From 1973 to 1997, Billy Joel racked  up nearly three dozen self-penned Billboard hits, tackling everything from adult contemporary pop and classic rock to smooth jazz and Broadway-ready showtunes. And although he's largely avoided the studio since, the legendary singer/songwriter has still very much been a fixture of the music scene thanks to his tireless work on the road. 

This past March, for example, he launched a series of co-headlining dates across North America with another '70s icon, Fleetwood Mac's Stevie Nicks. Then there's the residency at Madison Square Garden he's staged every month (bar the pandemic-hit period, of course) since 2014, while his In Concert tour has been ongoing for a similarly impressive amount of time, too.

However, with the former now officially coming to an end ("My team tells me that we could continue to sell tickets, but 10 years, 150 shows — all right already," he remarked in a June 2023 press release) and a March 2024 show at Arlington's AT&T Stadium looking like the final date of the latter, the proud New Yorker now appears to be gearing up to give those famous piano-playing fingers a well-earned rest.

As he plays his final run of shows (at least for now), Joel also celebrates the 30th anniversary of his final mainstream album, 1993's River of Dreams. (His thirteenth and final album, 2001's Fantasies and Delusions, was a surprising detour into classical music, perhaps inspired by his musical hero Paul McCartney's orchestral works.)

In honor of his latest milestones, GRAMMY.com delves into the biggest and most impactful tracks from one of pop's all-time great storytellers.

"She's Got A Way," Cold Spring Harbor (1971)

With its heartfelt melodies, textured piano arrangement and unabashedly romantic lyrics, the opening track from Joel's 1971 debut Cold Spring Harbor effectively set the template for the classic Billy Joel ballad. The man himself went on to dismiss "She's Got A Way" (and the rest of the LP) for a mastering error which made him resemble a chipmunk. But he eventually began to appreciate its simple charms: a performance of the track for seminal 1981 live album Songs in the Attic even resulted in a belated but deserved entry on the Billboard Hot 100.

Joel had added strings to the track during his iconic 1977 show at Carnegie Hall, but it's the stripped-back original — a dedication to his manager, and first of four wives, Elizabeth Weber — that pulls at the heartstrings the hardest.

"Captain Jack," Piano Man (1973) 

"The song is sort of brutal, but sometimes it is good to be brutal and offend people," Joel once remarked about the song that ultimately launched his major label career. "It keeps them on their toes."

Listeners of Philadelphia station WMMR certainly seemed to appreciate such provocation. Following its debut at a competition winners' show, DJs were flooded with requests for its caustic tale of a suburban teen who develops a heroin addiction purely out of boredom.

Inspired by a real-life drug deal witnessed from Joel's Long Island apartment, "Captain Jack" subsequently attracted the attention of Columbia Records boss Clive Davis, too. The seven-minute epic — which boasts one of Joel's most rousing choruses and stinging lines ("Well, you're 21 and your mother still makes your bed") — later showed up on 1973's Piano Man, and in 2000 offended Rudy Giuliani after being accidentally played to celebrate rival Hillary Clinton's U.S. Senate campaign announcement.

"Piano Man," Piano Man (1973)

Although far from his biggest commercial hit — it peaked at a modest No.25 on the Hot 100 in the spring of 1974 — the title track from Joel's second album has undoubtedly become his defining.

Showcasing his remarkably concise ability to tell a story, "Piano Man" paints a vivid picture of the Los Angeles lounge he performed at while Columbia's lawyers were negotiating his freedom from first label Family Productions. Joel insists its parade of unfulfilled dreamers — Paul the real estate novelist, John the bartender/aspiring movie star — really were part of The Executive Room's Saturday night crowd; the waitress practising politics is definitely another reference to his then-other half Elizabeth.

But whether a genuine portrait of barroom demographics or work of pure fiction, this meeting point between folksy troubadour Harry Chapin and the theme to Cheers is always worthy of raising a glass to.

"New York State of Mind," Turnstiles (1976)

Following a three-year spell in the bright lights of Los Angeles, Joel gave the impression he needed to make amends with his beloved hometown. Not only did the six-time GRAMMY winner return to Long Island (a place he still owns a property at to this day, but he also dedicated much of his fourth album, Turnstiles, to the joys of New York.

Other than the ability to buy its newspapers fresh off the press, this slice of sophisticated jazz-pop doesn't pinpoint exactly why he feels such an affinity to the place. But genuinely conceived while "taking a Greyhound on the Hudson River Line," "A New York State Of Mind" still evokes a palpable sense of pride, placing it alongside Jay-Z and Alicia Keys' "Empire State of Mind" and Frank Sinatra's "New York, New York" in the holy trinity of Big Apple classics.

"Scenes from an Italian Restaurant," The Stranger (1977)

Clocking in at nearly 8 minutes, Joel's longest studio cut is also his most audacious: a mini operetta that segues from traditional piano ballad, to jaunty Dixieland jazz, to good old-fashioned rock and roll and back again.

Inspired by the second half of The Beatles' Abbey Road, the lyrical themes of "Scenes from an Italian Restaurant" are similarly multi-dimensional. Joel starts out reminiscing with an old school friend at said Italian restaurant (reportedly Fontana di Trevi, a regular haunt during his Carnegie Hall residency), but the small talk and nostalgia later gives way to the poignant story of Brenda and Eddie, two high school sweethearts whose seemingly idyllic romance came unstuck by the pressures of adult life ("They started to fight when the money got tight/ And they just didn't count on the tears").

Although never released as a single, the standout from fifth LP The Stranger has become a firm favorite among both fans and Joel himself — only "Piano Man" has been played more frequently live on stage

"Just the Way You Are," The Stranger (1977)

Joel very nearly dropped "Just the Way You Are" from The Stranger tracklist, believing it may be just one sentimental spousal tribute too far. But thanks to some wise interference from studio neighbors Phoebe Snow and Linda Ronstadt, the wedding favorite made the cut and the rest is history.

Indeed, the Phil Ramone-produced track became Joel's first top 10 hit on both sides of the Atlantic, picked up Record and Song Of The Year at the 1979 GRAMMYs, and propelled its parent album to worldwide sales of more than 10 million. Joel once again gave the smooth soft rock standard the heave-ho in the wake of his 1982 divorce to Weber — but after returning to his setlists at the turn of the century, it's remained a much-loved ever-present.

"She's Always a Woman," The Stranger (1977)

"She's Always a Woman" initially sounds like your typical Joel love song, but lines such as "She is frequently kind and she's suddenly cruel" prove it's no rose-tinted deification. You can certainly hear its echoes in the earlier work of Ed Sheeran, a man who, at times, seemed determined to point out his lover's flaws in order to chivalrously claim he can look beyond them.

