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By: Gregg Keniston

It’s time to go…INTERNATIONAL! Coming away from another International Women’s Day and having the month to celebrate; we celebrate the amazing achievements, intense struggles, and historical moments of women past and present. Not to mention, it’s nearing the end of the first quarter of the new year – 2024, and so much has transpired already. Music holds its own highlights with women across the board and the spectrums of age, ethnicity, and most importantly – TALENT! Today we, flash back to some of the most exciting albums of the last ten years as well as a little of what’s to come.

2013

We saw a plethora of girl power flowing through each genre this year. From Country to Pop, from newcomer to legend, the ladies brought their A-game to the spotlight. Same Trailer Different Park by then-budding-artist, Kacey Musgraves saw an opportunity in Country music and pounced. The tides were turning in the radio landscape, moreover, the women were taking a larger stand for their presence of airplay in a male-dominated medium (which remains to this day.) Steeped in tongue-in-cheek controversy, from the hit single “Merry Go ‘Round,” to “Blowin’ Smoke,” and “Follow Your Arrow;” the singer sticks it to those who think that there is no place for abnormal or untraditional behaviors and lifestyles. She tells those same nay-sayers to effectively, “Keep It to Yourself,” should you not be comfortable with someone else.

Other albums stood out by turning up the volume to 11 including but, not limited to Demi by Demi Lovato, Ciara by Ciara, Avril by Avril Lavigne, while vocal legends resurfaced while decking the halls, glamouring up a set of classics; and some even resurface with more fire than ever before. From Lavigne’s “Here’s to Never Growing Up,” to “Heart Attack” by Lovato, “I’m Out” (feat. Nicki Minaj) and “Livin’ It Up” by Ciara, alongside “Somebody Loves Somebody” by Celine Dion; these records pack a powerful punch. A Mary Christmas and Wrapped In Red Mary J. Blige and Kelly Clarkson respectively put a smooth spin on Christmas while Gloria Estefan serenades with The Standards.

2014

This year brought about the year of a resurgence. Select artists returned with adrenaline in their veins while in the studio. Dolly Parton and Miranda Lambert lit the match on their albums Blue Smoke and Platinum. Other artists such as Ashanti, Toni Braxton (alongside Babyface), and Sara Evans released long-anticipated from their respective hiatuses.

Parton unpacked a host of covers and original material and did what only she can do, making the original songs bigger than ever. Full of radiance and uplifting messages, the album carries hits like “Home,” and “Lay Your Hands On Me,” as well as the title track “Blue Smoke.” Meanwhile, Lambert finds herself yearning for an old-school sound while sharpening her edges. With a duet featuring Carrie Underwood – “Something Bad” is the dynamite that finally explodes on the album, where “Automatic”, “Gravity is a Bi***” and “Babies Makin’ Babies” all makes subtle digs and acknowledgments at society back in the day versus now, ah how simplistic it was…or not, depends on your perspective.

Ashanti casts her vocals into a silhouette of tracks from her production team. Braveheart, affirms she is still a top contender in the music game. Standouts like: the title track “Intro/Braveheart,” “No Where” and “Don’t Tell Me No” will have you doing double-takes on her vocal prowess. Sara Evans unleashes a medley of hits with Slow Me Down. If you listen to the album top to bottom or reversed, it is as though she is brimming with glee by the end or yearning for a love whom one cannot seem to shake, nor does she want to. “Not Over You” (featuring and originally sung by Gavin DeGraw), “Revival,” and “Sweet Spot” are just a few of the many stand-outs on the album. Rounding out, the anticipation is Toni Braxton’s duet album with Kenny “Babyface” Edmonds, Love Marriage? & Divorce. If ever you need a sensual, feel-good, visual album – here you go! Every track is filled with tension, passion, and even some emotional trauma that many can relate to. The vivid lyrics transcend the time wasted in waiting for the return of Ms. Braxton.

2015

2015 saw the releases of some major comebacks as well as mind-blowing debuts. It’s a stark contrast to the minimalist view of the following year. Though some truly artistic and chart-topping material made waves in 2016, the waves did not measure up in terms of volume from its predecessor.

Kelsea Ballerini, Tori Kelly, Maddie & Tae, and Jesse Glynne all torpedoed into stardom in 2015, with Ballerini having the biggest success to follow. The First Time recaptured what it meant to have made an album with no tracks to be skipped from start to finish. Start Here by Maddie & Tae felt freeing and powerful in the face of the almighty “bro-country” radio waves. Finally, underdog Jess Glynne, poured her emotion all over and into I Cry When I Laugh. The pop star motivated everyone listening with “Don’t Be So Hard On Yourself.” The fire to push through every downfall can be heard throughout the album.

The two biggest shocking returns to the music scene were Disney sensation Hilary Duff and her album Breathe In. Breathe Out, and Adele’s 25. While it did not commercially hold up to anticipation, Breathe In. Breathe Out. had a few standouts like its hit single, “Sparks.” “Tattoo” remains a top contender as well. Other returns that rocked the charts were: Love Somebody by Reba McEntire; Confident by Demi Lovato; Revival by Selena Gomez; E.MO.TION by Carly Rae Jepsen; and even Storyteller by Carrie Underwood. Each album in its own right pierced right through the heart of creative mastery. Gomez and Lovato went raw and fought back against their demons. Underwood painted a picture throughout her whole record, and Jepsen made us feel good as only she can do with her bubbly persona.

2016

The following year in 2016, was just as numerous for the ladies in terms of record and album releases. But, what did come about, made up for the volume by cranking it all the way up. Long-awaited Anti sends Rihanna back into the musical stratosphere and beyond. Similarly, Beyoncé threw her hat in the ring with Lemonade and it became a cultural phenomenon just like its predecessor, the self-titled – Beyoncé. Other impacts for 2016 included: HERE by Alicia Keys; Dangerous Woman by Ariana Grande; Playing With Fire by Jennifer Nettles; and HERO by the newcomer…at the time, Maren Morris. Two big returns also came about: Mad Love by JoJo; and The Weight of These Wings by Miranda Lambert. These two ladies, overcame label mistreatment, creative silence, and heartbreak and divorce respectively; and still managed to pour all of that emotion and storytelling into their work. Who could’ve imagined all of this resurgence would become a firestorm?

