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."

"The thing with me is, you're never going to get an album that sounds homogenous," says singer/songwriter keshi over a video call from his studio in Texas. "I'm a very proud musician, and I want to be able to showcase that I can make a lot of different types of songs."

As he alludes, each of keshi's releases has incorporated something different. "I want fans to expect that something is going to change," he continues. "Nothing is worse to me than the idea of making an album that sounds like my [previous] one. Things can be familiar, but at the same time, if you want a song that sounds like "Limbo," just go listen to "Limbo." I don't want to make a diet version of any song. That's boring."

Keshi brought that desire for change and newness to life on his recently released sophomore album, Requiem. The 13-track project features a daring range of influences — from Queen to city pop — and iterates on his dreamy, soothing sound with enticing layers of electronic music, classic rock, prog leanings, and more.

Born Casey Luong, the Vietnamese-American star developed his passion for music in high school, when he discovered artists like John Mayer and Ed Sheeran. But before realizing that music was his true calling, keshi took a heavy detour, working as an oncology nurse for two years.

The 9-to-5 job at Texas Medical Center left him drained and uninspired. Making music became a welcome, meaningful escape from the grind and, in 2017, he began to craft songs on GarageBand and upload them to Soundcloud. It didn't take long for online audiences to discover his comforting soundscapes and sensitive lyrics; within two years, keshi had signed a deal with Island Records, quit his nursing job, and immersed himself in his art.

He released his first major label EP, skeletons, in July 2019. The record was part of a trilogy later completed by 2020's bandaids and always. Approaching themes of loneliness, heartbreak, and yearning, he soon became a lo-fi paragon — a bedroom pop darling ready to get out of bed and take over the world.

His mainstream breakthrough came in 2022, with his debut album, Gabriel. Through 12 tracks, keshi expanded on the usual sadboy vibes by playing with sultry R&B, heated trap, and lush synths. Gabriel reached Top 20 of the Billboard 200, and featured some of his most popular hits, such as "Limbo" and "Somebody."

After two years of sold-out touring around the globe, the singer stands once again on the threshold of a new era. Requiem was designed for the global arenas that keshi will play during his upcoming Requiem World Tour, a 35-city run that includes stops at New York's famed Madison Square Garden and Los Angeles' Kia Forum. "Instead of making music…and reshaping it for live, I would rather make music already intended for the stage," he says. 

GRAMMY.com caught up with keshi to discuss his new album, bargaining with God, selling his soul to the devil, and trusting his team's decisions.

This interview has been edited for clarity.

You titled your second album Requiem. Who is this requiem for?

This requiem is for a friend of mine who was a collaborator [on my team], who passed away a couple of years ago. I've been dealing with that loss — my first experience with loss in general — and I wish I'd known him better than I did.

I didn't expect his passing to impact me the way that it did, but he was such a big champion of me and my art, and I don't have that many of them. I didn't realize how important it was for me. It really changed my perspective on how I view my time, and how I prioritize things. It was so fundamental that I wanted to name the entire album after it.

When did you realize that your friend's passing was shaping up to be the main theme of your second album?

I started writing songs for my second album when I finished my last tour [in 2023]. I had one album before this one, Gabriel, and I toured Gabriel twice. People were always asking, "Why did you tour two times, even though there was no new music?" The answer is, because, the first time I toured it, we kept it very exclusive and small. 

I didn't want it to [stay] like that. My team and I wanted to make sure that everyone who wanted to see me was going to see me. But when you start out, agencies want to see you fill 1,000 [capacity] rooms first, then 2,000, then 4,000, then 5,000, so we had to do that first run. I was lucky enough that there was so much demand that I did a victory lap. Because I did that, it took two years out of my life, and people have been waiting a very, very long time for new music.

I didn't want to use any old demos. "Requiem" wasn't the first [song] we made…. I didn't think it was going to be the theme for the entire album until I wrote it, but because the feelings in there were so strong and important to me, I decided to name the whole album after it. 