Thankfully, the fourth Top 40 single from sales juggernaut The Stranger isn't as graceless. Joel isn't referencing any physical attributes, but simply the complex mix of personality traits most of us possess. It's the most emotionally raw of the many tributes he penned for Weber, and perhaps the most obvious foreshadowing of the split that was to come.

"My Life," 52nd Street (1978) 

"I don't care what you say anymore, this is my life/Go ahead with your own life, leave me alone." "My Life" may have been adopted as the theme tune to pre-fame Tom Hanks sitcom Bosom Buddies, but amid its jaunty piano melodies and peppy harmonies (courtesy of Chicago's Donnie Dacus and Peter Cetera), Joel instead appears to be taking his cues from All in the Family's grumpy old man Archie Bunker. Audiences still embraced this more irascible side of the singer/songwriter's personality, however, with the lead single from sixth LP 52nd Street equaling his then-highest Hot 100 peak of No. 3.

"It's Still Rock and Roll to Me," Glass Houses (1980)

Fans once again lapped up Joel in defensive mode on "It's Still Rock and Roll to Me," the first of his three U.S. No. 1s. Taken from his seventh studio effort, Glass Houses, the rockabilly throwback was a direct response to those detractors who dismissed his adult contemporary sound as old hat.

Released in the same year Michael Jackson's "Rock With You," Lipps Inc.'s "Funkytown" and Blondie's "Call Me"also hit the top spot, the song's industry satire argued that the newly popular hot funk, cool punk, new wave and latest dance crazes were simply retreading what had gone before. You could argue it was a needless display of petulance, but you also can't deny it's one of his biggest earworms.

"Goodnight Saigon," The Nylon Curtain (1982)

Bookended by the Apocalypse Now-esque sound of chirping crickets and whirring helicopters, "Goodnight Saigon" finds Joel stepping into the military boots of a 19-year-old called up to fight in the Vietnam War. The Piano Man had been a conscientious objector himself, but on this occasion decided against politicizing the conflict ("And who was wrong? And who was right? It didn't matter in the thick of the fight").

Instead, drawing upon the tales of friends who did see battle, he offers an intimate portrait of the soldier experience, from the distractions of Playboy magazine and Bob Hope to the hardships of losing a comrade. The standout from his most serious-minded LP The Nylon Curtain, this is Joel at his most affecting.

"Tell Her About It," An Innocent Man (1983)

Joel loosened things up a little for his ninth LP, An Innocent Man, paying homage to the soul and doo-wop sounds he grew up with on this toe-tapping throwback. Buoyed by an equally playful promo in which the pianist lives out his The Ed Sullivan Show fantasy — pulling out some unexpected dance moves in the process — "Tell Her About It" became his second U.S. No. 1 in the summer of 1983.

Joel went on to disown his slightly wordy wingman anthem ("It's not automatically a certain guarantee/ To insure yourself/ You've got to provide communication constantly"), acknowledging it sounded more like bubblegum pop crooner Tony Orlando than the Motown tribute he intended. In fact, he hasn't played it live for 36 years!

"Uptown Girl," An Innocent Man (1983)

Joel's affectionate nod to the falsetto pop of Frankie Valli and the Four Seasons has endured a little better: proving its cross-generational appeal, he invited Olivia Rodrigo to perform the track with him at Madison Square Garden in August 2022.  (The pop superstar referenced "Uptown Girl" in her own monster hit "déjà vu.")

As with much of Joel's oeuvre, the tale of a working-class guy trying his luck with a woman way out of his league has autobiographical roots. It was inspired by the time Joel found himself in the company of Whitney Houston, Christie Brinkley and Elle Macpherson. And while he was dating the latter at the time, it was her fellow supermodel that ended up gracing the memorable "Uptown Girl" promo, and indeed, becoming the second Mrs. Joel.

"A Matter of Trust," The Bridge (1986)

Often his own biggest critic, Joel has been largely dismissive of tenth LP The Bridge, claiming it was hampered by both impatient record execs and the distraction of becoming a first-time father. You can briefly see baby daughter Alexa and then-wife Brinkley in the video for one of its saving graces.

Second single "A Matter of Trust" is a rare but convincing foray into Bruce Springsteen-esque arena rock in which the Piano Man becomes the Electric Guitar Man. It was also a highlight of Konsert, the following year's live album recorded during his historic tour of the Soviet Union.

"We Didn't Start the Fire," Storm Front (1989)

The hostile reaction to Fall Out Boy's recent update proves how hard it can be to namecheck 40 years of newsworthy events in just 4 minutes of anthemic pop-rock. From post-war president Harry Truman to the cola wars of the 1980s, the original "We Didn't Start the Fire" manages to throw in 118 references — and in mostly chronological order, too, without barely pausing for breath.

Inspired by a "my generation had it worse than you" conversation with a friend of Sean Lennon, Joel's rapid-fire alternative history lesson became his third and final No. 1, and picked up Record Of The Year, Song Of The Year and Best Male Pop Vocal Performance nominations at the 1990 GRAMMYs. The lead single from 11th LP Storm Front didn't gain the seal of approval from its creator, however, with Joel comparing it to the sound of a dentist's drill.

"The River of Dreams," River of Dreams (1993)

Joel earned two more Record Of The Year and Song Of The Year nominations for River of Dreams' title track at the 1994 GRAMMYs. But despite an additional nod for Album of the Year, he still went home empty handed. (He also made headlines for pausing his live performance of the song in protest of producers' curtailing Frank Sinatra's Lifetime Achievement Award speech.)

In contrast to all the awards drama and soul-searching lyrics, "The River of Dreams" is one of Joel's most jovial hits, an uplifting blend of doo-wop and gospel vocals arranged by regular band member Crystal Taliefero. The last time the once-prolific hitmaker would grace the U.S. Top 20, it's a fine commercial swansong.

ReImagined At Home: Sammy Rae Scats Through A Bouncy Rendition Of Billy Joel's "The River Of Dreams"

In May 2022, Gavin DeGraw stood on a precipice: He had just released his seventh studio album, Face the River, and completed his contract with Sony Music.

The GRAMMY-nominated singer/songwriter had free reign for his next career move. And with the 20th anniversary of his seminal debut, 2003's Chariot, on the horizon, DeGraw had an idea.**

"I've been living with these songs, and I've been fortunate enough to have success with these songs already in the past," he tells GRAMMY.com, "[so I thought], What a great opportunity to recut the songs." 