2017

As it happens, 2017 was a quieter year for music but, for the ladies in particular. Taylor Swift unveiled her bolder, darker image on Reputation and it was pure epic strategy. The album is a traditional-Taylor masterpiece, in creating a story with her lyrics. Furthermore, it illuminates a new side to Taylor that breaks out of the shell she had been in for years behind the veils of Country music and adolescence. The pain of young fame starts to break through as with many young artists suffer. Before Swift’s big release, several women set the stage with tremendous debuts and follow-ups alike. Releases like: Ctrl by SZA and SweetSexySavage were strong, impactful, and career jump-starters. Follow-ups from some artists like P!NK with Beautiful Trauma – held a political statement as only she can do; Lust for Life by Lana Del Rey proved she’s been a sweet contender for a dark horse within the music industry; and Rainbow by Kesha exposed the dark side of the entertainment and music industry alike, thankfully which has since been garnering more and more callouts and revelations since. In contrast, Christian artist Mandisa released Out of the Dark to represent the light that comes from our toughest moments.

2018

The year was all about follow-ups and comebacks. Golden Hour by Kacey Musgrave glistened with hippie-like magic, capitalizing on the success of her debut and unleashing a psychedelic wave through country music. The album then went on to win all four of its Grammy-nominated categories of the year. Sugarland returned after eight years with Bigger! Carrie Underwood smashed a tour stratosphere with her release of Cry Pretty and the “Cry Pretty 360 Tour” that followed.

Cardi B came to prominence with her Invasion of Privacy and Bebe Rexha released her first full-length album Expectations; both dominating their respective fandoms and Cardi, creating a new plethora of fans around the globe. The ladies through the year were here to put on a show of all kinds.

2019

Artists like Ashley Tisdale and P!nk released their long-anticipated albums Symptoms and Hurts 2B Human both of which, achieved moderate success. Even Reba McEntire re-entered the music scene with Stronger Than the Truth.Every release was overshadowed that year however, by the epic release of Taylor Swift’s Lover album. Spawning singles like “You Need to Calm Down” and “Lover,” Swift was able to dominate the charts and the media with the record among all of the promotions.

Overall, 2019 was relatively quiet for the girls aside from a few later glimmers of releases such as: For the Girls by Kristin Chenoweth (haha see what I did there,) and Wildcard by Miranda Lambert. It seems that the “Swifties” had won the world stage with their summer of Lover.

2020

With a fresh, new decade among us, music artists felt the revival kick in. The “roaring twenties” may have been in the prior century however, the music industry experienced a revitalization of sorts. Everyone, from Meghan Trainor, JoJo and Carly Pearce to Haim, Jhené Aiko and Selena Gomez released a jaw-dropping bundle of hits. There were surprises around every corner. Ava Max shocked us all after all with her debut of Heaven & Hell.

Lady Gaga being one, finally graced us after a 4-year original material withdrawal with Chromatica. Additionally, Taylor Swift battled that and dropped not one but two, surprise records later in the year; Folklore and Evermore. Other artists like Miley Cyrus, Katy Perry, Brandy, Kelsea Ballerini, Kehlani, Margo Price, Chloe x Halle, and even Mandy Moore saw a more prominent commercial success of their music than prior releases. Whether it be label and marketing promotional revamps or simply a better album altogether, women were at the forefront of 2020 for sure.

2021

I guess you can say we had a calm before the storm but, in reverse, because 2021 was not just quiet for women in music but; music overall. It saw a quite a few releases of double-albums such as Carly Pearce’s 29: Written in Stone. It was a year of revival, remakes, and replicas. Reba McEntire put out a new spin on many of her hit songs in different stylings and variations. Taylor Swift began her re-release of her former records starting with Fearless (Taylor’s Version). Even Diana Ross stepped back into the spotlight, if only for a brief moment with Thank You. With this record, she reminds us of why she is still one of the greats that remain.

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2022

While we received some glimmers and surprises this year, it remained relatively quiet for the ladies. Major music releases seemed to be few and far between. Pia Toscano released her long-awaited debut album, I’m Good, only to be outshined by Taylor Swift with Midnights. Swift has a knack for sweeping the floor when it comes to audience, marketing, and release dates. Notable artist releases included: Good Morning Gorgeous by Mary J. Blige; Run, Rose, Run by Dolly Parton; Just Like That… by Bonnie Raitt; Familia by Camila Cabello; Denim & Rhinestones by Carrie Underwood; Palomino by Miranda Lambert; and Renaissance by Beyoncé.

2023

We got a bit of an earworm in 2023. From Nicki Minaj’s pop-infused Pink Friday 2 to, “Flowers” from Miley Cyrus’ Endless Summer Vacation, and “Never Not Gonna Dance Again,” from P!nk’s Trustfall. It seems like our biggest treat was watching everyone’s angel Dolly Parton get a bit wild and light up her amp with Rockstar the most. It was one of the most anticipated records of the year. All in all, 2023 was lackluster when it should’ve had a more powerful punch. Who though can say what the next decade or more may bring to the table?

2024 and Beyond!

Heading into what already will be the second quarter of the year, we’ve seen some incredible returns to the spotlight and highly-anticipated albums that excitedly lived up to its hype. Some may have been commercial “flashes in the pan” but, personally, they have made the year strong and durable.

Following up her big hits “I Hope” and “The Good Ones,” Gabby Barrett released her sophomore album Chapter & Verse. It becomes a showcase of soft elegance and gratefulness for lessons, triumphs, and failures alike. What could be a better way to represent your growth than personal reflections and a short life journal for all to read? Additionally, we received new material from Jennifer Lopez with her sequel album This Is Me…Now. Written from a collection of love letters, the album is about her now again-husband Ben Affleck and the time in between This Is Me…Then and her new record and current state of marriage. The journey, while many proclaim not to care so much about a celebrity’s personal life, (albeit there is more in the world today to care for than about celebrity’s personal affairs; but, we are all human nonetheless) the theme and storytelling of the record offers an escape and indulgence we could all use in these dark, often uncertain times.

