joined Kelly for a magnetic, electro-tinged track titled "young gun." Upon the EP's release, Kelly herself noted Bellion's impact, calling their collaboration "the start of something really special."

In honor of Bellion's latest project, take a look at nine songs you may not have known contained Bellion's signature touch — a roadmap to his becoming one of the most in-demand producers of the moment.

One of Bellion's earliest smashes came courtesy of Eminem — well, and Bebe Rexha. The pop singer penned the track's dark hook while working on her debut album, but it later made its way to Eminem and eventually shapeshifted into his fourth collaboration with Rihanna. The song became the duo's second No. 1 collaboration following 2010's "Love The Way You Lie" and remains one of most monstrous hits in Bellion's career.

Jason Derulo worked solely with Bellion on this top 20 hit from his 2013 Tattoos, which was later re-packaged as 2014's Talk Dirty. Built around an irresistible horn line of, yes, literal trumpets, Bellion and Derulo concocted a bouncy, flirtatious symphony to smoothly objectify the R&B singer's lady love, and manages to name drop Coldplay, Katy Perry and Kanye West over the course of just three minutes and thirty-seven seconds.

Bellion handled production on Christina Aguilera's fierce 2018 team-up with Demi Lovato, "Fall in Line," off the former's 2018 LP Liberation. Behind the boards, Bellion effectively captured all of the feminist rage and empowerment that the two vocal powerhouses lit into their lyrics, pairing their sneering vocals with a vamping strings section, rattling chains and a robotic male overlord futilely demanding, "March, two, three, right, two, three/ Shut your mouth, stick your ass out for me."

"Fall in Line" scored a nomination for Best Pop Duo/Group Performance at the 2019 GRAMMYs, marking Aguilera's twentieth career nod and Lovato's second.

To kick off their seventh album, JORDI, Maroon 5 enlisted Bellion to co-write lead single "Memories." The gentle ballad found frontman Adam Levine mourning the loss of a friend, pouring one out over a lilting reggae-pop line that cleverly samples Johann Pachelbel's "Canon in D Major." While the heartfelt song is dedicated to the band's longtime manager (and namesake of the LP) Jordan Feldstein, who tragically passed away in 2017 due to a blood clot, the relatable sentiment of "Memories" helped it peak at No. 2 on the Hot 100.

In addition to "Memories," Bellion also worked with the band on two other songs from JORDI, co-writing fourth single "Lost" as well as Anuel AA and Tainy collab "Button." Three years later, he would reunite with the band to co-write and co-produce their latest, equally delicate single "Middle Ground" alongside the likes of Andrew Watt and Rodney Jerkins.

Miley Cyrus came raring into her glam rock-inspired album Plastic Hearts on the back of "Midnight Sky," an unapologetic statement of independence following her split from longtime love Liam Hemsworth. Dripping in sultry synths, the power ballad took a page from '80s rock icons like Joan Jett, Debbie Harry and Stevie Nicks.

The sound was an entirely new one for Cyrus — which is one of Bellion's tools when working with a new superstar for the first time. In a 2023 Billboard interview, he likened his approach to inventing a new kind of ride for the given A-lister. "They have already built an amazing theme park: millions of people go to it and experience their roller coasters," he said. "They put me in charge of revamping or creating a new section of the theme park, and they let me be the foreman of it all." The new style worked in Cyrus' favor, and earned Bellion yet another top 20 hit on the Hot 100.

Bellion's fingerprints are all over Justin Bieber's 2021 album Justice, starting notably with its Chance the Rapper-assisted lead single "Holy," which he both co-wrote and co-produced. The superproducer contributed to six other songs on the pop-driven LP — including the pop radio No. 1 "Ghost," which was inspired by Bellion's late grandmother — as well as three deluxe tracks. And though Bellion didn't have any credited features, his voice can still be heard: he offered background vocals on seven of the songs.

Justice earned Bellion his very first GRAMMY nomination, as the project was nominated for Album Of The Year at the 2022 GRAMMYs (Bieber also received seven other nods).

Bellion first collaborated with Selena Gomez on Rare album cut "Vulnerable" alongside Amy Allen, Michael Pollack and The Monsters & Strangerz. Two years later, the entire team reunited for the title track to the pop singer's Apple TV+ documentary My Mind & Me.

Bellion and co. helped Gomez tap even further into the most vulnerable side of her psyche to date. "Vulnerable" saw Gomez letting her guard down with a new flame, but "My Mind & Me" allowed her to completely lay bare her mental health journey. "Sometimes I feel like an accident, people look when they're passin' it/ Never check on the passenger, they just want the free show," she sings. "Yeah, I'm constantly tryna fight somethin' that my eyes can't see," over spare guitar and piano.