Chariot 20 features re-imaginings of all 11 songs on the original album, as well as two unreleased tracks from the Chariot sessions: "Get Lost" and "Love Is Stronger (Alright)." Bringing new life to the music, Chariot 20 features lush instrumentation and playful riffs on each tune, resulting in a version of the album that's even more true to who DeGraw is as a performer.

"I've been playing these songs for so long, and I feel like the performances had actually improved, and the level of execution had escalated," DeGraw says of Chariot. "Why not take the opportunity to document that, and enjoy that, and make it sound even that much more intimate and special?"

In celebration of Chariot 20, the upstate New York native Zoomed with GRAMMY.com from a park in New York City to reflect on the impact Chariot had on his career — from allowing him to pay off student loans, to putting him on stage with his idols.

Re-recording albums has become somewhat of a trend as of late, whether it's to regain ownership or to celebrate an anniversary. Was your re-recording of Chariot simply inspired by its 20th anniversary? Or was it something more for you?

All of the above. The fact that the 20th anniversary of the record was coming up right after I had just satisfied my record deal obligations with Sony New York City, it was all great timing. Trust the universe, right? 

It was just right to make this record the way we made it, and with the partners that we made it with. You know, I had just made a record just a couple years earlier, with Dave Cobb, and we had cut a record called Face The River. And I love the way the record sounded.

That was my first time working with Dave, and I thought he did such a great job. The sounds and the performances were just so authentic and so homegrown. He really captured my voice in the most authentic way. I realized that he'd be the perfect guy to recapture the Chariot record.

This recording brings new life to this album, and also a level of authenticity that I really believe in for this album. These intimate songs, luckily, had become a lot of hit songs for me, but [Dave] was able to capture these songs in an even more intimate way. It really feels just so from my mouth to your ear.

Also, it was a fun excuse to put these other new songs on that were written from that same era that didn't make the first record. One of the things that I'm excited about is the way that [my new label] Sony Music Nashville has gravitated towards those other songs from that era. Not only "I Don't Want to Be" and "Chariot," but other songs from that era that I'm proud of.

Did you have a favorite song on Chariot before you re-recorded the album? And if so, did that change once you revisited all the songs again?

Well, I'll tell you that the two that didn't quite make the first record are the two real surprises for me. But also the ones that did make the first record that surprised me probably would be "Meaning" and "Overrated." Because the recordings are so simple, and the songs really just speak. There's no tricks, it's just very simple, very authentic, very pure.

Before you actually announced the full album, you released the re-recorded version of "Chariot." In a post about it, you said, "I've changed so much, and I wanted my music to reflect this growth." What are the biggest ways you feel you've changed since releasing Chariot, whether as an artist or even a person, or maybe a little of both?

I think the main thing would be the level of confidence in your performance as an artist. There's 20 years of growth of development of your skill set and of your confidence level. And, you know, 20 years ago, you're evolving, figuring out, Who am I? What kind of record do I want to make? [Today], your voice is more lived in, more mature. [You're] just better at your craft due to your life experience.

There's just a level of living in the song now. You can hear it in the delivery: everybody is so deliberate in what they're doing, performance-wise. And all that comes from that believability.

You've talked about how you had several frustrating years where nothing was really happening for you before Chariot came along. And you were in your mid-twenties when you released it, which can be seen as "old" in this industry. When you finished Chariot, what do you remember thinking about what it could potentially do for you as an artist?

When I was putting that first record out — and even before I put that first record out — I was putting so much pressure on myself, as many people put pressure on themselves, to make a good living. Getting a record deal and making a record was a byproduct of endless hours of pursuit, and sweat, and frustration. Basically, getting my ass handed to me in real life trying to make $1 here and there playing live gigs at bars and clubs. 

My motivation was, I'm broke, I want to make a living doing this. So your motivation at the very, very beginning is much simpler, right? And then, when you're not broke anymore, your motivation graduates a little bit. Now, [it's] how do I continue to grow artistically, and make a living, and express myself? How do I demonstrate that I'm improving at my craft? 

I'll never forget being broke. I can't shake that feeling, and that chip on my shoulder that I had as a kid never went away. It keeps me working hard. It's motivation for me. It reminds me how lucky I am to have an opportunity. It reminds me that I'm representing where I'm from. I'm representing the people I grew up with who had the same frustrations, had the same stories. And so you're not just making music for yourself, you're making music for a culture of people.

What was the reaction like when you first released the album, and when did you kind of start to feel the shift?

Personally, I wanted "I Don't Want to Be" to be the first single and "Chariot" to be the second single, but we went with "Follow Through." When "Follow Through" wasn't getting the love we wanted to get early on, that's when I got a phone call about "I Don't Want to Be" having an opportunity to get placed on TV, which was obviously a huge, huge gift to me. 

Once that song got picked up for ["One Tree Hill"], the focus switched to support the success of "I Don't Want to Be," and it fortunately proved worthwhile. We probably worked that song for a full year or so before it was a hit, and that was obviously life-changing.

I hope you had an "I told you so" moment about "I Don't Want to Be" being the right first single.

No, no, I would never do that. Because here's the way I view it. As an artist, if you're lucky enough to end up with a great partner at a record company; anything that they're embracing of yours, you're lucky they're embracing it at all. If someone at the record company chooses one song as the better choice above what you wanted, don't blame them, here's why — you're the one who recorded that song! You handed the album to them! That's on you! [Laughs.] 

That's a lesson to you as the artist of, S—, maybe I need to do a better job next time if I don't believe that any one of these things could be the one. That's my problem.

Many people probably associate "I Don't Want to Be" as the "One Tree Hill" theme song. But what do you associate with that song? Is there a special memory or moment that stands out?

The main thing that I think about for that song is, that is my autobiography. I didn't write it for anything other than my real life. It was one of the songs on my album, and it happened to be the song that a show picked up, and thank God they did. But I still think about the roots of the song when I think about that song.

To add to that, that's the song that paid off my college loans. So, I'll take it!

Do you remember the moment or the time that you realized that this album had actually changed your life?

The phone call was big regarding placement, but I don't remember the exact moment where I thought, Okay, cool, I made it. Because it didn't seem to happen like that for me. I will say, the skeptic in me was worried about when the magic carpet was gonna get pulled out from under me at every moment.

Probably the biggest thing for me was getting a phone call to do the first Billy Joel show [in 2014]. Seeing him live when I was 15 years old was the deciding factor for me to become a musician for living, so when the call came in to open for Billy, that was maybe the moment I thought, Wow, my hero has invited me to play a show. This is a big deal for me. 

Does he know that he's your childhood hero? Did you get a chance to tell him that he's the reason that you got into music?