Fletcher similarly released her sophomore full-length album In Search of the Antidote. With all of the tracks written exclusively by the artist, she embodies a darker, more sexual version of Taylor Swift. With tracks like “Maybe I Am,” “Two Things Can Be True” and “Lead Me On” she vocalizes that there is more gray in our lives than meets the eye. And the desire of both past and present can have a heavy impact on how each new day is approached.

As of late, however, we see that Swift is growing more and more into her sensual side. In the recent release of The Tortured Poets Department, Taylor Swift dives into a sea of raw emotion and mental breakdown…but, not so much unhinged as it would be exploration of trauma.

What lies ahead, we will soon find out for the women of music who cultivate a series of joy, freedom, epic betrayal, heartbreak, or even personal concerns about themselves and their loved ones. 2024 and the rest of the decade is just getting started. With current events of today’s world, social media, each singer’s own life, and inspiration; there’s no telling what thrills lie ahead for the music industry. As long as the pioneering is possible, the music will keep on playing. Here’s to the women of music!

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By: Gregg Keniston

Certain artists really know how to hone in on their artistry. They know what brought them to the limelight in the first place. Pink Friday did just that for Nicki Minaj back in 2010 and it landed her an array of fans that you would never imagine, like me. Why? Because she’s personal, she throws in Pop and feel-good vibes through her storytelling. Oftentimes, with a lot of hip-hop/rap albums, you really have to listen to an EP or album from start to finish because it is a continuous story from track to track. Or, just like on Minaj’s latest project Pink Friday 2, the tracks flow so well together you feel like she put the puzzle pieces together on the first try.

Admittedly, when Nicki Minaj first burst onto the music scene I grouped her in with every other artist in her genre and swept her away with each of them. After really diving into music, I soon found a new appreciation for artists like her, J. Cole, (the king of speed, in my opinion) – Eminem, and Drake. I believe this to be attributed to their ability to craft their music to a retrospective outlook along with tinges of Pop or R&B/Soul elements.

Minaj knows how to best utilize her attitude to propel all of her music forward. She dominates the charts, because she knows how to stand firm in her artistry and personality overall. She never hides away from a setback (if she were to have one) and she kicks down the door in her way ten times harder. Conversely, Pink Friday 2 just has FUN, much like its predecessor.

The album is filled with 3-minute uplifting beats like, my personal favorite “Pink Friday Birthday,” “Super Freaky Girl,” “Barbie Dangerous,” and “Pink Friday Girls.” It does not go without its deep cuts, but smartly, they are more saved to the end; while still being poignant and masterful add-ons (“Last Time I Saw You,” and “Just The Memories.”) Whatever you might be looking for from Nicki, she is about to deliver to your ear with a force like none other. Don’t let me spoil too much, just take a listen for yourself. This album will make you a fan, or at the very least it will make you do a double-take on the queen taking back her throne amongst hip-hop and rap talent of today.

Key Tracks: “Let Me Calm Down (feat. J. Cole);” “RNB (feat. Lil Wayne & Tate Kobang);” “Pink Birthday;” “Red Ruby Da Sleeze;” “Pink Friday Girls.”

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By: Gregg Keniston

A woman with the voice of an angel never could quite catch the break she so clearly deserved. Auditioning for season 10 of American Idol respectively, Pia Toscano became a fan favorite and was deemed one of the most shocking eliminations in the show’s history.

During her time on the show, Toscano captivated the audience with a voice that rang through television speakers like a siren song. With songs like “All By Myself” by Eric Carmen and “River Deep, Mountain High” by Ike & Tina Turner, she showcased how powerful and stunning she truly could be on stage. Now Pia is back with a vengeance to bring her bombastic flair and powerhouse vocal prowess to the world. Only a week after being released, I’m Good has garnered an earworm-like quality in my ear and I believe many to follow soon.

I’m Good, debuts with “No,” the ultimate warrior record. It presents itself as though “Fighter” by Christina Aguilera became a ballad with an amazing crescendo. The song sets free any frustrations and internal battles either the singer herself or the listener may have or relate with.

Following up the confidence anthem, “What If We, an introspective message which reflects on both personalities of a relationship. Questioning as the chorus goes on playing, “what if we, were like each other…,” Toscano sings of pondering that maybe both parties should attempt to fix one another or, meet someone more alike to each their own. However, in the last line of the chorus, it is realized that they are both better off being themselves and in another world “would never be” because of who they are as individuals; accepting being happy as they are together and standing solo in the mirror.

Pia Toscano made a declaration on this album and the title track, “I’m Good,” proves it. She has let all her worries, history, and life lessons, not only shape the woman and artist she has become. She will not be identified by those downfalls, rather, the song exclaims that she has found a way to turn herself into a fierce phoenix rising to claim her prize. “I’m Good” defies every ounce of negativity within Toscano’s life and allows her vocals to shine bright and push the same energy forward for her listeners.

“Walk Through the Fire” continues that defiance and strength with more of a ballad sound than that of its pop-dance predecessor. She proclaims she will fight hard and win to conquer any obstacle crossing her path. It is exciting and empowering for those who have been knocked down and might not know how to get back up. This song shows that the only way to win is to keep on taking life as it comes and making every day count. The album comes with an extended version to truly capitalize on the emotion the song pours out.

“Thin Air” acts as a stand-alone track. It speaks volumes of love and how overpowering it can be. With a soothing drumbeat, love conquers all beats on in every heart. The song shows, however, that it is no easy task to take hold of but, if allowed, you can watch all the bad evaporate into thin air. Each of us must be willing and able to take on that mission for a piece of true happiness.

“Break In” is a personal favorite as the lyrics are both heartfelt and true with that one love that is inexplicably defiant of all logic and typical reason. That special someone just reaches into your soul and being in stealing your heart, encapsulating it in a glass square. As the song plays though, the singer and listener alike question how it came to be but, are content with the feelings happening around them.

The final two tracks are straight-up party anthems. “Girls Night” gets the glitz and glam ready for a night on the town as the perfect remedy to get over the deflating or pain of rejection or a break up. Toscano samples in a clever tongue-in-cheek fashion too, that she’s now “living her best life” as a way to reverse any unnecessary drama or negativity going on in her life.