After the success of their 2019 comeback album Happiness Begins with producer Ryan Tedder, the Jonas Brothers recruited Bellion to helm the boards on their 2023 follow-up The Album. The producer helped the hitmaking siblings tap into a new facet of their pop-rock sound, finding inspiration in the '70s music their dad raised them on. (As Joe Jonas told GRAMMY.com upon the album's release, Bellion "was saying exactly what we were hoping for" when they first met to mull over ideas.)

While Bellion had a hand in every song on The Album, second single "Waffle House" is the latest to earn both him and Jonas Brothers a top 15 hit on pop radio. Bellion also serves as the one and only featured artist on The Album, coming out from behind the boards and into the vocal booth for bombastic closer "Walls."

Tori Kelly first linked up with Bellion thanks to Justin Bieber, as the pair worked together with the Biebs on tender bonus cut "Name" from the Justice sessions. So, when it came time to launch a new era with her self-titled EP tori, the songstress turned to Bellion to help bring her vision to life.

On lead single "missin u," the two-time GRAMMY winner throws the guitar-driven singer/songwriter vibes of her past work out the window in favor of a sleek R&B sound reminiscent of the early 2000s. The sonic gear shift is a natural fit for her lithe voice as she replays a romance that "was rainin' purple skies in my room." Somehow, Kelly even manages to outdo the vocal acrobatics of "missin u" with a deliriously brilliant "R&B edit" that adds even more layers, soul and vocal flourishes to the single.

"When I first started working with Jon Bellion, we were just beginning to scratch the surface on a new sound that truly felt like my own," Kelly explains in a video celebrating the release of her self-titled EP tori. "I know that I'm gonna look back on this collaboration as the start of something really special." As for Bellion's thoughts on his latest project? "Tori Kelly's the greatest vocalist of all time!"

Ariana Grande's Musical Growth In 15 Tracks, From "The Way" To "Positions"

Photos (L-R): Natasha Moustache, Natasha Moustache, Scott Eisen, Octavio Jones, Octavio Jones; all photos TAS23/Getty Images for TAS Rights Management

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Everyone's obsessed with Taylor Swift's massive stadium tour — including her opening acts. From indie pop star Gracie Abrams to GRAMMY nominee GAYLE, hear backstage memories and reflections from the people who take stage right before the superstar.

To say Taylor Swift's Eras Tour is leaving everyone wonderstruck would be an understatement.

Distilling a 17-year discography as iconic as Swift's into one show sounds impossible, but the star has proven that no task is too daunting for her. And while she has conquered stadiums with ease before, The Eras Tour transcends her foregoing concerts with its all-encompassing three-hour setlist, high-level production and powerful pathos: its worldwide magnificence is pure magic.

Enchanting hundreds of thousands since March, Swift's latest tour is as delightful as it is influential, providing a perfectly satisfying mix of nostalgia and surprises in true Swift fashion. Even though the musician is technically in her Midnights era, the celebration of her remarkable career is undoubtedly historic — and she's determined to share the moment with other artists during her trek across the globe.

The Eras Tour has featured a cohort of rising and established stars, from 2000s rock staples Paramore to indie rockers like beabadoobee and Phoebe Bridgers. They all have that same sparkle of charm and creativity that made Swift a sensation, and they also share a passion for her beloved discography. To understand what it's like playing a part in such a historic tour, GRAMMY.com spoke with some of Swift's opening acts about performing for sold-out stadiums.

"I shed a tear because I knew that it meant Taylor really believed in me," OWENN, who was a backup dancer on Swift's 1989 Tour, said of his invitation to open for the tour.

From special epiphanies to hilarious backstage moments, OWENN and his fellow openers Gracie Abrams, beabadoobee, girl in red, and GAYLE take us along their Eras Tour journeys — all the way back to the very first night.

These interviews have been edited for length and clarity.

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Tell us about the moment you were offered an opening slot for The Eras Tour. What did the invitation mean to you?

Gracie Abrams: Prior to ever dreaming about my own shows I dreamt about going on tour with Taylor… The invitation to join the Eras Tour felt like the biggest prank of all time. I was like, "this can't be right…"

It made my world stop and I just couldn't believe the scale of the honor. I still can't believe it, two months into playing the tour. It's the best for every reason and in every way.

OWENN: I was offered The Eras slot while I was on tour choreographing for Lil Nas X. It was definitely [a] moment that I will never forget… It meant that Taylor really believed in me and that my life was going to be forever changed.

beabadoobee: A serious pinch me moment! It was the end of last year, around the time I was doing "Jimmy Fallon" in December, and I was speaking with my manager about joining Taylor's tour as the main support. Funny because years ago I did an interview and mentioned how she would be my dream artist to go on tour with. I was thrilled to be a part of her Eras Tour.

girl in red: I was so stoked when I was offered to be opening act on the Eras Tour! I had never been to a stadium show, let alone play one, and the fact that my favorite artist invited me is just the coolest thing.

