Charli XCX is a product of the internet. A teen during MySpace's peak years, Charli — born Charlotte Aitchison — landed her first gigs thanks to the platform. Her first amateur album, 14, caught the attention of a promoter organizing illegal raves in London, and soon enough, she was performing at those parties as Charli XCX — fittingly, a former online username.

Even though 14 never had an official release (and Charli has declared her distaste for it, calling the project "terrible MySpace music"), her earliest beginnings became the throughline to her current work. MySpace was a breeding ground for creativity and Charli used it to explore niche — and unheard-of — genres. To date, she's touched on every iteration of pop, including electro-pop and dance-pop, even being heralded as the figurehead for hyperpop. As a result, she's not your stereotypical pop star.

Just over a decade after the release of her debut album, 2013's True Romance, Charli XCX is bringing everything she's done from her MySpace beginnings to present day with her sixth studio album, Brat. Leaning on the time spent performing at raves and clubs as a young teen, she embodies the same childlike and larger-than-life approach she had when she was first starting.

Charli XCX was signed to Asylum Records in 2010 but felt lost, according to an interview with The Guardian. The process of figuring out her artistry earned her a trip to meet with producers in Los Angeles, where she met American producer Ariel Rechtshaid. After they wrote her eventual single "Stay Away," everything started falling into place. "I was freaking out: I had found a piece of myself in this crazy world where people are trying to drag you apart and make you into something," she recalled. "That's when things started to come together."

Before she even released her debut album, Charli XCX first found global success as a songwriter. After penning the club-ready song "I Love It," she opted to give it away to Swedish synth-pop duo Icona Pop because it didn't suit the sound Charli was leaning into. But she did feature on the 2012 track, which became a global smash and landed at No. 7 on the Billboard Hot 100 — solidifying Charli as an artist to watch.

Almost a year later, Charli XCX released her major label debut with True Romance, her first studio album, in 2013. Although it didn't land on any major charts or spawn any hits, what the album did have was a clear, catchy direction. When reflecting on the album to NME, she stated that she was "just a MySpace kid" inspired by things that seemed out of reach for her, like the plots in teen movies and party photos from club scenes. True Romance was also integral to Charli discovering herself "as a person"; she's said that the album helped her better understand her voice, confidence, style, and stage presence.

Although True Romance didn't immediately make Charli XCX into a household name, it did usher in new opportunities for her as an artist. One of those opportunities was working with then-up-and-coming rapper Iggy Azalea on the track "Fancy," which marked a breakthrough moment for both rising stars. Along with spending seven weeks at No. 1 on the Billboard Hot 100 and scoring Charli XCX her first two GRAMMY nominations (Record Of The Year and Best Pop Duo/Group Performance), she has insisted that "Fancy" helped open the doors for her to write for bigger artists.

Following the taste of the mainstream after "I Love It" and "Fancy," Charli XCX seemingly veered towards a poppier and brighter sound — and soon found herself on the charts as a solo act. Charli XCX's first top 10 solo hit, "Boom Clap," was first featured in the 2014 film The Fault in Our Stars and eventually became the lead single to Charli XCX's sophomore record, Sucker. Working with the likes of Weezer frontman Rivers Cuomo, Rostam Batmanglij of Vampire Weekend, Benny Blanco, and more, Sucker showcased XCX's whip-smart songwriting and tongue-in-cheek aphorism, changing out gritty synths for glittery guitars and sky-soaring drums. 

But the new sound didn't necessarily indicate a new direction. She has admitted that she was chasing chart points with Sucker rather than writing songs that she enjoyed, and pieces of the album "feel fake" to her as a result. Still, Sucker helped validate what Charli already knew about herself, even if she got a little lost along the way. As she told The Guardian in 2018, rebelling on the outskirts of mainstream music is where she's meant to be, creating her "own language" and her "own world."

Shrugging off feeling rather stifled post-Sucker, Charli XCX began working with Scottish producer Sophie in March 2015. In October of that year, the singer released the track "Vroom Vroom" and unveiled an EP of the same name a few months after, both of which signaled that Charli was embracing a more experimental electronic sound and marking a change in sonic direction for her.

"I've worked with Sophie on the new EP and what we create together speaks for itself," Charli said about Vroom Vroom. "The album goes to other places and I can't wait for people to hear it. I feel the most creative I have in a long time and I couldn't be more excited for the next chapter." 