The first song in this album, "Amen," is quite commanding and different from what you usually do, just like the opener for Gabriel, "Get It."

Yeah, I like having the first song on an album be abrasive, or different. I want people to go into it and just be hooked immediately. But the thing about "Amen" specifically was that I knew that we were going to be doing some really insane venues [for my upcoming tour], and I wanted to walk out to a song that was just gonna go insane with the lights, the band and everything.

Touring for two years really informed how I made [this album]. When we went to tour those first two times, it was kind of tricky changing some songs. This time around, it was very intentional. If you listen to "Amen" and you can imagine being at a concert, that's the whole goal.

Will it open the concerts?

Yeah, it probably will. There might be some stuff a little bit before it, but I don't want to spoil too much. But yeah, there's a lot of bravado and big d— energy in that song. I'm a very proud musician, and I want to be able to showcase that I can make a lot of different types of songs. I don't want to be pigeonholed into being this kind of artist, or that kind of artist. 

And the thing is, I've gotten new fans along the way. When I started in 2017, 2018, my music sounded like lo-fi. In 2019, 2020, it sounded like R&B and pop-ish. And in 2022 with Gabriel, It turned into more of an alternative/pop album. I've always been changing.

Musically, what inspired you to make Requiem?

I wanted it to feel like a classic, timeless pop album. I took inspiration from rock stars of old, like Queen — you can hear that on the solo on "Euphoria" [and on] "Just to Die." And I was very inspired by this old folk singer/songwriter — whoever your favorite singer/songwriter is, their favorite singer/songwriter is Nick Drake. He's so good.

But also, I knew that just the same kind of songs weren't gonna [make] a compelling live show, that's why "Amen" was such a great addition. I still love R&B, so that is a really, really important one too. I love classic pop songs, you can hear it on "Say." I admire city pop, an increased tempo, and a moody sort of cadence, and all that. 

Yes, it's like each song you're going through a different moment in your life, or a different stage of your grief.

Not the whole album is about mourning, but I will say that my life in the past couple of years has gotten a little bit contentious. Whether it's with my partner, or whether it's with my collaborators, or even with my relationship with my art, I wrangled a lot. I think you can feel that drama, that tension. There's a grandness to the album, but you can definitely feel there's dissonance on it. 

Why do you think that your life has become a little bit contentious?

After so many years doing this [and] being under public scrutiny, it gets kind of hard to deal with. Especially with how long I've kept fans waiting, and their demands get higher, and their expectations get higher, and the longer I have them wait, it's almost like I'll never meet their expectations. It just gets to a point where it's unrealistic. Nothing will make them happy.

So, out of a desire to satisfy them and make sure that they get the music that they want, I've put a lot of love and care into [this album]. I think the best medicine for me is to have the album be out, and then I can stop being apprehensive and anxious about it. I'm very in my head, it's stressing me so, so much. [Now that the album is out, I'm] finally free. 

Is thinking that your fans might not like your new music a factor that influences your creations?

I don't think it influences my work; it influences my mental stability. At the end of the day, the art that I make, it's my responsibility to curate and to give to my fans. I can make all kinds of music, but what's the music that I like? What does my taste gravitate towards?

I think that's the responsibility of an artist. So, I'm unabashed; I move forward in the way that I want to, in the kind of music that I want to make, but that doesn't mean that I don't worry about expectations. But I have to stay focused so that I can make the best art that I feel like I'm destined to make.

You said in the past that you aren't religious, but there's a lot of religious themes in your music, even more so in this album.

I'm not religious, but I think that bargaining with God is… universally human? It's like you're bargaining with something greater than yourself, and you sometimes just beg for things, and then other times you're so prideful that you're like, I will bend reality to my will. 

It's that sort of tumultuous back-and-forth that I feel has been dictating my life the past couple of years with my dreams and my goals. But what am I willing to trade for, to have those things? How much normalcy in my life am I willing to give away, to achieve the things that I want to achieve?