GAYLE: My manager and I — Kristina Russo, who has been my manager since I was 14 — were in my hotel room when she got a call and had a formal offer with all of the dates. We cried, jumped around, and hugged.

My manager and I then surprised [my bandmates] by screaming "We're opening for Taylor Swift!" and they were shocked! We all hugged and cried, and I got two ice cream cakes from Uber Eats delivered to my hotel room, and we all ate them with plastic forks on the ground. It was truly one of the best days ever!

It was such an honor to be invited onto this tour. I know that's not a decision she takes lightly, so to be a part of that is the best thing ever.

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Walk me through your first night on the tour. What was going through your mind? What was the energy like?

Abrams: The first day of tour I just remember walking into the stadium for soundcheck and crying laughing as soon as I heard my voice on the PA. It felt insane, to be honest, I felt crazy.

But then walking on stage, it was all of a sudden just about the community of people, the beyond dedicated die-hard fans who looked gorgeous and sparkly and committed to their outfits — it was about celebrating Taylor's legacy. It was like everyone in the room could feel the weight of it. I felt the most amount of gratitude, and I was also just internally bubbling with anticipation to watch her show on this tour for the first time.

OWENN: The first night on tour was insane! I rehearsed so much and trained really hard, but nothing could have prepared me for that level of energy and intensity ... from my vocals to me dancing in front of all of those people. It was definitely a surreal moment. Electrifying!

beabadoobee: Honestly every emotion. I would go through being extremely excited to terrified, to wanting to throw up all over myself and then back to being just so pumped to get out there.

The energy was incredible — the stadiums, the stage, the crew, and the fans were all so supportive too. I always caught some fans singing and dancing to my songs; that really surprised me!

girl in red: The first day we were playing I remember walking up on stage for soundcheck and getting really nervous about playing later cause it was so big. I was worried I'd mess up the words and make a fool out of myself, but luckily it went well!

GAYLE: Opening up for the first night on the Eras tour was such a high honor and I was so scared. I practiced a million times in my hotel room because I was so anxious that I was going to forget the setlist. I made my whole family and my best friend's family go to the first two shows in Arizona. I also randomly really, really, really wanted my brother to think I did a good job.

Everyone in the crowd was so excited to kick off the tour, and so many people hadn't seen Taylor live in so long! It was such a kind crowd, and there was so much excitement and energy. It will forever be a memory I keep very close to my heart.

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How does this tour compare to other tours you've been part of? What makes it unique?

Abrams: Every single inch of this tour is unlike any other I've been a part of in the past. This is only my second year touring ever, and to have had the opportunity to see the inner workings of the biggest tour in the world so intimately is just the luckiest thing.

Everyone that I've gotten to know on the crew of the Eras Tour is an exceptional person. Everyone is so hard working and so passionate about their role in the tour, and that alone is inspiring, even more so to realize it is a direct result of Taylor's energy and attitude as a person and as a leader. I think everybody feels as proud and lucky as I do to be involved in any capacity.

OWENN: I feel like every tour is unique in its own way, but this one for sure is different for me because I'm singing instead of dancing in the background. A completely different experience!

beabadoobee: The sheer size of everything, how professional Taylor is, and of course how it felt like we entered her world. She played for three plus hours and she looked like she didn't break a sweat. She's a superstar through and through and one of the nicest people on top. Really inspiring to see her perform to like 100,000 people yet still make you feel like she's playing and singing to just you.

girl in red: I think the biggest difference is the scale of the venue and that people might not know who you are. People are there to see Taylor, so the crowd chemistry is a little different and you have to adapt to that!

GAYLE: Well, Taylor was my first stadium tour ever — which is the craziest thing to say ever. With other tours I've been on, I can distantly remember at what age I heard their songs and fell in love with their music. I fell in love with AJR when I was 12. I fell in love with P!nk when I was 10, thanks to my mother. I got obsessed with My Chemical Romance when I was 14, and I heard Tate McRae when I was about 15 and I loved her music. I've heard of Taylor Swift my whole entire life and there was never a point in my life where I didn't know and love her.

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Share a special backstage moment — anything fun, silly, memorable that happened.

Abrams: I honestly just feel so lucky to be going through this tour with my crew and band, every one of whom are my second family now, the people I love more than anything and trust so deeply and laugh so hard with. I think for all of us having the opportunity to lean on each other as we've gone through these milestone firsts has been really formative.