I think he may know that by now. I hope he does. Doing those shows with him, opening for him, those were huge, huge validation moments for me, as a musician, as a fan, as a native New Yorker. It's like opening up for the Pope at the Vatican, playing with Billy in New York.

What are some of the most unbelievable opportunities you remember getting because of Chariot?

One of the biggest ones would probably be the Songwriters Hall of Fame event [in 2003]. I got a phone call from Phil Ramone, who's a very big producer, a legendary guy. He asked me what I'd like to do during that show and gave me a couple options. My part was performing a Phil Collins song, "Against All Odds," doing a speech, and then giving Phil Collins his award. 

What an honor to be part of that. He was a lovely guy. When I walked off stage, the first person that stopped me to congratulate me on my little part of the show was Brian May from Queen. And I'm a huge Queen fan. He said something very regal as a compliment, "That was magnificent" or something that I didn't deserve, which was lovely. It made me feel good.

That night, there were so many amazing artists performing. Here's who played that night — and this is why it means so much to me. That very night, it was the first time I'd seen Billy Joel in person. He was running to the stage to go do a song in honor of another songwriter named Jimmy Webb. So he played that night. Barry Manilow played that night. Van Morrison played that night, and the guy playing piano, singing harmonies for Van Morrison, was Ray Charles. Alicia Keys played that night. Tony Bennett played that night!

I was so beside myself that I was invited to be part of this very special musical community that, at the time, and even now, I feel like, I don't deserve that. I was just so honored to be invited to be part of that, musically, artistically. What a moment for some dude in some small prison town in upstate New York who grew up playing barrooms. 

To be invited to be part of that, I was pinching myself. I'll never ever forget a moment like that. A very extraordinary evening for a guy like me.

And Chariot did that for you!

Chariot did that for me. Isn't that unbelievable? Honestly, I'm still baffled by it.

When Katy Perry announced her seventh studio album, 143, in July, a press release described the LP as "sexy, fearless return to form." While the first single from the project, "Woman's World," was panned by critics, its bold lyrics, punchy melody and outlandishly fun video are as Katy Perry as they come.

There's no denying that Perry is one of the most important artists to shape pop music in the 21st century. Her easygoing, sunny hits have soundtracked countless summers, and her vulnerable power ballads have affected millions. She's been nominated for 13 GRAMMY Awards, and is one of the best-selling artists of all time, even sharing company with Michael Jackson as the only two artists to ever land five No. 1 hits from a single album.

Just before 143's Sept. 20 arrival, Perry further proved her influence — and that her past hits hold up — with a  stellar mashup performance at MTV's 2024 VMA Awards on Sept. 11. Even if her seventh studio set doesn't achieve the heights of Perry's earlier albums, she's crafted some of the most iconic pop songs of the 21st century, from "I Kissed a Girl" to "Roar."

To celebrate the beginning of a new era and the blazing legacy of Perry's artistry, GRAMMY.com looks back at the most defining songs in her dazzling career.

Perry's debut single was the song that changed her trajectory forever. "I Kissed a Girl" became a massive hit, reaching No. 1 on the Billboard Hot 100 chart for seven consecutive weeks, and earning Perry her first GRAMMY nomination for Best Female Pop Vocal Performance in 2009.

While the track has been widely criticized for its "queerbaiting" lyrics, Perry recognized them as problematic in a 2018 YouTube video for Glamour, and affirmed she would "probably make an edit" if given the chance to rewrite it. "We've really changed, conversationally, in the past 10 years," she said. "We've come a long way. Bisexuality wasn't as talked about back then, or any type of fluidity." Even if its lyrics haven't aged well, the propulsive electropop and instant catchiness of "I Kissed A Girl" introduced Perry as a pop force in the making.

Following the success of "I Kissed A Girl," Perry's follow-up single, "Hot N Cold," hinted that she wasn't a flash-in-the-pan artist. Co-produced by Dr. Luke and Benny Blanco — the duo behind both singles — "Hot N Cold" soared to No. 3 on the Hot 100, and also scored Perry her second GRAMMY nomination for Best Female Vocal Performance in 2010.

The upbeat, synth-filled hit is filled with sturdy synths and simple, yet witty lyricism about a loved one's fluctuating moods. "You're yes then you're no /You're in then you're out /You're up then you're down /You're wrong when it's right," she sings, unknowingly creating a relatable anthem for generations to come.

"Thinking of You," 'One Of The Boys' (2008)

The third single off One Of The Boys showcased a different facet to the splashy, sassy singer. In this stirring ballad, Perry — who wrote the lyrics by herself — pricks on old wounds as she pines for a former lover, despite being in a new relationship.

"You said move on, where do I go?/ I guess second best is all I will know," she sings in one of the most evocative compositions in her career. "Comparisons are easily done/ Once you've had a taste of perfection/ Like an apple hanging from a tree /I picked the ripest one, I still got the seed." 

While "Thinking of You" did not achieve the same chart success as some of Perry's other early singles, it still stands as a testament to her powerful vocals and ability to turn universal experiences into utterly personal tracks.

This cheeky, carefree homage to California — where both Perry and featuring rapper Snoop Dogg were born — revels in the depiction of a "warm, wet n' wild" paradise, filled with girls so hot they will "melt your popsicle." "They're unforgettable," Perry sings, and she might have been onto something, as "California Gurls" was arguably the song of the summer in 2010.

A co-production of Dr. Luke, Benny Blanco and pop master Max Martin, it spearheaded one of the singer's most successful eras: her third album, Teenage Dream. The track dominated charts and radio stations across the globe, also earning a GRAMMY nomination for Best Pop Collaboration with Vocals — and a permanent place in our minds.

"Teenage Dream," 'Teenage Dream' (2010)

After delivering another smash with Teenage Dream's lead single, Perry did it again with its title track. The album's second single manages to bottle all the euphoria and trepidation of being a teenager into one masterful, ageless hit. Adolescents all over the world can listen to this song and feel contemplated, in the same way that elders might hear it and remember the rush of their first loves.

While the melody packs some of Dr. Luke, Blanco and Martin's arguably best synths and guitar riffs, it's the exhilarating "I'ma get your heart racing in my skin-tight jeans/ Be your teenage dream tonight" bridge that makes this track truly unforgettable. "Teenage Dream" granted Perry both her third No. 1 hit on the Hot 100 and her third GRAMMY nomination for Best Female Pop Vocal Performance, setting the stage for even more massive success that was to come.