I don't ever want to give things away that I can never get back. At the same time, I know that what I have is rare and special, and not many people get these opportunities. It's like, how do you not sell your soul to the devil in times like this? When you want something so bad, what will you do to achieve it?

Do you think that this album is also a requiem for the person that you were before fame?

That's actually really beautiful, I didn't think about it like that. I always thought that "Requiem," just the song, was my requiem for [my friend], but when I think about it, honestly… wow, the whole album really is like a testament to him. And I think my biggest sadness is that I wish that he could have been here to see how everything that he did helped me blossom. This is my love letter to him, I guess.

In "Texas," you say that you "should've never left it" and reminisce about your past. I guess it relates to this as well?

Absolutely. And also, "Texas" is special because I actually still live here. But when I'm talking about that idea of "I should've never left," it's the possibility of, Oh, what if I never did this? Would I have been happier, in a different sense?

Sometimes, a part of me thinks that there's a version of me that doesn't have any ambition, and sometimes I think that he's happier than me. That's kind of what I'm talking about.

You mentioned selling your soul to the devil. What would that be for you?

Oh, that would be… leaving all of my loved ones behind to go have your sort of "idyllic" celebrity life in Los Angeles, [doing] copious amounts of drugs [so] that I can have crazy inspirations to write insane music, and eventually wake up dead on the sidewalk at 33 years old. [Laughs.] That's romanticized depression and addiction! 

I have something very real here in Texas. Everything online, and everything that happens in the limelight, that's not reality. When you come home after being piss drunk, that's real life.

What things did you learn from making Gabriel that you didn't bring to the making of Requiem?

For Gabriel, Elie [Rizk] and I were the producers, and we both work in the same software, which is called Logic. Oftentimes I would be in the producer chair, and he would say, "Get out, it's my turn." And then I would get out, and he would sit down, and then I would say, "Get out, it's my turn." And we would switch around like that. 

This time, we brought our good friend Imad Royal to drive the computer — we call it driving — so he's the one engineering, tweaking all the knobs and stuff, hitting record, and helping us. It taught me something really special: learning how to let go a bit from being overprotective of things, and listening to what the song needed. 

And how was the experience of working with producer j.Que, who has worked with the likes of Britney Spears, Beyoncé and Ariana Grande?

Oh my god, j.Que is so funny. Having j.Que was sort of our compass in the room. He would always be listening, and everybody would be throwing suggestions out in the air, but whenever he spoke, it was full of wisdom, because he's been in the game for a long time.

If we started to veer off in the song, he would perk up and say, "Nope, you can't say that. You said this other thing earlier that contradicts you." It was so much fun, but also contentious. Everyone had their own ideas of what would best serve the song, and…  I learned that, if someone was really excited about something, I wanted to figure out why, hear them out, and maybe I could also understand why they were excited.

Why did you choose "Soft Spot" for the lead single?

That was not my decision, actually. They bullied me! [Laughs.] 

"Soft Spot" was not my favorite on the album. There's something about that '80s kind of song that I'm sensitive about, or I'm cautious about. Because it's so easy to listen to it and pin it like, It's that kind of music. That's why it feels good, because it's nostalgic, or it uses this, and that. But I'm very proud of the song.

[The song was] sugary sweet, and I just wasn't really comfortable leaning into it quite as much. But it's so funny, this is what I mean by putting your hubris aside and understanding when everyone at the label, my producers, and even my best friends are like, "Dude, this song f—s, it's so good. You should definitely prioritize it." 

If it was by your judgment, what would be the lead single?

I would have chosen "Night," because it's so moody and I gravitate towards that kind of music. But I understand why it's not the song a person is going to listen to and be like, Wow, I want to listen to it over and over again. 

It feels more like a world-building song. I think my fans will appreciate the production, how it's a little bit aggressive. But the goal is to rope in a new audience to combine with my existing one, and I think "Soft Spot" achieves that. 

Lastly, how are the preparations for your arena tour going?