OWENN: A very special backstage moment for me is when myself, my band and team all join hands in a circle and say a prayer. It's a beautiful moment for me as we're all connected and about to go on stage.

beabadoobee: We got to hang out backstage and just have fun, have a laugh and speak about our cats and whatever was on our minds. She's the loveliest person and even that she made the time meant a lot.

girl in red: I think the most memorable part of the tour, aside from playing my show, is getting to see Taylor play her show. After my show, I get ready to see her put on the performance of a lifetime and it feels like I'm in a very special time in my life. Very happy to be here.

GAYLE: I get very nauseous before and after I'm on stage and once, I walked off stage and started vomiting everywhere. The trash can was unfortunately right where Phoebe Bridgers was walking on stage, so I wished her and her band good luck as I was vomiting.

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What have you learned from watching Taylor's show? What's been your favorite song to hear live or a memorable onstage moment?

Abrams: Watching Taylor's show is like watching an Olympian. Watching Taylor's show is also like sitting in a tiny room and sharing secrets with your best friend. There's a strength and a sensitivity to her show that is unlike anything I have ever seen or heard of in my entire life, with the exception of knowing her as a friend.

She is as rare a person as she is an artist and performer. I think the most popular opinion in the world right now is that Taylor's show is the best in the history of time. To watch and study the ways in which she's able to hold herself fully, while also carrying these stadiums of so many tens of thousands as they sob and dance and laugh and scream, is just unimaginable until you're lucky enough to see it for yourself.

OWENN: I actually have a couple of favorite things. When Taylor goes through the 1989 and reputation eras, I have flashbacks of those tours from the memories with her and the dancers to the actual choreography, it's so nostalgic!

And the opening of The Eras Tour! "Miss Americana & the Heartbreak Prince" is actually one of my favorite songs from Taylor so that's always a treat.

beabadoobee: I think the biggest take away is hearing her amazing songwriting. She really has a knack for making incredible songs and storytelling, being so direct with her words and lyric choices, I personally love that!

It was mind-blowing watching her go through each era and nail everything — all the costume changes, the acting theatrical elements to the show, and of course her insane stamina to go for more than three hours every night. I've never seen anything like that.

My favorite moment has to be when she dedicated "Our Song" to me and then played it on the first night. That song means so much to me and I mentioned in an interview a while back how it was my ringtone when I was younger and shaped my childhood. It was awesome!

girl in red: I've learned so much from seeing her performance, but I think what sticks out the most to me is how perfected the show is and how that truly just reflects Taylor as an artist. She has created all this beautiful and fantastic music and now she's made the most entertaining show. I'm so inspired by her work ethic and she really puts the work in – and that's why she is the best.

GAYLE: "Cruel Summer" is a hit and the best thing ever! Also "my tears ricochet" kills me, but also "champagne problems, " but also "Bejeweled." Also, watching Ice Spice and Taylor play "Karma" together was iconic!

I've learned that Taylor Swift is a beast and can do the impossible — sing for three and a half hours for three days straight, and for multiple weekends in a row. She paces herself beautifully and the way she paces her setlist is amazing. [She] is captivating from beginning to end.

5 Reasons Why Taylor Swift's Eras Tour Will Be The Most Legendary Of Her Generation

Photo: Jemal Countess/WireImage for Songwriter's Hall of Fame

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The third Taylor Swift album to receive the 'Taylor's Version' treatment, 'Speak Now' isn't just a time capsule for the superstar — it was the turning point for her both personally and professionally.

As Taylor Swift began work on her third album, she knew all eyes were on her. The singer had solidified her status as a bonafide country-pop superstar thanks to her sophomore LP, 2008's Fearless, which earned Swift her first four GRAMMYs, including Album Of The Year. Meanwhile, her personal life had become non-stop fodder for the tabloids; critics painted her as a boy-crazy maneater ready to chew up exes for the sake of hits.

While her first two records had largely centered on romantic daydreams and small-town adolescence, Swift's new level of fame meant her next set of music would involve more high-profile subjects. Like, say, the rapper who'd tried to humiliate her in front of the entire world at the 2009 MTV Video Music Awards. Or the Hollywood starlet she was convinced had stolen her pop star boyfriend. Or the critic who had taken a particularly vicious swipe at her on his well-known industry blog. All of those moments pinwheeled around a common theme: speaking up, speaking out, speaking her truth. And the result became Speak Now.

"These songs are made up of words I didn't say when the moment was right in front of me," Swift wrote in the LP's liner notes. "These songs are open letters. Each is written with a specific person in mind, telling them what I meant to tell them in person."