”Simon Sez” is self-reflective on her experience so far within the industry but, Pia is now able to dance off all the side effects and stresses of the business to make the coming successes all her own. “Everybody’s like robots, in an assembly line. They don’t ever give no f**ks…” The song speaks to how the artist may feel like they are creating something of their own accord, however, when all is said and done; you are still to do as executives say – not as they do. Pia Toscano is not about to give in to any more proclamations and demands. The artistry she portrays is enough to defy all expectations of a typical artist with or without the traditional backing of labels and managers while moving and grooving to her own beat.

We were blessed with a sample of Pia Toscano over 12 years ago. Now I’m Good, represents a culmination of strength, willpower, and courage; that only an artist who hungers for the spotlight and their artistic image can bring forth. This artist, this woman, has now proven that there will be no backing down for her and her future fortune. She has a voice that will light up the world and will not be silenced any longer. You will never grow tired of this album or the artist who created it. Be sure to download I’m Good immediately.

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In its entirety, 2021 fell short of the recovery expectations we all so hoped for. It came and went without much growth. Country music – it seems, had one of the most show-stopping years in recent history. Between new artists rising, veterans releasing double and TRIPLE albums, and hit-makers remastered and re-released to please the artists’ audiences and their ears accordingly. And there’s no shortage of excitement coming down the pike of 2022.

Newcomers

The official debut of Mickey Guyton, with her album, Remember Her Name was one of the long-awaited albums of the year and her fanbase alike. After serenading us with her eponymous EP, featuring the hit single, “Better Than You Left Me.” Following up with her single “Nice Things,” Guyton made herself even more of a household name. She embodied everything down-home and sweet while making her audience do a double-take every time she stepped up to the mic. Now, she’s come full circle to claim our hearts with songs like “American Dream,” her airy cover “If I Were a Boy,” and the trailblazing title track; Mickey Guyton is a force to be reckoned with in the coming years ahead.

 

Morgan Wade and Lily Rose were also big newcomers on the country scene this year with their albums, Wreckless, and Stronger Than I Am respectively. Both artists showcase an amazing blend of folk-rock and country along with bone-chilling truth-filled lyrics with songs like “Villain” and “Take Me Away.” Singing of mischaracterization, judgment, and back-and-forth stories, as well as, a desire to be whisked off and free from the singer’s current life situation; these two pack a powerful punch of raw emotion into their writing and artistry.

Double-Triple Threats

 

There are certain points in an artist’s career where they are boiled over with experiences and creativity to surprise their fans with not just one, but two, sometimes even THREE, sets or albums to embody a story the artist wishes to tell to the listener. 2021 saw its fair share of jam-packed music from musicians like Cody Johnson, Eric Church, and one of the best-selling records of the year from Morgan Wallen, Dangerous: The Double Album.

 

From the singles – “7 Summers,” and “More Than my Hometown,” to songs like “865,” “Beer Don’t,” and “Whatcha Think About Country Now; the entire 30 tracks unveil a much-needed, bare-knuckled/outlaw sound that has been missing for quite a few years from country radio. Yes, we have the greats before like The Highwaymen supergroup of  Cash, Jennings, Kristofferson, and Nelson; as well as Eric Church and Jason Aldean. However, Morgan Wallen has proven to be a top contender, bringing a mix of crooning vocals and outlaw stylings in his lyrics.

Cody Johnson has a similar crooning tone to his voice but, lies more within a bluegrass/americana style. His album Human: The Double Album, really hits the heart of every listener with the lyrics. They are reminiscent and storytelling. Each time he begins a new song, Johnson finds his groove within a new tale to tell his audience. On “‘Til You Can’t,” Johnson encourages the listener to go at life and whatever direction or journey it takes you on with no reservations. It’s a fresh perspective on optimism. Additionally, songs like “Son of a Ramblin’ Man” and the title track “Human,” both offer unique senses of nostalgia and personal growth respectively. It is encouraging to see such an artist create and mold their songs into something retrospective and thought-provoking while committing to a strong sense of positivity.

The last of the major multi-layered releases this year came from Eric Church, and Jason Aldean (although we won’t hear the other half of Jason’s double – Macon / Georgia, until early 2022.) Aldean’s counterpart, Eric Church took it upon himself to write not only one record but instead, blend it into a three-tier album, Heart & Soul. Encouraged by long-time friend and producer Jay Joyce, Church took the time in lockdown to simply just write and emote everything he could possibly conjure up. Feeling pointless in leaving out a handful of songs, the triple-album (or surprise EP as I like to refer to it,) was born. While Eric Church has certainly garnered more mainstream attention in the last few years, at some points musically, it still feels as though artists like Church do not get a fair shake in airplay because of his blustery, badass style. Some may say a few songs are N.S.F.R. (Not Safe For Radio.) Regardless, of his style not being as mainstream as it ideally could be, “Heart on Fire,” “Rock and Roll Found Me,” and “Hell of a View” are all credit-worthy hits that entice the ear-worm of the modern listener.

 

Hit Makers Come Back for Nostalgia and Modernity

 

Late 2021 saw a host of artists that we all know and love re-release their music for different purposes, coating them with a variety of tones and textures. Some artists came back to simply state that they weren’t done yet and have no plan to rest. Taylor Swift re-released two of her hit albums, Fearless and Red, after a legal battle with her label; Reba McEntire served up her hits on, Revived Remixed Revisited; and Carly Pearce poured out her heart and soul during a year of heartbreak, lockdown, and soul-searching on; 29: Written In Stone.

Each of these leading ladies found a way to reinvent what had already made them household names in the first place. Taylor took her albums and essentially stripped them down to showcase her and her piano. Her soft and dark tonality brought us back to her beginnings of what made Swift such a lovable woman and artist alike. Reba took a more “disco” approach. While many of her songs already had a toe-tapping sensation to them, she cranked the volume up to ten and turned many of her hits into something every type of listener can enjoy. Carly, well, she won the award for most vulnerable album of the year and the last decade. If you didn’t shed a tear on songs like “Show Me Around” and the title track “29,” then you might as well be living in a dark and dank cavern. Giving her acknowledgments to songwriting superstar and mentor, Busbee (who passed away in 2019 due to his battle with cancer;) Pearce knew exactly how to channel the worst internal pain and turn it into something beneficial and wholesome.