Although the EP didn't go over as sweetly as Sucker and True Romance did with critics and fans, Vroom Vroom is now heralded as a pioneering work in the hyperpop genre. When speaking with Vulture about the highs and lows of her career, she credits Sophie's production for the EP title track being a "f—ing masterpiece," noting that the song, in particular, was complex and niche, teetering between underground and mainstream. As she declared, it's why the song has "only retroactively found praise by those who now have a taste for that genre of pop."

Read More: Get Glitchy With These 7 Artists Essential To Hyperpop

In 2017, XCX's work in hyperpop continued with two Top 40 tracks, "After the Afterparty" and "Boys," the latter of which became an instantly viral track thanks to its sultry cameos from a slew of male celebrities. Both were meant to be part of Charli's third studio album, but after the album leaked, she opted to release two more electronic experimental mixtapes — 2017's Number 1 Angel and Pop 2 — rather than labelling them albums. Much like the way Charli approached her earlier recordings, the two mixtapes were her return to experimentation, and, by not calling them albums, she could freely create and avoid charting pressure from her label. 

From the fall of 2018 to the fall of 2019, XCX released a slew of singles with other artists — "1999" with Troye Sivan, "Blame It on Your Love" featuring Lizzo, "Gone" with Christine and the Queens, and a few others all leading up to the release of her third album, Charli. Equal parts explorative and expansive, Charli saw XCX explore every emotion in abundance. Although she didn't move too far away sonically, at the time Charli was the "most personal album" she had ever made. She told The Standard that it "encapsulated all sides" of who she is, because she'd rather create the music she wants to create instead of sacrificing her art for a thinly veiled attempt to become a bigger artist.

Five years separated Sucker and Charli, but the star only took eight months to release her next album, 2020's How I'm Feeling Now. A six-week DIY experiment throughout the early months of the COVID-19 lockdown, How I'm Feeling Now became Charli's pandemic album. Produced alongside longtime producer AG Cook, she crafted an album that touched on the universal experiences everyone was going through ("I'm so bored – what?/ Wake up late and eat some cereal") and bristled with longing to return to a sweaty and sticky dance floor. 

While Sucker was Charli trying to appease the public at the expense of her art, her snarky fifth studio album, 2022's Crash, leaned into that mindset tenfold. Playing a dramatized "soulless" caricature of herself, Charli wrote and promoted the conceptual album satirically, stating that it's her "major label sell-out" album by heavily leaning into the concept of selling one's soul to get what you want. And it worked: the album debuted at No. 1 on the UK Albums Chart, her first time ever hitting No. 1 in the UK, in addition to debuting at No. 7 on the Billboard 200, which was her first top 10 and her highest-charting album to date in the United States. 

Looking back, XCX felt that Crash, much like Sucker, didn't resonate deeply with her. "There were songs on Crash that I would never listen to," she asserted to The Face earlier this year. Longing to change things up, yet again, brings Charli to Brat. 

For an artist who is truly a sonic shapeshifter, it makes sense that she'd eventually return to her club roots on Brat. "Von Dutch," the album's lead single, serves as a throwback to her teens with its punchy synth-driven electropop melody reminiscent of her earlier tracks. The album's second single "360," an electro-pop ear-worm, features Charli's signature on-the-nose songwriting, singing, "I went my own way and I made it, I'm your favourite reference baby." It's apt, then, that the music video brings together the internet's "It Girls" — Julia Fox, Gabbriette, Emma Chamberlain, and many others — to try and find the next viral sensation, all while poking fun at the ridiculousness of the influencer world.

"I just want to be able to make the music that I want to make without having to sacrifice any of my artistic decisions," Charli told The Standard during the release of Charli. "I don't ever want to become something that I'm not because I've done that before. I didn't even know myself properly as a person let alone as an artist. I think I've figured out who I am now."

Five years later, and the release of Brat is, in a way, her coming full circle. Pairing her origin story — illegal raves, club nights and the internet world — with a decade of working on her own music and collaborating with big-name artists has been the catalyst to Brat. But it's also her official declaration that she's staying true to her artistry, for herself but also for her fans.