"Do you ever feel like a plastic bag/ Drifting through the wind, wanting to start again?" Perry asks in the first line of her 2010 self-empowering anthem, "Firework." Although the question went on to become a meme due to its uncanny — yet oddly relatable — comparison, the track remains as one of her most successful efforts and a dynamic display of her grandiose vocals.

Inspired by a passage from Jack Kerouac's beatnik classic On the Road, "Firework" inspired listeners all over the world to "ignite the light and let it shine." Its inspiring message and belt-along hook helped "Firework" become Perry's fourth No.1 single on the Hot 100 and secure GRAMMY nominations for Record Of The Year and Best Pop Solo Performance.

After scoring yet another Hot 100 chart-topper with the freaky techno-pop "E.T." with Kanye West, Perry returned with her fifth single off Teenage Dream, "Last Friday Night (T.G.I.F.)." Like its four predecessors, the peppy track landed at No. 1 on the Hot 100 — making Perry the first (and, as of press time, only) female singer to topple five No.1 singles off the same album at Billboard's Hot 100 chart.

In yet another Dr. Luke and Max Martin co-production, Perry spiritedly retells a wild night drinking with friends. Dancing on tabletops? Check. Skinny-dipping in the dark? Check. Smelling like a mini bar? Check. As if playing the quintessential bingo of youth, she earns the jackpot and then some. However, despite the consequences (Towed car? Check!), her only goal is to "do it all again" next week. Oh, to be young and reckless… 

"Wide Awake," 'Teenage Dream: The Complete Confection' (2012)

With the release of her 2012 biopic, Katy Perry: Part of Me, the Californian singer also put forward one of her most touching power ballads. "I wish I knew then what I know now/ Wouldn't dive in, wouldn't bow down/ Gravity hurts, you made it so sweet/ 'Til I woke up on the concrete," she sings of a disenchanting breakup.

But the overall message of "Wide Awake" is an uplifting one — vowing to see the truth with clear eyes and eventually feel "born again." The song takes after Perry's personal experiences at the time, following her divorce from English comedian Russell Brand. "Wide Awake" was added to the reissue album, Teenage Dream: The Complete Confection, alongside "Dressin' Up" and "Part of Me," ​​and earned a 2013 GRAMMY nomination for Best Pop Solo Performance.

"People talk about bullying, but you can be your own bully in some ways," Perry told W Magazine about "Roar," the lead single off her fourth album, 2013's Prism. "You can be the person who is standing in the way of your success, and that was the case for me. I was having a great professional streak, but personally, I was really immature, so I had to balance those things out."

A fitting opener to a new era of Katy Perry, "Roar" is a celebration of growing up, shaking off the dust, and moving on. With its lofty melodies, it's a song made to be performed in stadiums and sung in unison by thousands, amplifying its healing powers like a mantra. It's no surprise, then, that "Roar" became her eighth No. 1 hit and earned two GRAMMY nominations for Song Of The Year and Best Pop Solo Performance.

Inspired by her then-new boyfriend, John Mayer, and a UNICEF trip she took to Madagascar, "Unconditionally" is Perry's celebration of the purest form of love: acceptance. "All your insecurities/ All the dirty laundry/ Never made me blink one time," she sings, promising to love without restraints and without fear.

Whether that love is directed to a partner, a friend, or even a pet, it doesn't matter — "Unconditionally" suits human relationships as a whole, and attests to Perry's ability in capturing universal experiences. Here, her soaring vocals take the spotlight. Over a spacious instrumental, Perry reminds us that to love unconditionally is to be free.

Katy Perry is careful when choosing musical experimentations, but she nailed it by trying her hand in trap and hip-hop for "Dark Horse." Written from the point of view of a witch casting a love spell, the single's slow, sultry verses are hypnotizing, and the polished production makes it a standout on Prism and in her discography as a whole.

Perry's delivery is so remarkable that it makes you forget rapper Juicy J's subpar verses. But even that wasn't enough to dim "Dark Horse'"s light: the single was a commercial success, becoming her ninth No. 1, and earning a GRAMMY nomination for Best Pop Duo/Group Performance.

"By the Grace of God," 'Prism' (2013)

Written while Perry suffered through the breakup from Russell Brand — so painful it made her consider if being alive was even worth it — the piano-led "By the Grace of God" is one of her most vulnerable efforts, and closes Prism on a stirring note.

In the lyrics, she moves from self-loathing to self-loving, once again hitting a relatable spot for anyone with a shattered heart. While songs like "Roar" had a more straightforward approach to empowerment, "By the Grace of God" shows that softness is strength, and being honest about your feelings makes them easier to bear. "I put one foot in front of the other and I /Looked in the mirror and decided to stay /Wasn't gonna let love take me out that way," she sings, confident that a better future lies ahead.

Witness, Perry's divisive fifth LP, came out four years after Prism, in 2017. By then, not only had she changed, but the world as well — Hillary Clinton's (whom Perry openly supported) loss at the 2016 presidential campaign, the burgeoning of streaming platforms. Amidst all that, Perry wanted to rebrand herself and make "purposeful pop."

The disc marked a departure from Perry's high-octane hits and partnership with Dr. Luke, diving into EDM and electropop rhythms. However, the package fell flat, and failed to achieve the commercial success that Perry hoped for, partly due to debatable single choices (think "Swish Swish" with Nicki Minaj).

But hiding in Witness' deep cuts lie true sonic gems, and "Déjà Vu" is arguably the shiniest one. In its addictive R&B melody, electronic synths, and vocal distortions, the track evokes a dead-end relationship that keeps repeating itself, like an unsolvable riddle. If people were willing to listen, they would see that Witness is quite compelling and a matured exploration of Perry's talents — she just needed a better marketing direction.

After the troubled waters of Witness, Perry was ready to launch a new, promising era. 2019's "Never Really Over" was her best single since 2013's "Dark Horse," harking back to the sugary sweet hooks of Teenage Dream and swirling in dance floor-ready house beats. The tongue twisting post-chorus accurately depicts an on-and-off relationship, repetitive nature included: "Just because it's over doesn't mean it's really over/ And if I think it over, maybe you'll be coming over again/ And I'll have to get over you all over again."

"Never Really Over" marked the second collaboration with EDM producer Zedd in 2019, following the lackluster performance of their previous team-up, "365." In fact, the song was her most successful in the past five years, reaching No. 15 — her last Top 20 hit to date.

"Cry About It Later," 'Smile' (2020)

Smile marked a shift in Perry's personal life: She announced her pregnancy with fiancé Orlando Bloom in single "Never Worn White" (which appeared on the "Fan" and Japanese versions of the album), hinted at the baby's name through lead single "Daisies," and gave birth to daughter Daisy Dove just two days before the album release, on August 28, 2020.