 

Down The Line…

 

If 2021 showed the music world anything, it’s that music is timeless and endless. In an artist’s mind, the notes and lyrics know no bounds. The year ahead is already gearing up to continue and outperform every one of the releases mentioned above…or so we hope. Jason Aldean will be releasing the second half of his double album Georgia, while the queen of country returns with her forty-eighth studio album, Run, Rose, Run. Even more so, Thomas Rhett is set to return to the stage with not one but two releases this year; finishing out a double album of his own (Country Again: Side B) as well as, a stand-alone record Where We Started. All of these new releases, plus the return of Maren Morris with Humble Quest, and a host of debuting artists like Jessica Willis Fisher and Priscilla Block; are guaranteed to make 2022 a year of spectacular musicianship and wild artistry.

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One word turns into a story quickly. It is who is willing to listen to that story that sets new stories and adventures in motion. Put a little sound to that movie, Music has a way with words like no other medium does. It has become unavoidable in every moment of our lives. The art often molds our character, as well as, shape the way we live our lives. For me, several women influenced my love and passion for music. The messages sent through the songs and personalities of these women, and the incredible craft and range of these artists embody so much of how I see music as a whole entity. These 7 women all had a hand in shaping and forming my musical foundation, amongst many others.

Shania Twain

Shania Twain saddled up onto the music scene as a dueling ‘Queen of Country-Pop Crossover’ alongside Faith Hill. Her smash hit Come On Over, was the first album I had been introduced to and ultimately fell in love with. My mom and her best friend would blast the stereo with these songs endlessly growing up. The only song I seemed to always skip was “I Won’t Leave You Lonely,” only because that’s the song they would skip too. Everyone knows the empowering anthem, “Man, I Feel Like a Woman.” That song launched her into the stratosphere. Songs like “Don’t Be Stupid (You Know I Love You)” and “Come On Over” utilized a host of strings synced-up beats respectively, while “Love Gets Me Everytime,” “Honey, I’m Home,” and “Rock This Country” carried a kick-ass bass and drum rock undertone; all while presenting a pretty pop-country presence and eloquent vocal arrangements. Of course, the song that truly hits home is “You’re Still the One.” Embodying what everlasting love and devotion sincerely mean, the song not only is one of Twain’s most admired records, but, a song that my mom wishes that I would one day sing for my parents, should they ever renew their vows. Come On Over has shaped my musical experience more than any other record in history.

P!NK

She’s been a badass from day one. P!NK redefines rebellion as freedom and individualistic. And although she might ride the pop coattails, the Hurts 2B Human singer solidified a spot amongst the greats and conquered her fight to make a name for herself in the pop-diva realm. In 2008, Funhouse dropped like an atom bomb onto the music scene. It was P!NK’s first album that, as a whole, I was able to take in start to finish and knew about from the moment it was released. Other past hits like “Just Like a Pill,” “U + Ur Hand,” and “Get the Party Started” set the stage for her to not only grow into an adult badass. But, her artistry opened up a door that allows pop music talent today, to go all out on their fashion, trends, and simply allowing those new artists to truly be themselves more openly. The album is one of, if not her best record to date, because everything about its release flowed so seamlessly together. Its release date was just a little before Halloween 2008. The title of the album, along with several of the tracks prove to be a thematic masterpiece of carnival thrill.

“So What” and “Sober” begin the album with contrasting excitable and melancholy tones to the respective tracks. While both talk of a freeing sensation yet, with different tones: one excitable, one melodramatic. The album is a joyride in itself. While there’s definitely more somber songs on the record, tracks like “Bad Influence,” the title-track “Funhouse” and even “Please Don’t Leave Me” (while the message is still sullen; all offer an electrifying burst of color and excitement to this 2009 hit.

Faith Hill

You could call the duo, the Mariah and Whitney of country music. Faith Hill splashed into the musical limelight around the same time as Shania and garnered her own posse of a fan base. And although she’s been fairly quiet in the last decade as a solo artist, she has released a number of albums and tracks alongside her husband Tim McGraw.

Take Me As I Am began Hill’s lasting legacy in country music in 1993. Spending a lot of time in my mom’s car, the album was a staple on our playlist for sure. The title-track ignites the the album with a pulsating drumbeat. With an even amount of fun and uptempo tracks to somber ones, despite it being unevenly distributed in sequence. “Just About Now” is a timeless piece because it speaks of truly living in the moment. There’s something about certain people that you mean that you just realize quickly – they came into your life for growth and enjoyment of the moment. If you’re anything like me, you never want to let that go.

Opposing that song, with the same message but, in a different form; “Life’s Too Short to Love Like That” is wake-up call to those who do not wish to continue watching something or someone negative slow them down. The constant pull-and-push concept is not effective or conducive to a flourishing or healthy relationship. But, whether it’s the empowerment of “Go the Distance,” the carefree spirit of “Wild One,” or determined mind of “But I Will;” there’s a song that fits perfectly for every moment within life. And that essentially, is what a well-crafted album represents – a story.

Carrie Underwood

Carrie Underwood found herself in the midst of immediate stardom following her win of the hit TV show American Idol in its fourth season. Her vocals and beauty wowed the show’s crowd and audiences to come soon after. My musical fascination for Underwood, started from the beginning and soon after her win, developed into a fandom that feels justified. The soothing tone to her voice, and her ability to weave in and out of themes and stories of her songs is her most amazing quality.

Some Hearts, her debut work found itself going multi-platinum (enough for the time-period to not only put women back on top of the country charts but, also to be certified that highly by any country artist since 1991 and overall by any female country artist. Certainly, it would make sense commercially, that the sophomore effort would not do as well as its predecessor; however, the growth and artistry development that Underwood displayed on album 2 was the beyond poignant.

The first album is most often the hardest to top because it builds a foundation from which the artist can establish their fan base upon and also find a theme and style that best fits each one. Carnival Ride was just the icing on the cake following Carrie Underwood’s breathtaking debut. The sophomore 2007 smash-hit is as bright as its cover. Although, the cover may be a bit misleading, with songs like: “Just a Dream,” “You Won’t Find This,” and “Wheel of the World” – there are notes of haunting spells within this piece of work that are simply captivating. From the deep-rooted family ties of “All-American Girl,” to the devastation of “Just a Dream,” to the internal turmoil of “Twisted;” there’s a little piece of magic within every song.