As she told British GQ ahead of Brat's release, she still grapples with the temptation of tapping into a more commercial sound. "Sometimes I tempt myself with going there, but I think the problem is my fan base knows that that's not who I am, so they kind of smell a rat, and they're like, 'This is inauthentic.' But then I think that sometimes puts me in this position where the masses are like, 'What the f— is this?'

"But I would in no way be as happy, creatively satisfied or, honestly, as good as some of the people who are operating on a hugely commercial level," she adds, "because maybe I'm just not built for it."

And maybe she's not. But her unashamed and unfiltered confidence is exactly what's made her such a beloved star, as well as what brings Brat together — and it's likely what we'll continue to see from Charli XCX from now on.

Lady Gaga's Biggest Songs: 15 Tracks That Show Her Avant-Garde Pop Prowess

Hundreds of GRAMMY U members excitedly gathered at Riverside Revival in Nashville for the annual GRAMMY U Fall Summit. Presented by Mastercard, the two-night summit offered networking and educational opportunities, as well as several performances.

The 2024 Fall Summit kicked off on Sept. 30 with a networking mixer and performance showcase featuring Nashville-based artists Bekah and Josh of Girl Named Tom, as well as Keearah and Mille Manny, the latter of whom are GRAMMY U members from Tennessee State University. Following the performances, attendees participated in a curated networking mixer with notable mentors from the Recording Academy, Mastercard, Amazon Music, and other organizations. This colorful evening also included a Y2K-themed photo activation and a Mastercard sensory experience that left attendees excited to return for the next night.

The second day of the Summit began with the #Trendsetters panel, a conversation in which industry marketing professionals discussed the past, present, and future of album marketing. 

Afterward, GRAMMY-nominated artists Charli XCX and Troye Sivan took the stage to kick off "From Concept To Culture," the keynote panel. In collaboration with the Recording Academy’s Songwriters & Composers Wing, Charli XCX and Troye Sivan discussed how their pop culture disruption connects with their commitment to authenticity through songwriting and collaboration.

Read on for five takeaways from this year’s GRAMMY U Fall Summit in Nashville, presented by Mastercard and in collaboration with participating sponsor Amazon Music.

All photos by Danielle Del Valle/Getty Images

Embrace Your Individuality To Create Successful Collaborations

Troye Sivan (L) and Charli XCX (R) speaking at the 2024 GRAMMY U Fall Summit

During their joint SWEAT Tour, Charli XCX and Troye Sivan discussed how they embrace their individuality as solo artists in the midst of artist collaboration and touring.

Sivan and Charli said their songwriting journeys have grown exponentially. For his part, Sivan has continued to trust his gut when it comes to songwriting, embracing both individuality and feeling. "Make what you love," Charli echoed Troye’s sentiment, adding that they no longer write music in a "commercial style."

Sivan said his and Charli’s individual "manifest[ations of] different versions of pop music" are exciting individually, but become even more so as they intertwine during their national joint tour. Sivan described this collaboration as "the collision of worlds," recounting how their individual sounds complement each other when brought together on tracks like "Talk Talk."

The key to staying open-minded in any collaboration is "letting yourself be moved and really zoning in on something magical," Sivan said. That ability to hear and trust new ideas has led to fruitful collaborations with touring partner Charli.

Change The Narrative By Being Authentic

Charli XCX

The second day of the GRAMMY U Fall Summit, held simultaneously as Music Advocacy Day 2024, highlighted the importance of authenticity, a prominent topic amid the rise of AI’s role in music creation.

"[I’m] all for new tools, but there will always be people who exploit new tools," Charli XCX said. Both she and Sivan described AI as a potential musical instrument, rather than something to fear. Artificial intelligence and other digital tools can lower barriers in music, empowering anyone to create and express themselves.

Moving beyond AI’s use in music production, the pair also discussed the importance of authenticity in songwriting. Both GRAMMY-nominated artists’ originality and honesty has not only transformed pop culture, but also made safe spaces for fellow songwriters.

To Be A #Trendsetter, Define The Artist’s Vision

Erich Buchi, Fred Rubenstein, Bri Small and Nathan Pyle during #Trendsetters panel

The GRAMMY U Fall Summit kicked off with an insightful marketing panel featuring industry executives reflecting on how to create impactful music marketing campaigns.