Oh, there's so much work to do. I have to get all these live arrangements done, get all this content made, we have to go to rehearsal, and then production rehearsal, there are so many moving parts. 

I'm very grateful to have so many people involved. But also it is kind of daunting — one thing affects the next thing, affects the next thing. I think it'll pay off once people see it. But for now, my priority is making live versions of everything with my music director, and then we'll tackle it from there.

For many pop stars, reinvention can be seen as key to staying relevant. But for Camila Cabello, reinvention is just another word for change — and, in turn, growth.

Her genre-bending fourth studio album, C,XOXO, was an unexpected turn for what people assumed of Cabello. After years of crafting pop hits often with a Latin flair, the Cuba-born, Miami-raised star ventured into unchartered musical territories like hyperpop and rap. Her sonic shift was mirrored with an appearance change, too; as she launched the C,XOXO era in March, Cabello unveiled new bleach-blonde locks, a stark difference from her natural brown.

It's all part of an evolution that, as Cabello tells GRAMMY.com, is about "embracing the fact that life is always going to change." She's experienced change very publicly since her Fifth Harmony beginnings in the early 2010s, but especially in recent years, as her love life became the subject of countless media headlines and social media scrutiny. While she's the first to admit that navigating that attention hasn't been easy, Cabello found solace in writing C,XOXO — a journey of heartbreak, self-exploration and acceptance. And two months after the album's release, Cabello revealed there's more to the story. 

Featuring four new tracks, Magic City Edition — an homage to her beloved hometown — is even more assured and confident than the "baddie" character Cabello embodies on C,XOXO. She breathlessly sings about teasing an ex in "baby pink"; playfully asks a past lover to prove to her that they've changed in "Come Show Me"; blurs the line between friends and lovers in "can friends kiss?"; and ends the album by waving a toxic relationship goodbye in "GODSPEED." 

Together, C,XOXO and the Magic City Edition tracks see Cabello expressing herself more unabashedly than ever. In doing so, she's been able to make peace with life's inevitable changes — and channel, as she puts it, the "monster and bravado" within.

Below, Cabello discusses how C,XOXO and its new Magic City Edition helped her learn to let go of other people's perceptions, and why these new songs needed to be written — and heard.

Let's get into the process behind the deluxe songs, specifically "GODSPEED" because it is really poignant and I want to know where your head was at when you were writing it.

"GODSPEED" was probably the first song that I wrote for this album that made me think, "Oh, this feels like it's going to be on the album." Everything about it sonically set up the world for C,XOXO. Starting from "Never Be The Same" from my first album, I realized that my favorite songs are dark sonically. I think synths are like what the inside of my heart sounds like — kind of raw and a little bit dark. 

I remember with [C,XOXO co-producer] El Guincho, after I first started working with him, I felt really inspired. I kept asking for some beats and it was the beat of "GODSPEED" that kicked off the collaboration between him, Jasper [Harris], and I. I was so obsessed with that beat and he sent me another, and shortly after he said we should work with Jasper because he felt that I was gravitating towards that sound. 

At first, "GODSPEED" was kind of about this relationship I was in. I wrote the second verse and more recently it ended up being this larger song about letting go of suffering and toxic relationships and people in your life. It's about protecting yourself. 

We debated on the outro for such a long time because I was so passionate about it but others weren't. The lyrics, "I let you go and I feel more like me/ I wish you well but far away from me" sums it up. I wish you well but far away from me because you caused me damage and I'm not putting up with it anymore. It's this build-up of feeling hurt and anger that has come from protecting yourself. 

That song really, really means a lot to me, especially when I listen to it during a hard time. I wouldn't say it summarizes my journey because it's not as heavy as that song sounds, but it captures a part of my journey over the last 10 years — learning to let go of things, people and situations that no longer serve me. 

I was going through your Instagram and something I really love and admire about you is just how open and vulnerable you are about your feelings and what you're going through. You don't pretend to be perfect.