Toni Braxton

Given today’s times and music standards, you would be astonished to hear Toni Braxton’s name mentioned on the radio or pop-culture overall. While she is still making hits and working effortlessly within the music and entertainment scene, there is a certain nostalgia feel from her early work. Along with her eponymous debut Toni Braxton, Secrets is the gem of an album that drew me automatically to love her. Her debut was always her on rotation during car rides as a child but, soon after I became a bit older, I listened to more of her works and fell in love with this record.

It’s true, no one touches sensuality and soulfulness in their songs like Toni Braxton. She knows how to move her voice to the music and lyrics she is presented. Today’s generation will never comprehend ‘real’ and ‘true’ vocals like Toni’s because now the entertainment value is driven by quantity of hits and views rather than quality of the craft and artist. Toni Braxton breaks the foundation with the smash single, “Un-Break My Heart.” “Why Should I Care” is a breath of fresh air, of living life by her own terms which is rare for a love-infused album. Two songs that highlight how hypnotizing and soothing Braxton’s artistry is.

Avril Lavigne

Canadian singer, Avril Lavigne released her pop-punk debut record Let Go all the way back in 2002. It was one of the first CDs that I had bought when they became the mainstream of music, alongside No Secrets by the band of the same name and Aaron’s Party (Come Get It) by Aaron Carter, (I know…what a collection). Lavigne has managed to propel herself into the same level stratosphere as some of today’s other pop superstars like P!NK and Britney Spears, while at the same time, staying true to her image and not diverting too far from where she began with this record. While she may have released some brighter pop singles, there’s always a little mystique behind her showmanship.

Let Go starts off underground with a grinding steel bass guitar and a heavy grunge-like chorus, “Losing Grip” emotes with a heavy tone, how one person can make another break down to their lowest and deepest core so effortlessly. Following that, “Complicated” is the lead single off the album, still heard on mainstream radio stations to this day. And, why? Because it truly is a head-shaking, rant-raving; song that lets all its frustration out in one burst. “Sk8ter Boi” and “I’m With You” were the other top two singles to come away from the album that launched Avril into the stardom that she now holds amongst her fans in the music world. Some key tracks that are worth the listen though are, “Things I’ll Never Say” and “My World.” They are fun, lyrically and very relatable to most of us.

Gloria Estefan

For over 35 years, Gloria Estefan has dominated both the latin and pop charts. Her dramatized, sultry voice; sings to the tone of love, passion and heartache like no other. Adding her Hispanic flair, Estefan fuels each song with a telenovela / soap opera theme that hypnotizes the listener’s ear till their heart’s content. From her beginnings with The Miami Sound Machine, to riding solo alongside her equally famed husband Emilio Estefan, Gloria is a force to be reckoned with amongst her female counterparts including: Mariah Carey, Shania Twain, and Cèline Dion. Let It Loose was my introduction Estefan and Latin music overall.

Let It Loose blends its keyboard and percussion sound perfectly throughout the record, while Estefan’s vocals stream right through the instrumentation and sound eloquently. The ‘80s-pop dramatics along with the excitement of the jazz and latin tones make for the album itself to transform into a romantic story book or short movie. “Betcha Say That” eases the listener into the record, and is a light flirtatious tune. The title track “Let It Loose,” is purely a carefree dance track. Along the chart-topper “Rhythm Is Gonna Get You” and “1-2-3” the album is aligned equally with dance floor sensations, and desirable and sexy ballads. “Can’t Stay Away from You” is the ideal standout ballad that holds the record together and entrances the listener open themselves up to the rest of the album.

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It’s not everyday you can see someone making a lifetime career fresh into the spotlight. Leave it to the one and only Dolly Parton to help good talent shine through when she sees it. Haha ok… maybe it wasn’t actually Dolly who discovered Carly Pearce, but singing at the Dollywood theme park definitely boosted the momentum of her impending-to-now stardom. After a short, 4-year glitch, recovering from a record deal gone wrong; Pearce began the ascension to musical glory.

Upon the release of a duet with Josh Abbott “Wasn’t That Drunk,”Pearce found herself garnering much more serious airplay. But then, with the assistance and magic of producer Busbee, Carly Pearce soon found herself becoming a household name. With the release of “Every Little Thing” in 2017, that was the moment the singer’s world changed. That one song melted the hearts of all those who feel the sorrow and pain, etched in memory, of a love gone terribly wrong; but some of it still felt so right. Soon to follow, we got a peak of her lighters side on “Hide the Wine.” It was fun, flirty, and was a great compliment to her debut single. We got to see how quick-changing and versatile Carly Pearce’s writing can be while allowing her true personality to showcase in her music.

Carly Pearce, Every Little Thing

It took three years to 2020, to garner new material from Pearce. She was busy riding high on tours with the likes of big names like Lady Antebellum & Hunter Hayes, and Rascal Flatts; even headlining her very own Way Back Tour with Russell Dickerson. On a more personal note, her 2019-2020 year was her rollercoaster to ride. From turning 30 to marrying and divorcing fellow country musician Michael Ray, to the uncertainty of COVID-19, and ultimately to losing her greatest friend and mentor of the music world – renowned music producer, Busbee; Carly Pearce swore off the negativity of the past year with hit music. Her eponymous second album Carly Pearce, made major headway with “I Hope You’re Happy Now.” The single shot up faster than any of her previous work, thus accrediting her multiple nominations and wins across the plethora of country music award shows throughout the year. While more upbeat, “I Hope Your Happy Now” was right in Pearce’s element of tugging on your heartstrings, as Lee Brice lent his vocals and musical prowess for the other half of this ‘blame it on me,’ touch-of-pop single. The album also included promotional hits like: “Closer to You” (one of my personal favorites), “It Won’t Always Be Like This,” and “Call Me.” Other songs including:”Dashboard Jesus,” and “Finish Your Sentences” (ironically enough, which was a duet with her now ex-husband Michael Ray). The album was severely undersold with just the attention on the two singles, whereas, more attention on my favorites and “Call Me” would have given a longer lifespan to the album’s popularity.