Swift's Speak Now era officially began in August 2010, when she released "Mine" as the album's lead single. The rollout was expedited by two weeks after the song leaked on the internet, but even with an earlier-than-planned release, the star immediately proved she was pushing her songcraft past the high school hallways and teenage fairytales of her first two albums — a level of maturity that rang through Speak Now.

"Mine" told an altogether different kind of love story, one that confronted the daunting realities of adulthood head-on. Instead of the hopeless romantic fans had come to know on past hits like "Love Story" and "You Belong With Me," Swift positioned herself as the jaded protagonist at the tale's center, one whose walls are only broken down by this new, grown-up kind of love.

Becoming her fourth top five hit on the Billboard Hot 100, "Mine" also contained a particularly flawless turn of phrase in its chorus — "you made a rebel of a careless man's careful daughter" — that remains, to this day, one of the best examples of Swift's razor-sharp talent for crafting the perfect lyric.

The rest of Speak Now — which Swift wrote entirely alone as a mic drop against critics — proved to have the same kind of brilliance. Swift had unleashed a new layer of her songwriting ability; not only did she dive deeper into the unveiled honesty of her diaristic style, but she also hinted at the whimsical storytelling that was to come on future albums, particularly 2020's folklore and evermore. But above all, Speak Now showed that Swift would never leave anything unspoken again.

Swift's evolution as a songwriter mirrored her growing success: Upon its October 2010 release, Speak Now sold an eye-popping 1,047,000 copies in its first week. The seven-digit sales figure nearly doubled Fearless' opening week tally of 592,300, and became the first album to achieve the million-copy first-week feat in more than two years. (The achievement also foreshadowed the records Swift would break with her subsequent releases, most recently her majorly record-breaking 10th album, Midnights.)

Nearly every track on Speak Now had fans and the press hunting for clues about who was on the receiving end of Swift's open letters. There's "Back to December," a break-up ballad written for Taylor Lautner, and "Better Than Revenge," a condescending clapback at Camilla Belle for "sabotaging" her romance with Joe Jonas. She even offered Kanye West a surprising amount of grace after their viral VMAs moment on the downtempo ballad "Innocent."

Arguably the most talked-about Speak Now subject was (and still is) John Mayer, who had two songs aimed squarely at him: pop-punk-fueled single "The Story of Us" and "Dear John," a devastating dressing down of their 12-year age gap. The latter even mimicked Mayer's trademark blues guitar as Swift wailed, "Dear John, I see it all now, it was wrong/ Don't you think 19's too young/ To be played by your dark, twisted games when I loved you so?/ I should've known."

Perhaps the most victorious moment from Taylor's Speak Now era, though, came from "Mean." The banjo-tinged tune served as a deliciously twangy clapback to critic Bob Lefsetz, who had publicly derided Swift's 2010 GRAMMYs performance with Stevie Nicks, just hours before she was awarded Album Of The Year for the first time.

Not only did "Mean" end up winning Best Country Song and Best Country Solo Performance at the 2012 GRAMMYs, but Swift also got the last word by performing the single during the ceremony. In the final chorus, Swift landed her knock-out punch — the music dropped out completely as she triumphantly declared, "But someday I'll be singin' this at the GRAMMYs/ And all you're ever gonna be is mean."

Nearly 13 years after Speak Now was first unveiled, Swift is now on the precipice of giving her beloved third album its highly anticipated Taylor's Version re-release — appropriately the third project after Fearless and Red to be re-recorded in her history-making quest to own her life's work.

The new edition of Speak Now will contain all 14 tracks on the original LP as well as sixth single "Ours" and fellow deluxe cut "Superman." (Though released in March to celebrate the start of The Eras Tour, "If This Was a Movie" was mysteriously left off the (Taylor's Version) tracklist.) It will also feature six vault tracks from the era, including collaborations with Paramore's Hayley Williams ("Castles Crumbling") and Fall Out Boy ("Electric Touch"), two acts Swift said "influenced me most powerfully as a lyricist" back when she was recording the album in 2010.

As the lone LP in her now 10-album discography to be written solely by Swift's pen, Speak Now undoubtedly holds a special and solitary place in the superstar's heart. Looking back on the album after announcing the Taylor's Version release at her first Nashville Eras Tour stop, she made clear it has only become more meaningful over the last 13 years.

"I first made Speak Now, completely self-written, between the ages of 18 and 20," she wrote in a social media post announcing the album. "The songs that came from this time in my life were marked by their brutal honesty, unfiltered diaristic confessions and wild wistfulness. I love this album because it tells a tale of growing up, flailing, flying and crashing…and living to speak about it."

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From the highly anticipated 'Barbie' soundtrack to a celebration of Joni Mitchell's iconic Newport Folk Festival return, check out 15 albums dropping this July.