Perry was in a better place — and that reflected on her songs. While the album was not a chart-topper like its three predecessors, its reception was mostly favorable among critics and the public. Smile felt like the true upgraded version of the singer: a resilient pop maven, shrugging at the "flops" and "fails" of life with bright enthusiasm. 

The glittering, nostalgic "Cry About it Later" sums it up: "I'll cry about it later/ Tonight, I'm havin' fun/ I'll cry about it later/ Tonight I'm gettin' some/ Tonight I'm gettin' something brand new." And though "Cry" features a verse that says, "I'm gonna fake it 'til it makes me feel good," it seems 143 is ushering in an era where Perry doesn't have to fake any happiness — or anything at all, for that matter. 

"I'm very proud of everything I accomplished, and I don't feel like I have anything to prove," she said in a recent interview with Audacy. "I'm creating from this abundance [of] artistic space. I always wanted to make a dance-pop record, so I've checked that [off my] bucket list. And there [are] a couple of records that I have in my mind that I still want to make, and I'll just go along that process if I get the opportunity to. This is a part of my purpose [and] my vision for myself."

Kylie Minogue is sometimes overlooked when sizing up the Australian pop icon's discography. But her fifth studio record, which was released on Sept. 19, 1994, remains a transformative and daring entry that jumpstarted a new phase of Minogue’s career.

Minogue’s self-titled album sought to relaunch her as an elevated and experimental artist. Gone was her "girl next door" image; Kylie Minogue showcased the singer/musician challenging herself creatively and complicating her public presentation. Decades on, the hypnotic resonance of "Confide in Me" and the sensual excess of "Put Yourself in My Place" remain a powerful contrast to the sugary music of her early career.

Kylie Minogue was still a deliberate and memorable moment in which the singer took complete charge of her creative direction. In 1992, and after four albums and a greatest hits record, Minogue dramatically parted ways with Pete Waterman Entertainment (PWL) and signed on with independent music company, Deconstruction. "I was aware that it was being perceived as a bit of a radical move, which I loved," Minogue previously told The Guardian. Deconstruction was an indie outlet known for producing electronic and house records, a genre Minogue would soon embrace herself with Kylie Mingoue. 

The gamble going rogue and wrestling artistic control back would quickly pay off. Where 1991's Let's Get to It stalled at No. 15 on UK charts, Kylie Minogue scaled the UK and Australian charts to No. 4 and No. 3 respectively, going gold in both regions and impressing music critics. One critic wrote: "So here it is, the one that's supposed to transform Kylie once and for all from pop kitten to credible artiste. This Herculean goal has actually been realized with a great deal of aplomb … it will come as no less than a revelation." Another gave this glowing assessment: "Kylie's self-titled new release is by far the best thing she has ever done."

The self-titled instalment stands as a blueprint for how Minogue would experiment with her aesthetic, artistic and musical approaches for the rest of her career. Kylie Minogue was also the beginning of a career-long flirtation with electronic and house genres — continued on her next album, Impossible Princess, to her latest, Tension — while taking innovative and ambitious artistic leaps with her image as a musician.

Adding "Minogue" to the album’s name (in a nod to her first album, Kylie) may have been a small gesture but belied a major public statement: gone was the ingenuous young woman, now beckoned the inventive and independent pop star ready to surprise us all. 

In honor of Kylie Minogue’s 30th anniversary, here's a look at how the singer radically broke with her past image, wielded full creative control over her music and silenced skeptics by proving she could actually sing.

It Showed Minogue Taking Creative Control

Kylie Minogue began her career as a manufactured teen star. From her launch on the Australia soap opera "Neighbours" to her first hit, "I Should Be So Lucky" and first two albums, Kylie and Enjoy Yourself, Minogue was known for catchy bubblegum pop. But within a few years, her music became formulaic releases pumped out by British production house PWL (aptly known as "The Hit Factory"). Her 1990 song "Better the Devil You Know" featured some overt (and controversial) sexuality, though it largely stuck close to her familiar dance-pop format approved by her record label.

By 1994, Minogue "had two choices: to record pop songs that would sell, or to experiment, let me loose in a field and see what happens," Minogue told Deconstruction. The resulting Kylie Minogue made a statement: Minogue was reclaiming her artistry and pop star profile. 

By abandoning PWL and approaching artists like Brothers in Rhythm and M People to help produce her record, Minogue — only about 24 — imbued her self-titled album with more adult imagery and a breadth of genres: dance, deep house, R&B, and even acid jazz.

This newfound freedom is best reflected on "Confide in Me," one of Minogue’s most unique releases thanks to its hookiness, orchestral excess and seductive lyrics musing on love and fame. The song offered an enticing blend of Middle Eastern strings and slower trip-hop beats for an intimate, if not unfamiliar, listening experience. Minogue would continue to showcase herself as a cool, confident and sexualized woman for the remainder of her career. 

It Started Minogue’s Love Affair With Electronic Music

"Padam Padam" might have been the standout smash hit from 2023’s Tension, but the album also has several strong electronic and house tracks. Minogue's interest in those genres traces back over 30 years, and her experiments with dance music are deeply connected to Kylie Minogue. Her new label, Deconstruction, was known for its house anthems (like "Rhythm Is a Mystery" by K-Klass) while producers Brothers in Rhythm helped galvanize her predilection for the genre. The British electronic trio were making waves on the UK club scene, and pushed Minogue deeper into this space.

Kylie Minogue saw the singer step away from the frothy disco and pop work she had built her career on, and commit more fully to the sonic pleasures of the club scene. Album tracks "Where Has the Love Gone" and "Time Will Pass You By" are playful and uplifting, emblematic of the playfully upbeat house and feel-good messages that would characterize Minogue’s later output.

The breathy and erotic "Where is the Feeling" was recorded twice. The album version embraced the tenets of "handbag house" with its uplifting chord progressions, disco sound and Minogue's soaring and soulful voice. The single version, by contrast, had a psychedelic trip-hop and ambient sound with demonstrated vulnerability. (Minogue later released an extended cut with confessional lyrics: "So why do I still feel this way?/ Detached and vulnerable/ The world on my shoulders/ Left alone to face the unknown.")

The album also let Minogue nod to the classic house music format of 12-inch singles. Songs like "Where Has the Love Gone" and "Falling " each ran close to seven minutes a piece, offering extended dance floor pleasures. Minogue has since continued this approach of longer dance-floor releases with extended cuts of Disco and Extension (The Extended Mixes) for Tension.

Further establishing her as a leading figure in the electronic/dance music world, Minogue would go on to win the inaugural GRAMMY Award for Best Pop Dance Recording for "Padam Padam" at the 2024 GRAMMYs.