As the new year began, Carly reclaimed 2021 as her personal rise back on top of her confidence and creative artistry. She released her third round of music in February of this year. The lead single “Next Girl” was an ode to that same feeling of saying goodbye to the divorce drama. Alerting the new beau that the singer sees her ex out with, she pulls her aside and lets her in on all the phrases and attempts at wooing the guy puts into motion over the new girl. “Should’ve Known Better” follows with a roll-with-the-punches attitude. The singer proclaims, “I gave you my heart. You let it go to waste.” She says of how the relationship should’ve never progressed at the first red flags. The title track explains of how it is the age where, in her mind or what she’s been lead to believe, everything is suppose to go to pure independence. But, all that happened was it became the year “she’ll never live down.” If this the album didn’t have you stuck feeling heartbroken already. The major loss of Busbee to Carly and the music industry overall is showcased in plain view on “Show Me Around.” The song, while sorrowful of his passing, is a shining example of hoping to see him in the hereafter and that he will reunite to show Pearce all he has seen and done since leaving the world. It is a thrilling example of imagery and wonder that Carly Pearce effortlessly puts to good use, and Lord knows Busbee would be so proud and honored.

The EP 29, allows us just enough ear candy for our pleasure and satisfaction. While it does have an overall somber tone to it, the mini-album still shines with glimmers of hope and resilience. Pearce knows full well how to captivate her audience. Her method to blend pop vocals with a 90s-styled country lyric theme and band, puts the singer well within the ranks of her top competition of Maren Morris, Miranda Lambert, Kacey Musgraves, and Carrie Underwood. Carly Pearce has everything to gain from being the “new kid on the block.” She has the young vibrancy, and soothing voice, with the tone, soul and heart of her predecessors like Dolly Parton, Loretta Lynn, and even Alison Krauss. If you haven’t touched this EP yet, you ‘should’ve known better’ than to keep waiting on a masterpiece like 29.

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Ashely McBryde and Kelsea Ballerini giving their fans what they came for.

While these two female powerhouse vocalists share a unique musical perspective on a singer-songwriter, country style mix sound; one maintains her light Bluegrass/Americana tones, and the other seamlessly creates a country-pop fusion together that matures with ease.

Kelsea Ballerini got her pinnacle moment in 2015, when she and her label, Black River Entertainment; dropped her debut album, The First Time. Over the course of that year she solidified herself as a household, family-friendly, artist. Her sweet-but-confident attitude on songs like “Love Me Like You Mean It,”Yeah Boy,” and “Square Pegs;” gave her an edge from some of her competitors like Maddie and Tae, and Raelynn. Now, on her third round with Kelsea, the album flourishes with a springtime vibe and feel-good tones. At the same time, songs like “Homecoming Queen” and “The Other Girl” (featuring Halsey), pack a powerful punch.

And then there’s biker starlet, Ashley McBryde. Upon her debut with her first EP, Jalopies & Expensive Guitars, McBryde commanded her own persona and sound by introducing an element of traditional sounding country within flares of pop, rock, bluegrass and americana; all conjuring up what brings her to life on stage.

Ashley packs the album full of lyrical punches. Telling stories of perseverance on “Hang In There Girl,” a longing for freedom on “Sparrow,” and a newly renowned confidence and personal ownership on “Never Will.” At the same time, one will certainly feel like they have been blasted back to the era of the wild west when songs “Martha Divine” and “Shut Up Shelia” sound off.

Overall, these albums – Kelsea and Never Will, represent hidden growth like no other. And I say “hidden” because aside from their respective singles, like many of the women in country music, Kelsea and Ashley do not hear their music blasting on heavy rotation like their male counterparts such as: Sam Hunt and Kane Brown. Additionally, if this quarantine doesn’t completely make you lose your mind like many, these two albums might just be key to finding solace in a crisis. After all, music is the greatest escape from the moment.


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It’s no secret Kristin Chenoweth has established herself as a legend in her own right. Now she uses her prominece to give light to the some of the vocal legendary women that came before her.

“The Way We Were” – It’s the wish-I-could-turn-back-time song that defined Barbra Streisand’s artistry. Chenoweth, with her bravado and jaw-dropping cadence, She knows how to turn a classic and make it all her own.

“You Don’t Own Me” (feat. Ariana Grande) – It is a rise-up anthem to take back a woman’s own life. Ariana brings her vocal prowess to the song and blends beautifully with Chenoweth’s simplistic tone. Together, they create a strong, united front to tear down any man’s narcissism and overconfidence; should that man be so headstrong.

“It Doesn’t Matter Anymore” – Putting a country twist on Linda Ronstadt’s record, Chenoweth tackles the song with a laid-back style all her own. Coming to terms that she can’t go back to how things were, she accepts moving on and proclaims they both go their own way in life.

“I Will Always Love You” (feat. Dolly Parton) – Who hasn’t touched this classic, or at least heard it? The song that lives on to touch deep into souls and is interpreted in countless ways, becomes a duet of beauty and purity. Dolly Parton joins Kristin as they bid each other adeu for a wondrous tribute cover.

“What A Difference A Day Makes” – Spinning into the Jazz genre, a soft and elegant song takes shape. Knowing there is always a better day ahead to change a mind, or realize it wasn’t meant to be. In this case, all positivity shines through.

“When I Fall In Love” – Conditionally, love is so much more than just a feeling or action. Rather it is based on an intensity and what we set as our final destination for landing into someone else’s heart. It’s a perfect song that fits Chenoweth perfectly.

“Crazy” – As the piano sets in for the final Jazz number, it tells of a swell of feelings and emotions that the songstress cannot wrap her mind and heart around at first. At the end of the day, she is crazy either way she continues down her path but, ends in good nature.

“The Man That Got Away” – Everything has progressed and the woman is meandering through her life now, simply because of the man that she wishes she could have back. We move on sometimes, never knowing how good someone was until the void sets in. Hope is all she has, that someday she will see that man again but, understands that it is a distant dream.

“I’m A Woman” (feat. Jennifer Hudson, and Reba McEntire) – Everything is possible in this song. This triple threat serves up a sassy take on a song that pays homage to all of a woman’s capabilities. It speaks to how much one woman can handle on a day-to-day basis. It is perfect for throwing back at someone who questions how one can do so much and still have time for themselves.

“Will You Love Me Tomorrow” – It lends to the question, does love last more than a moment, a night, a passionate feeling? Or, will one of the two involved stay and cultivate the feeling into something deeper? The song fits the album perfectly as it winds down its main tracklisting.