The first half of 2023 is already behind us, but July gives us much to look forward to. The warm sun, tours and festivals abound, and a heap of exciting releases — from Colter Wall's country music to NCT DREAM's K-pop — will surely make this season even more special.

We start it off with Taylor Swift and her third re-recorded album, Speak Now (Taylor's Version) on July 7, the same day Pitbull returns with his twelfth studio album, Trackhouse. Post Malone will deliver his fourth LP, AUSTIN, and Blur returns with their first album in eight years. And for the classic music lovers, folk legend Joni Mitchell will release At Newport — a recording of her first live performance since 2015 — and rock maven Stevie Nicks will drop her Complete Studio Albums & Rarities box set.

To welcome the latter half of a year filled with great music so far, GRAMMY.com offers a guide to the 15 must-hear albums dropping July 2023.

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Taylor Swift fans are used to gathering clues and solving puzzles about the singer's intricate, ever-expanding discography. Therefore, in her hometown of Nashville concert last May, when she announced that Speak Now (Taylor's Version) would come out on July 7, it was not much of a surprise to the audience, but rather a gratifying confirmation that they had followed the right steps.

"It's my love language with you. I plot. I scheme. I plan. And then I get to tell you about it," Swift told them after breaking the news. "I think, rather than me speaking about it ... I'd rather just show you," she added, before performing an acoustic version of Speak Now's single, "Sparks Fly."

Shortly after, she took it to Instagram to share that "the songs that came from this time in my life were marked by their brutal honesty, unfiltered diaristic confessions and wild wistfulness. I love this album because it tells a tale of growing up, flailing, flying and crashing … and living to speak about it."

Speak Now (Taylor's Version) is Swift's third re-recorded album, following 2021's Red (Taylor's Version). It will feature 22 tracks, including six unreleased "From the Vault" songs and features with Paramore's Hayley Williams and Fall Out Boy. "Since Speak Now was all about my songwriting, I decided to go to the artists who I feel influenced me most powerfully as a lyricist at that time and ask them to sing on the album," she shared on Twitter. Swift is currently touring the U.S. with her acclaimed The Eras Tour, which will hit Latin America, Asia, Australia, UK, and Europe through August 2024.

"I want the record to be useful," said ANOHNI about her upcoming sixth studio album, My Back Was A Bridge For You To Cross. The English singer says she learned with her previous LP, 2016's HOPELESSNESS, that she "can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making," therefore aiming to make use of her talents to further help and inspire people.

Through 10 tracks that blend American soul, British folk, and experimental music, ANOHNI weaves her storytelling on inequality, alienation, privilege, and several other themes. According to a statement, the creative process was "painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it."

My Back Was A Bridge For You To Cross "demonstrates music's unique capacity to bring harmony to competing, sometimes contradictory, elements" — qualities that can be observed in the album's contemplative pre-releases "It Must Change" and "Sliver Of Ice."

GRAMMY-winning singer/rapper Pitbull has recently broadened his reach into an unexpected field: stock cars. Together with Trackhouse Entertainment Group founder Justin Marks, he formed Trackhouse Racing in 2021, an organization and team that participates in the NASCAR Cup Series.

Now, to unite both passions, the Miami-born singer is releasing Trackhouse, his twelfth studio album and first release since 2019's Libertad 548. "In no way, shape, or form is this some kind of publicity stunt," said Mr. Worldwide of the upcoming album during a teleconference in April. "This is real. This is all about our stories coming together, and that's why the fans love it. […] This right here is about making history, it's generational, it's about creating a legacy."

Preceded by singles "Me Pone Mal" with Omar Courtz and "Jumpin" with Lil Jon, it seems that Trackhouse, despite its innovative inception, will continue to further Pitbull's famed Latin pop brand. This fall, he will also join Enrique Iglesias and Ricky Martin on The Trilogy Tour across the U.S. and Canada.

Multitalented singer, songwriter and actor Dominic Fike also joins the roll of summer comebacks. His second studio album, Sunburn, comes out July 7, and follows 2020's acclaimed What Could Possibly Go Wrong.

In recent years, the Florida star found great exposure after landing a role in the HBO hit series "Euphoria" as well as the upcoming A24 drama Earth Mama, which is slated to release on the same day as Sunburn. The past three years were also marked by collaborations with a handful of artists, from Justin Bieber ("Die For You") to Paul McCartney ("The Kiss of Venus") to his Euphoria co-star Zendaya on "Elliot's Song" from the show's soundtrack.

Sunburn marks Fike's joyful return to music, aiming to portray "the aching and vulnerable revelations of a young artist still growing and putting their best foot forward," according to a press release. Through 15 tracks, including singles "Dancing in the Courthouse," "Ant Pile," and "Mama's Boy," Fike will explore themes of "heartbreak and regret, addiction, sex, and jealousy."