Honestly, I struggle a lot, especially now at this point in my life, in pretending. I just don't think that's as interesting. I truly love art that's messy and raw. Yesterday I was listening to "Anti-Hero" by Taylor Swift nonstop, and that song is the opposite of being shiny and perfect. 

My favorite art exposes the dark and shameful underbelly of being human. I don't know if I've always felt like that, but I definitely feel like that more as I grow up because those are the things I'm most interested in. There's a fine line between overexposing yourself on social media, but at the same time… Writing those mini excerpts as captions is a way of expressing myself. 

In one of your posts, you talked about how difficult it is to pour from an empty cup, which is something I and so many people can relate to. Is that something you've had to work on and recognize so you can make sure you're taking care of yourself?

Totally. I think I'm getting so much better recognizing that alarm bell in me that's like, "You're feeling heavy, you're feeling depressed, you aren't at peace." I pick it up so much faster now. For example, I've noticed I was feeling super stressed, and when I'm stressed, I get sick. It's my body letting me know that I need to relax. I instantly delete Instagram, TikTok, YouTube, and anything else so I can take care of myself. 

I think that's been such an amazing thing about getting older, because when I was younger, it would've taken me so long to get to a place where you even know what you're feeling enough to do something about it. When I'm in a bad mood, 98 percent of the time I just need to get off the internet, see people in real life, and go and do some things that make me happy, like watching "Sex and the City." It's moments like those when I'm like, "Okay, I have to take care of myself."

What's your "get out of a funk" care package? Some books, albums, movies, or anything else that helps you?

That's a great question. It depends on what I need. For me, it's amazing art. When I get caught up in stuff as a quote unquote "celebrity" and the pop culture-ness of it all, that's when I hate everything and I'm in a terrible f—ing mood. But when I'm watching amazing classic movies by incredible directors, and I get to go through an entire catalogue, it's really inspiring. It reminds me of the better parts of humanity that make me feel good and that there was a time when that happened.

As for great albums, I've been listening to Taylor [Swift] a lot. I love "My Tears Ricochet" and "Anti-Hero," I've been listening to them nonstop. Afrobeats can really get me out of a funk because it just connects me with my body. I listen to a lot of rap, like Drake and Latto. I loved JT's new album. That music makes me feel confident just by tapping into what rap music gives you. 

You're wearing a "The Paris Review" baseball cap as we speak — I have to ask, what are you reading as of late?

I just read Crying in H Mart by Michelle Zauner, who is Japanese Breakfast, and that was so good. I found it super inspiring because it makes you think about your own life when you read someone's memoir. I love musicians that do more than one thing because that's something I want to do when I'm older. I've always loved writing and I would love to get more into writing essays. I really loved her book. 

I loved the movie Problemista by Julio Torres. I told my mom the other day that it was one of the first times I saw somebody so close to my experience. He's an immigrant and the relationship he has with his mom, the way he hustles, and the magical realism of it all is something that's so deep in Latin American books, culture, and films. I felt really connected to it. 

I also really get recharged from my culture. Being in Mexico was so recharging for me. I went to the Frida Kahlo museum where she lived. It might sound corny, but I've always loved living in the arts more than living in reality. It's like medicine for the soul. 

I don't think that's corny at all, Camila! It's why creatives go into creative fields — we see something reflected in a piece of art.

Yeah, when I'm not making something, I'm in a bad mood. Even if I'm not actively getting inspired — which, to me, is a part of making something — I can get in a bad mood. Whenever I find myself in the s—ty headspace, I know it's probably because I'm not actively researching or learning something new, or cooking something in the back of my brain.

You said C,XOXO is a diary entry of your life, trying to live authentically and boldly. Over the last year, what are some things you've been doing to lean further into authenticity and joy?

It's really the little things. It's embracing the fact that life is always going to change. I love the Buddha terminology of different winds passing through your life and they'll bring great opportunities, and sometimes they'll bring challenging things and you learn a lesson. I've learned those are the best lessons because that's when you really learn who you are and you learn what makes you feel good in a way that's not dependent on anything. So for me, it's people and finding friends and people that I feel like have my back, that I can trust, and that make me feel safe, loved, supported. 