During the #Trendsetters panel, esteemed marketing experts Erica Buchi, VP of Marketing Partners at mtheory LLC; Fred Rubenstein, VP of Digital Marketing at Sony Music Nashville; and Bri Small, Director of Digital Content Strategy & Partnerships at Warner Music Nashville discussed how to create innovative music marketing strategies that captivate audiences and disrupt the pop culture landscape. Moderated by Nathan Pyle, Director of Operations at Songfluencer, the panel also included discussion about influencers, experiential marketing and fan engagement.

The panelists discussed their experiences working with artists to ignite their creative personality. Buchi described her position at mtheory LLC as being "very artist-centric," keeping the artists’ creative visions in mind as campaigns are curated.

"We get to help steward along these artists' great work, and there's a load of responsibility with that, but there's also the lean-in that we can provide to help realize their vision," Sony Music Nashville’s Rubenstein said.

Network With A Purpose

Bekah and Josh of Girl Named Tom

Following the success of the curated speed networking session at the 2024 GRAMMY U Conference in New York, the Fall Summit in Nashville curated a similar networking opportunity. Attendees gathered at various mentor stations to meet and learn from esteemed professionals including Todd Dupler (Chief Advocacy & Public Policy Officer, Recording Academy), Latoya Bennett-Johnson (Vice President of Global Sponsorships, Mastercard), Sarah DeMarco (Label Relations, Country, Christian & Gospel at Amazon Music), and Jon Blass (Mixing Engineer and Recording Academy Board Member). 

"It was incredible to see GRAMMY U members so driven to get to know the mentors and each other," said Della Anderson, GRAMMY U National Membership Representative, who led the networking mixer. "It can be intimidating to network with people you don’t know, but respect so much. I thought this type of experience, where members have a limited time to connect and had to move on to the next mentor, was valuable because it allowed them to discover different types of people in the industry and network with a purpose."

After the networking session, members stayed and mingled in between performance acts and returned the following night eager to continue connecting with their new industry contacts.

Immerse Yourself For A Rewarding Experience

GRAMMY U Reps Ily Aguilar, Samantha Kopec and Jim Slife at the Mastercard Photo Activation┃Photo Courtesy of GRAMMY U

Summit attendees explored various activations throughout the venue. These immersive and "Instagrammable" activations allowed attendees to experience the moment from many perspectives.

Mastercard's red-and-orange infinity photo booth and ambient candle-ladden courtyard setup enabled attendees to activate all their senses. GRAMMY U members could also try some of Mastercard’s signature cocktails — the Passion and the Optimism — and enjoy these refreshing tastes as they mingled with other attendees. The setup of the event also included an immersive stage, which had an otherworldly look set with neon pink and green pieces; the Y2K photo corner featured a bright pink inflatable couch, tying into the SWEAT Tour Y2K style.

GRAMMY U members were also interviewed on GRAMMY U Live!, which allowed members tuning in virtually to hear another perspective of what was happening in real time and gave attendees their own moment in the spotlight. 

The GRAMMY U Fall Summit was jam-packed with as much excitement as there were learning and networking opportunities. Rewatch the #Trendsetters marketing-focused panel HERE and the keynote panel with Charli XCX and Troye Sivan HERE.

GRAMMY U is headed to Nashville for its second annual Fall Summit. The two-day Summit will feature a dynamic lineup of performers and speakers, including a keynote from GRAMMY-nominated artists Charli XCX and Troye Sivan. 

A cornerstone of the GRAMMY U program, Summit attendees will participate in a curated networking session followed by a live showcase featuring performances from a GRAMMY U member and a surprise closing artist. The feature program, held on day two of the Summit, will dive into the ins and outs of marketing an album, with a conversation between Charli XCX and Troye Sivan about their influence on pop culture.  

Kicking off the Summit on Monday, Sept. 30, the GRAMMY U Showcase will feature Nashville-based artist Soccer Mommy as the headliner, with supporting sets from GRAMMY U member performers Keearah and Mille Manny from Tennessee State University. After the show concludes, attendees will have the opportunity to network with industry professionals from the Recording Academy, Amazon Music, Mastercard, and elsewhere. 

On Tuesday, Oct. 1, the GRAMMY U Fall Summit will feature two exciting livestreamed panels. The first panel, titled #Trendsetters, will highlight industry professionals in discussion about innovative album marketing strategies. The closing keynote conversation will be moderated by Leland, a songwriter and frequent collaborator of Charli XCX and Troye Sivan. 