One week after Sunburn's arrival, Fike will embark on a tour across North America and Canada, starting July 13 in Indianapolis.

Lauren Spencer Smith said on TikTok that she's been working on her debut album, Mirror, for years. "It has been with me through so much in my life, the highs and the lows, and it means more to me than I can put into words. It tells a story of reflection, healing and growth," she added.

The 19-year-old, British-born Canadian singer is unafraid to dive deep into heartbreak and sorrow — as she displayed on her breakthrough hit "Fingers Crossed" — but offers a way out by focusing on her growth. "I went through a hard breakup, and the album tells the story of that all, the journey of that and now being in a more happy relationship. The title comes from the one thing in my life that's seen me in every emotion through that journey — my bedroom and bathroom mirror."

Like a true Gen Zer, Smith has been teasing the 15-track collection and its upcoming world tour all over social media. On July 14, the day of the album release, she kicks off the North American leg of the tour in Chicago, before heading to the UK, Europe, Australia, and New Zealand.

"You might not see a soul for days on them high and lonesome plains/ You got to fill the big empty with little songs," sings Colter Wall on the titular track off his fourth studio album, Little Songs. The Canadian country star says in a press release that he wrote these songs over the last three years, and that "I penned most of them from home and I think the songs reflect that."

Born and raised in the prairies of Battle Creek, Saskatchewan, Wall found inspiration in the stillness of his surroundings. With this album, he bridges "the contemporary world to the values, hardships, and celebrations of rural life" while also opening "emotional turns as mature and heartening as the resonant baritone voice writing them," according to a press release.

Little Songs is composed of 10 tracks — eight originals and two covers (Hoyt Axton's "Evangelina," and Ian Tyson's "The Coyote & The Cowboy.") He'll celebrate the album's release with a performance at Montana's Under The Big Sky festival on the weekend of the LP's arrival.

British singer Mahalia celebrated her 25th birthday on May 1 by announcing IRL, her sophomore album. Out July 14, the R&B star claims the album to be "a real reflection of the journeys I've had, what actually happened, and a celebration of everyone who got me there."

The 13-track collection will feature names like Stormzy and JoJo, the latter of whom appears on the single "Cheat." Before the release, Mahalia also shared "Terms and Conditions," a self-possessed track that pairs her silky voice with delightful early-aughts R&B.

"I'm so proud of this album, and so proud of how much I challenged myself to just let those stories out," she said in a statement. "We're all fixated on how we can make ourselves better but I want people to also reminisce on lovely or painful situations they've lived through and how they've helped shape the people they are now."

IRL is Mahalia's follows 2019's highly-acclaimed Love and Compromise. In support of the release, she has announced UK and Europe tour dates from October through November.

The Myers-Briggs Personality Test (also known as MBTI) is a current craze in South Korea, therefore, it was only a matter of time until a K-pop group applied its insights on their music. Although none of NCT DREAM's seven members has the ISTJ personality type, that's what they decided to call their upcoming third studio album, out on July 17.

The 10-track collection comes in two physical versions: Introvert and Extrovert, the first letters and main differentiators in any MBTI personality. Spearheaded by the soaring "Broken Melodies," where they display an impressive set of vocals, their comeback announcement on Twitter promises "The impact NCT DREAM will bring to the music industry."

Since September, the NCT sub-group embarked on The Dream Show 2: In A Dream World Tour, which crossed Asia, Europe, North America. The group will wrap up July with four concerts in Latin America.

"The older and madder we get, it becomes more essential that what we play is loaded with the right emotion and intention," said Blur's guitarist Graham Coxon in a statement about The Ballad of Darren, the band's ninth studio album set to arrive on July 21.

Maybe that explains why The Ballad is their first release in eight years, and represents "an aftershock record, reflection and comment on where we find ourselves now," according to frontman Damon Albarn. During a press conference in May, bassist Alex James reinforced the positive moment that they find themselves in, stating that "there were moments of utter joy" while recording together.

Produced by James Ford, the album contains 10 tracks, including the wistful indie rock of lead single "The Narcissist." On July 8 and 9, Blur is set to play two reunion gigs at London's Wembley Stadium, followed by a slew of festivals across Europe, Japan and South America.

The most-awaited summer flick of 2023 also comes with a staggering soundtrack. Scored by producers Mark Ronson and Andrew Wyatt, Barbie: The Album features songs by hot stars like Dua Lipa, Lizzo, and Ice Spice, as well as some surprising additions, such as psychedelic star Tame Impala and K-pop rookie sensation Fifty Fifty.