Read More: Kylie Minogue On The Freedom Behind ‘Tension,’ Being A Gay Icon & "Padam Padam"

It Showed The Minogue Was A Serious Vocalist

Minogue was sometimes criticized for having tinny vocals and a weak range, but Kylie Minogue allowed the singer to flaunt her vocal prowess away from the strictures of the Hit Factory. "[H]er voice has been coaxed from a squeak to a more resonant entity," The Guardian’s music critic wrote.

Kylie Minogue proved to be her most vocally accomplished exercise, and a far cry from her earlier teeny-bopper output. "It was the first time I had sung like that," Minogue told the Guardian of tracks like "Confide in Me." Not only could Minogue hold a note, but she indulged in diverse vocal effects.

Case in point: the uptempo ballad "Put Yourself in My Place." Minogue's vocal maturity and strength are on display as she sings about suffering through a one-sided split. Minogue's emotive vocals show mastery of the elusive pop ballad, while the song's soft and seductive melody embody the pains of a failed romance. 

"Automatic Love" is also a vocal triumph. A smooth and sensuous ballad, the song features a cascading sonic arc that ends with Minogue showcasing her chops with a theatrical high note.

It Revealed Minogue Was Willing To Experiment Musically

Much like today, a global view of music and a desire to evolve was necessary to navigate the changing tastes and interests of the mid-'90s. With a coterie of edgy producers, Minogue played with unexpected genres and harmonies — like Middle Eastern instrumentation, new jack swing, R&B and even ambient sounds.

"If I Was Your Lover" may be a polarizing entry into the Minogue songbook, but it still highlights an ambition to take on the mammoth genre of R&B and the United States charts — a long allusive market for Minogue. Its rhythmic and percussive energy channels Janet Jackson, while a spoken word section (à la Madonna’s "Justify My Love") spotlights a remarkably different but developed voice for the singer.
Minogue took vocal risks on the record as well. The album captures a wide range of notes alongside whispers, murmurs and even sighs, framing Minogue as an ingenious vocalist who was broadening her sonic offerings. The intimacy afforded by these vocal gestures — such as the "s" emphasis in the spoken section of "Confide in Me" evoking a snake’s hiss — charges the songs with an erotic and hypnotic energy. The effect imbues Kylie Minogue with both a baring self-exposure and erotic intensity that listeners hadn't yet experienced previously.  

It Transformed Her Image

The aesthetics that accompanied Kylie Minogue, from the iconic album cover of a barefoot Minogue crouching in a suit and spectacles, to the visuals of provocative music videos, asserted and affirmed that she was shedding her playful pop princess image and in favor of a refined, urbane and worldly one. From this release onward, Minogue would embrace her own sensuality and own her satisfaction.

Music videos for the album threaded together elevated cinematography and unique art direction, often playing with ideas of impersonality and objectification. "Confide in Me" sees the star as various "dolls" viewers can call up and seek comfort and confidence in — much like a candy machine, love is for sale. "Where Is the Feeling?" is a gritty black-and-white episode that sees Minogue swim seductively around a pool — rubbing her lips, stroking her wet hair, giving lowered gazes to the camera — while unknowingly being pursued by a man. "Put Yourself in My Place" is Barbarella redone, with Minogue taking this iconic objectified woman of pop culture but remaking it as an exposed, naked body on display in outer space.The music video  sees Minogue take the Barbarella character and playfully undress in space, a figurative gesture that reminds of her rawest and most baring vocals yet. 

Minogue's nuanced understanding of her public image showed that she was a new kind of pop princess: sophisticated and sensual, introspective and detached. Minogue was now comfortable exploring her womanhood and sexuality publicly, and challenging her previously girlish persona.

Much like Madonna, the 1990s saw Minogue increasingly become preoccupied with her status as a pop star, which she mined for artistic experimentation. It’s no surprise, then, that there was an accompanying photobook for Kylie Minogue, which saw the singer stand behind the camera lens and have her beauty and blondeness examined or a camp parody. 

The album ultimately represented a moment for her to look from the outside in, and critically examine and challenge the image the singer was projecting publicly. Kylie Minogue stressed to both skeptics and stans that she was now abandoning the naivete of her past career to re-enter the music scene as a creative and elevated artist really to be reckoned with.

Demi Lovato has come a long way from her days as a Disney Channel darling. Since her beginnings in Disney Channel smashes like Camp Rock and "Sonny with a Chance," the pop star has been a constant force in the music industry, releasing eight top 10 albums and garnering millions of loyal fans around the world.

The two-time GRAMMY nominee hasn't been shy about sharing her struggles in the spotlight, either. Through perseverance and unrelenting will power, Lovato has conquered demons, overcome trauma and refused to be defined by any setback or obstacle as she's dealt with decades of substance abuse, body image issues and mental health struggles. 

Now, she's on the cusp of making her directorial debut with Child Star, a new Hulu documentary that arrived Sept. 17. The film sees Lovato reflect on a childhood spent in the entertainment industry, from her start on "Barney & Friends" at just 10 years old through her adolescence as a teen idol — and, ultimately, how it all impacted who she's become, for better or worse. The pop star also interviews fellow former child stars, including Christina Ricci, Raven-Symoné, JoJo Siwa and Drew Barrymore, for candid reflections on their own experiences.

As Lovato adds "director" to her resume, take a look back at all of the ventures she's pursued throughout her career — from music, to television, to simply telling her truth.

From the moment she burst into the national consciousness in the late 2000s, Lovato was known for her dynamic voice. While the star's earliest musical output — particularly her 2008 debut album, Don't Forget, and its 2009 follow-up, Here We Go Again — was pop-rock perfectly primed for Radio Disney, her sound continued to evolve as she graduated from teen idol to grown-up superstar.

Across eight albums and counting, Lovato has delivered unforgettable anthems like 2013's "Heart Attack," 2015's "Cool for the Summer" and 2017's "Sorry Not Sorry." Along the way, she's put her unique stamp on everything from R&B and dance music to confessional balladry and snarling pop-punk.

Almost exactly one year before Child Star arrived, Lovato first looked back at her career with 2023's Revamped, a compilation that turned the amps up on 10 of her past hits and transformed them into bonafide rock bangers. And just days before Child Star's release, the singer unveiled her new song "You'll Be OK, Kid," an emotional love letter to her younger self, as well as future generations of kids dreaming about seeing their names in lights.