While the showcase is only open to GRAMMY U members and will not be available digitally, the panels will be streamed on YouTube and Twitch on Oct. 1 at 6 p.m. CT. Read on for more details on what to expect from the GRAMMY U Fall Summit — whether you're attending in person or online.

Learn Pop Star Essentials From Charli XCX & Troye Sivan

Troye Sivan has been keeping busy. With the release of his third studio album, Something To Give Each Other, in October 2023, the singer firmly established himself as an icon in the worlds of pop music, fashion, and LGBTQIA+ representation. He recently completed the European leg of his Something To Give Each Other Tour, and kicked off his SWEAT Tour on Sept. 14 with close friend and collaborator, Charli XCX. 

Learn more: Meet The First-Time GRAMMY Nominee: Troye Sivan On "Rush," The Importance Of Dance-Pop & The Spirituality Of Partying

Troye Sivan, 2024 GRAMMY nominee for Best Pop Dance Recording and Best Music Video, Sivan has amassed over 26 billion streams and sold 10 million adjusted albums globally. His hit single "Rush," earned global accolades and praise, including GRAMMY nominations Best Pop Dance Recording and Best Music Video. The "One of Your Girls" music video features Troye transforming into his feminine energy and strutting some sassy choreography, which GRAMMY U Reps emulate below:

Avant-pop and electronic superstar Charli XCX released her sixth studio album BRAT in June to much acclaim. The two-time GRAMMY nominee shattered norms and took risks on BRAT, sharing new lyrical themes and stylistic influences. The album also made its mark on the cultural zeitgeist as "brat summer" flooded social media feeds. 

Read more: Charli XCX's Road To 'Brat': How Her New Album Celebrates Unabashed Confidence & Eccentricity

A dance to Charli's song "Apple" has gone viral on TikTok and though it may just seem catchy, the lyrics are embedded with a deeper meaning related to generational trauma. Check out the GRAMMY U Representatives dancing along below:

In partnership with the Recording Academy’s Songwriters and Composer's Wing, the keynote panel will feature Charli XCX and Troye Sivan discussing their co-headlining SWEAT tour and how they became pop culture phenomena as trendsetters, or as Charli puts it,"[I’m] your favorite reference."

Charli and Sivan will be in conversation during a keynote panel moderated by GRAMMY U alumni Leland, a Golden Globe-nominated songwriter, executive producer, and DJ. Leland is Troye Sivan’s main collaborative partner, having co-written all previous albums with Troye (including nine out of 10 songs on Something to Give Each Other). Notably, Leland co-wrote the two-time GRAMMY-nominated lead single, "Rush."

At the keynote, GRAMMY U members will discover Charli XCX and Troye Sivan's approach to songwriting, blending genres, and pushing boundaries as a means for reshaping pop culture. 

Learn To Create Impactful Music Marketing Campaigns

Have you ever wondered what makes a music release successful? On Oct. 1, #Trendsetters will feature a host of esteemed industry professionals who will offer insight into crafting a unique, memorable campaign. Bri Small, Director of Digital Content Strategy & Partnerships at Warner Music Nashville, Fred Rubenstein, VP of Digital Marketing at Sony Music Nashville, and Erica Buchi, VP Marketing Partners at mtheory LLC will be in conversation, discussing how innovative album marketing strategies can garner audiences and reshape pop culture.

Moderated by Nathan Pyle, Director of Operations at Songfluencer, in this panel session, attendees will learn how to captivate attention through the public relations and digital marketing strategies behind trendsetting albums. Panelists will share how artists, producers and marketers can not only stand out, but position themselves as leaders in the music industry.

Don’t miss your chance to be part of this unforgettable event. Reserve your spot at the 2024 GRAMMY U Fall Summit taking place in Nashville, TN on Monday, September 30, and Tuesday, October 1. Space is limited and RSVPs will be confirmed on a first-come, first-served basis, so RSVP now. A special thank you to our presenting sponsor, Mastercard, and participating sponsor, Amazon Music, for supporting the development of emerging music industry professionals.  

RSVP: Space is limited and RSVPs will be confirmed on a first-come, first-served basis. RSVPs do not guarantee admission, and confirmations will be emailed within 5 days of RSVP.  RSVP is required to attend in-person in Nashville, TN. You must be in Nashville for the event and travel will not be provided.

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.