This album was so important for me. I know I don't know you, but I feel like we're similar in this way, but I feel like sometimes when you're more sensitive or introverted or emotional, especially as a woman that's been in the industry for so long, you have to build this armour of confidence and bravado. There's something about C,XOXO and when I put on my blue ski mask, I feel like I'm the s— no matter what. So many female artists have always given me that feeling, like the work Beyoncé puts out. C,XOXO is both of those — being vulnerable and channelling that monster and bravado in you that has a bit more teeth.

Read More: Camila Cabello's Sonic Evolution To 'C, XOXO': How She Went From Pop Princess To Club Star

Is it crazy for you to think that fans use your music to get into that mindset?

I love that. The videos I've seen of fans putting on lip gloss while listening to "Chanel No.5" just reminds me that is what it's all about. I make music because it brings me joy and I need it for myself, but once it's out there… I love that it can give people confidence. There's so many ways to positively affect people's lives, and I have fans of mine that have met their best friends or girlfriends from being in a fan community. It's an amazing honor. 

I feel like that when listening to "baby pink." I love the second verse.

"I'm dressed to kill/ Just got a new army." I love that energy and the play on words. There's something about rap that gives you this feeling of being in control. My favorite rappers are so witty and smart. As a human, you don't always feel like that [in the song] but music is fun to help practice the feeling. 

How do the deluxe songs add to the overall story of C,XOXO?

They add tremendously to the overall story, especially "baby pink" and "GODSPEED." "baby pink" is where the album title came from — "See my letter at your door, signed it C,XOXO." They are like the thesis statement of C,XOXO, so I felt terrible excluding these songs. I've always liked a shorter album, but they are such a necessary part of the album and they're some of my favorite songs. 

When we finished "baby pink," we put on a visual from the movie Spring Breakers, and it became a huge visual inspiration for the album. That visual went so well with the song. The two songs really crack the code sonically and lyrically, in addition to being the voice of the character for this album, are "baby pink" and "Chanel No. 5."

You've been playing festivals over the summer, like Coachella, Glastonbury and Rock in Rio, where you debuted "can friends kiss?," another track from your deluxe album. How has it been seeing these songs come to life and have other people sing them back to you?

It's the best. I haven't toured in so long because COVID happened during the Romance Tour. I just took some time off the road to just close to a normal life. This time around, I feel so differently about touring. I must tour this album — there's nothing that brings me as much joy as the shows. I will be working all day and the shows become my decompression time. It doesn't feel like work. That hour and a half feels like it's my time to have fun.

It also feels like therapy for me right now because I've had such a s—ty time on the internet, and even feeling the energy of the perception of myself on the internet… Sometimes you think that's all there is and you can walk around feeling like you're disliked or not "popular" or whatever. Then you go to the shows and that narrative is shattered. 

I feel so much love when I do these shows and I see my people. I feel so lucky to do what I do. It just feels like the internet is fake and I forget that because I haven't toured in so long. When you're with people in real life and they're singing the songs back to you, or they have their blue ski masks on and they are dressed in the color palette of the album, that is when I remember that it is real life. I am loved and appreciated. I've actually gotten that advice from music friends of mine after texting them that I feel like people are just wanting to f—ing hate me and they say, "You need to go play shows." 

It's tangible — you see people in real life versus just a comment on a screen.

That's the best advice I ever got. I literally felt like nobody's going to come to my shows or I was going to get booed, and then you go to the show and you play and see people having a good time. It's been so important for me. All I want to do is tour C,XOXO. I feel like I need it for myself.

Lastly, what are you hoping to manifest for yourself this year?

That's a great question. This might sound silly, but I really am hoping to manifest hair health. All I do is look for hair tips online because my hair is so f—ed from this bleach. Nobody told me the three shade lift limit, which is when you should only go three shades above or below your natural hair. I'm definitely in my wellness and pretty girl era.