Long before becoming a singer, however, Lovato got her start as a child actor. In fact, the superstar's first on-screen role was playing Angela for two seasons on "Barney & Friends" from 2002 to 2004. The long-running children's show is also where she first met fellow future Disney Channel star (and one-time bestie) Selena Gomez, who played the character Gianna at the very same time.

In 2008, a then-16-year-old Lovato booked her breakout role headlining the 2008 Disney Channel Original Movie Camp Rock opposite the Jonas Brothers. Not only did the TV movie launch the teenager's singing career, it also cemented her status as one of the brightest stars in the Disney Channel class of the late '00s and early 2010s.

Soon enough, Lovato was virtually everywhere on the channel — starring in 2009's Princess Protection Program opposite Gomez, reuniting with the JoBros for 2010's Camp Rock 2: The Final Jam, and having her music videos for singles like "Get Back," "La La Land" and "Remember December" played in between programming on commercial breaks. 

She even got her very own sitcom, playing the titular role on "Sonny with a Chance," which ran for two seasons from 2009 to 2011. Unfortunately, Lovato's early struggles with addiction brought the series to a sudden halt when she announced in April 2011 that she'd be leaving the show before its third season. As a result, already-produced episodes were rebranded as the spinoff "So Random!," which only lasted a single season before being canceled in early 2012.

Lovato later branched out to acting projects outside of Disney Channel, including a four-episode stint on Season 5 of "Glee"in 2013. She also lent her voice as Smurfette in the 2017 animated feature Smurfs: The Lost Village,and landed a guest-starring role on the revival of "Will & Grace" as Jenny, a cam girl Will hires as his surrogate, in 2020.

Lovato also has plenty of experience playing herself on TV. Fresh out of treatment in 2012, the singer expanded her resume by appearing as a judge on season 2 of the U.S. iteration of "The X Factor" alongside Simon Cowell, Britney Spears and L.A. Reid. Later joined by Paulina Rubio and Kelly Rowland for season 3, Lovato mentored contestants in the Young Adult and Girls categories across her two seasons on the show, and accomplished her entire stint as a judge while living in a sober facility, proving she was dedicated to both the job and her recovery.

Nearly a decade later, Lovato also hosted her very own talk show, "The Demi Lovato Show," on The Roku Channel. The short-lived series premiered in 2021 and featured interviews with fellow celebs, including actresses Olivia Munn, Lucy Hale, Jameela Jamil, and rapper YG, as well as wellness guru and author Jay Shetty and YouTube sensation and makeup artist Nikita Dragun.

The "Heart Attack" singer also delved into her proud obsession with the paranormal by hosting 2021's "Unidentified with Demi Lovato," a passion project she conceived after allegedly making contact with extraterrestrials on her 28th birthday. The four-episode Peacock series followed the star as she researched UFOs with her friends, interviewed alleged alien abductees, conducted sky-watches and more.

Lovato has long been passionate about using her platform for good, and that includes combining her music with causes close to her heart, especially LGBTQIA+ rights and mental health.

In 2016, the star was honored with GLAAD's Vanguard Award, given to allies in the entertainment industry who have "made a significant difference in promoting acceptance of LGBTQ people and issues." (Just a couple of years later, Lovato revealed in a 2018 interview that she identified as "very fluid," and used both she/her and they/them pronouns for a number of years before announcing in June 2023 that she would only use feminine pronouns going forward.)

On both her 2017 Future Now Tour with Nick Jonas and her 2018 world tour in support of her sixth album, Tell Me You Love Me, the singer raised awareness about mental health by bringing advocacy organization CAST Foundation on the road. Through the recovery center's CAST on Tour initiative, Lovato and CAST Foundation chairman Mike Bayer hosted pre-show get-togethers with fans to talk about mental health awareness and allow attendees to share their personal experiences with mental illness. 

Lovato has also attached herself to numerous causes as an ambassador and spokesperson. In 2010, the singer became a spokesperson for the anti-bullying organization PACER, and in 2012, she took another stand against bullying as ambassador for the Mean Stinks! Campaign. 

Five years later, she was named a Global Citizen ambassador for her work advocating for the mental health of thousands of displaced children within Iraq and surrounding communities, and helped fund a Save the Children pilot program in the region. In 2020, the singer also partnered with Talkspace, becoming a mental health spokesperson for the online therapy company.

At several pivotal moments throughout her career, Lovato has told her story through a number of vulnerable, confessional-style documentaries.

The singer's first doc, Demi Lovato: Stay Strong, was released six months after the release of her 2011 album, Unbroken. Following the singer after she left rehab, the MTV film showed Lovato attempting to reorient her career and navigate sobriety while getting bracingly honest about her eating disorder, mental health struggles, alcoholism, and drug addiction. 

However, in her second documentary, 2017's Demi Lovato: Simply Complicated, the star corrected the record, admitting that she was actually under the influence of cocaine while filming confessionals for the earlier project touting her sobriety. She also opened up further in the YouTube Original Documentary about her career as a child star, her family life, working for Disney Channel, being diagnosed with bipolar disorder, and more.

Lovato's third experience opening up for the cameras correlated with her seventh album, 2021's Dancing with the Devil… the Art of Starting Over. Filming for the four-part YouTube series, Demi Lovato: Dancing with the Devil, picked up in the wake of her near-fatal 2018 drug overdose, and included the star getting vulnerable about returning to the stage, maintaining her sobriety, breaking off her whirlwind engagement to actor Max Ehrich, and the creation of her first album since leaving Hollywood Records.

After dabbling in co-directing on music videos like 2013's "Made in the USA" (with Ryan Pallotta) and 2021's "Dancing with the Devil" (with Michael D. Ratner), Lovato made her official directorial debut with Hulu's Child Star.

The budding multi-hyphenate opened up about the intensely personal project — which puts the singer entirely at the helm while utilizing the same candid, soul-baring approach she's employed to tell her story in past documentaries — in a September 2024 Teen Vogue cover story coinciding with the doc's release. 

"I knew right out the gate that it was a challenging aspect to my life," Lovato told the magazine of rocketing to stardom on the Disney Channel. "It was bittersweet because it was all I wanted, and it was miserable."

To get a wider look at the phenomenon of child stardom, as well as its wide-reaching effects, Lovato also sat down for one-on-one conversations with the likes of Kenan Thompson, JoJo Siwa, Drew Barrymore and her Camp Rock co-star Alyson Stoner — all of whom have their own traumas, triumphs and stories to share about growing up in the spotlight. 

"While [Child Star is] a cautionary tale to some degree, it's also a form of self-exploration," the singer concluded to Teen Vogue before contemplating, "Would things have turned out differently had I not been in the public eye? I don't know. And that's what I'm still learning."