“I Wanna Be Around” – The song is a sweet vindictive tune that hopes the end result of the next love affair goes south. The woman is jilted and does not want to see the happiness bloom more than it did with her. The woman wants to witness it all first-hand so that she has a sense of closure and satisfaction. It serves well to Kristin’s voice, as the build up is right up her vocal alley.

“Desperado” (Target Bonus Track) – Singing of a tale of someone who just wants to find some solid ground, the song is a traveler’s song. It lends to wonder if the person in question will ever find what they are searching for. Is it the overemotion they are feeling or is it the inability to “let somebody love” them? It’s a great song for us to look deep within ourselves.

“I’ve Got My Love to Keep Me Warm” (feat. Steve Tyrell) (Target Bonus Track) – The title is exactly how the song portrays. It is a happy-go-lucky, partnership song that sings of true togetherness. Yes, the weather may be cold, but the love is strong between the duo. It is the complimentary teamwork of the duet that serves as a strong contender for the top track of the album.

“I Wish You Love” (Target Bonus Track) – It might be best recognized lyrically as the companion to Dolly Parton’s “I Will Always Love You”. The song is probably the most elegant and second most vocally challenging for the everyday singer. It is a beautiful ending to a record dedicated to the legendary women of yesterday.

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  1. Who are some of your influences?

Cassadee Pope, Kacey Musgraves,Taylor Swift,  Hannah Ellis, and Shinedown would definitely be a few of my biggest influences for this record. 

2. When and where did you come up with the concept for “21”.

So, I wrote “Him” after coming home from my boyfriend’s house and something just hit me. Throughout my 21st year of life, I went through a lot mentally and emotionally. Not only was I tackling college, two jobs, and an internship, but I was also going through a tough breakup after having been together for four years and falling out of love awhile prior to the breakup. After the breakup, I started going through another romantic situation with a friend that just went south. For a while, I was really down on myself in the world of romance and I just didn’t think true love existed… Then unexpectedly, I fell in love again with my current boyfriend and he literally brought out the music in me. He was the ultimate reward to one of the toughest years of my life and once I wrote, “Him,” I was inspired to tell the story of my 21st year of life after not writing, or playing music for over a year. 

3. How did you come about recording your first album?

We recorded, “Him,” first in November of 2018 and then I released the news about the single on my 22nd birthday (December 3, 2018). I also announced that I would be releasing a full-length album titled, ‘21,’ later in 2019.  We didn’t actually record the rest of the album until March of 2019 and it took about two months total to record and really put it together collectively and creatively. I will never forget the last night we spent recording the album, it was like 2 AM one night in April after an award show the music department was hosting at my college, Monmouth University.  We recorded the final two vocals that night and then the record was done. It was the best feeling ever.

4. What was your favorite track to record?

My favorite record was definitely the second single I released off the album which was, “More.”  It’s the last song on the record. It is the last because it makes me feel strong and empowered about who I am both as an individual and an artist in particular going forward. The rest of the album kind of resembles who I was when I was 21 and who I used to be. “More” is who I feel like I am now that I am in a better place in my life and it is the foreshadow of the sound and vulnerability that is to come next in my future music.

5. Do you feel pulled more towards one genre of music over another?

I feel that we morph into what inspires us, specifically as a musician. As you go through different experiences and life events, you become a part of that scene, or culture that is surrounding you at that moment. Same thing with music. I listened to a lot of different music. I am rooted in pop punk, but I love pop and country music. I feel like there will always be a little pop punk in my music because of those roots, but that is what makes me Kelli Faith and not someone else.  It feels very natural as I just build upon myself and the music I create to become an embodiment of everything I am inspired by.

6. As a women in music, how do you see yourself in contributing to the music scene, and your growth as an artist?

Early on, I felt like I could not write love songs because it was such a stereotype, then as I grew into my artist persona as Kelli Faith; I came to understand that it did not matter what I was writing about because I was writing from my own heart and my own perspective. I saw a lot of male artists like Maroon 5, or Ed Sheeran make hits from love songs countless times over and no one’s ever judged them for any of those songs. So, in response to experiencing all of this, I stopped caring about what others might think about me, or what I had to say in my music. Instead, I let my heart take the reigns and my emotions do the driving. I feel like my music could inspire more women to allow themselves to be emotional and authentic in their own music. ‘21’ taught me not to hold back and that is what I want to help other women, and just anyone in general, and/or in music do.

7. Who are some of the personalities that helped you craft “21”?

Craig Smith and Alex Peragine helped me mix, master, produce, and record the entire record. They were essential to building the framework of the album, I am incredibly grateful. I had a lot of instrumental production behind my record as well, including: Dee DiMeola, Cassidy Crosby, Julia Whary, and Jay Sweet. Lastly, the promotional team really brought out the best content to display ‘21’ in its final stages: Summer DeFalco for photography, Nicole Govel for the album artwork, Jenna Bruno for PR, Angelica Pasquali and Nicole Diglio for the logo and video content you will see in the coming weeks. Kris Khunachek also produced the music video for “More” and he is simply amazing.

8. Who would you dream of touring with if you should blossom further into your music career?

I think that would definitely be Cassadee Pope. I feel like  I would be the perfect opener for her shows. I would never want to be so big of an artist where I couldn’t go outside into the public eye by myself. I feel that her artistry and energy very much aligns to mine, so that really attracts me to her and other artists like Kacey Musgraves.  Kacey Musgraves is just on a bit of a larger scale, but if that were to ever happen, anything is a dream to be honest.

9. How do you feel your schooling or your growth inspired your artistry?

What came out of Monmouth University were the connections and friendships that allowed me to explore my creativity. I gained a large understanding from a PR class on branding and etc, however, the majority of my inspiration and thought process behind the album did not come from schooling or lessons, but the connections I made throughout college.

10. What’s next after “21”?

There will be another music video coming in the future for sure. Be prepared for a small tour once the album gets released probably later in the winter. Like I had mentioned before, ‘21’ taught me to not hold back, so I think whatever music is to come, will definitely demonstrate a new side to Kelli Faith. A lot has happened in the making of this album and I think it truly curated a perfect setup to my future music.