As undecipherable and alluring as the actual movie plot, the album tracklist only increases expectations for Greta Gerwig's upcoming oeuvre. Is it all a satire? Is it a serious take on "life in plastic" and consumerism? Is it about nothing at all? You can try to find some clues through pre-release singles "Dance the Night" by Dua Lipa, "Watati" by Karol G, and "Angel" by PinkPantheress.

Fans who attended the three final shows of Greta Van Fleet's Dreams in Gold Tour this March already got a sneak peek of the band's upcoming third studio album, Starcatcher. Among their most popular hits, the quartet played five new songs — or half of Starcatcher — including singles "Meeting the Master," "Sacred the Thread," and "Farewell for Now."

In a statement about the album, drummer Danny Wagner said that they "wanted to tell these stories to build a universe," and that they wanted to "introduce characters and motifs and these ideas that would come about here and there throughout our careers." Bassist Sam Kiszka adds: "When I imagine the world of Starcatcher, I think of the cosmos. It makes me ask a lot of questions, like 'Where did we come from?' or 'What are we doing here?' But it's also questions like, 'What is this consciousness that we have, and where did it come from?'"

Just a few days after release, Greta Van Fleet will embark on a world tour. Starting in Nashville, Tennessee on July 24, they will cross the U.S. and then head over to Europe and the UK in November.

In a shirtless, casual Instagram Reel last May, hitmaker Post Malone announced his upcoming fourth studio album, AUSTIN, to be released on July 28. Titled after his birth name, the singer shared that "It's been some of the funnest music, some of the most challenging and rewarding music for me, at least" — a very different vibe from the more mellow, lofi sounds of 2022's Twelve Carat Toothache — and that the experience of playing the guitar on every song was "really fun."

Featuring 17 tracks (19 on the deluxe version), AUSTIN is preceded by the dreamy "Chemical" and the angsty "Mourning," and sees Malone pushing his boundaries in order to innovate on his well-established sound. The album will also be supported by a North American 24-date trek, the If Y'all Weren't Here, I'd Be Crying Tour, starting July 8 in Noblesville, Indiana and wrapping up on August 19 in San Bernardino, California.

To measure Stevie Nicks' contribution to music is an insurmountable task. The Fleetwood Mac singer and songwriter has composed dozens of the most influential, well-known rock classics of the past century ("Dreams," anyone?), also blooming on her own as a soloist since 1981, when she debuted with Bella Donna.

In the four decades since, seven more solo albums followed, along with a trove of rarities that rightfully deserve a moment in the spotlight. Enter: her upcoming vinyl box set, Stevie Nicks: Complete Studio Albums & Rarities. The 16xLP collection compiles all of her work so far, plus a new record with the aforementioned rarities, and is limited to 3,000 copies. It's also the first time that Trouble in Shangri-La, In Your Dreams, and Street Angel are released on vinyl. For those who can't secure the limited set, a version of Complete Studio Albums & Rarities with 10xCDs will be available digitally.

Last year's Newport Folk Festival in Rhode Island was one to remember. During one evening of the fest, a surprise guest graced the "Brandi Carlile and Friends" stage: it was none less than legendary folk star, Joni Mitchell. And what's more? It was her first live appearance since 2015, when she suffered a debilitating aneurysm.

During that time, the 79-year-old singer quietly held "Joni Jams" at her home in Los Angeles — inviting musicians that ranged from Elton John to Harry Styles to participate — with organizational support offered by Carlile. With Mitchell's special appearance at Newport, the coveted experience of a Joni Jam was available for thousands of fans.

This month, the release of At Newport eternalizes the headlining-making moment, bringing her talents to an even bigger audience. Among the classics in the tracklist are "Carey," "A Case of You," and "The Circle Game," proving that Mitchell is still as magical as when she stepped on the Newport Folk Festival stage for the first time, in 1969.

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In 2002, J.Lo was everywhere. Her relationship with actor Ben Affleck ensued heavy attention from the media, and her This Is Me… Then album — which featured hits like "Jenny from the Block" — was a commercial success, with over 300,000 first-week sales in the U.S.

How funny is it that, 20 years later, the singer and actress finds herself in a similar situation. After rekindling with Affleck in 2021, she announced the sequel to her 2002 release, This Is Me… Now, and stated in an interview with Vogue that the album represents a "culmination" of who she is.

A press release also describes This Is Me… Now as an "emotional, spiritual and psychological journey" across all that Lopez has been through in the past decades. Fans can also expect more details on the new-and-improved Bennifer, as many of the titles among its 13 tracks suggest, especially "Dear Ben Pt. II."

Although an official release date has not yet been revealed, on June 29, Lopez posted a cryptic image on social media with the caption "album delivery day" — suggesting that the highly anticipated This Is Me update may not be far away.

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