Category: Woman

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By Gregg Keniston

2026 began with new goals, new music announcements, and a dramatic tell-all article that featured two Disney Channel leading ladies at its helm. Ashley Tisdale wrote to The Cut, that she was over her celebrity mom-group due to ‘feeling like she was back in high school. – ”Breaking Up With My Toxic Mom Group.” The group featured famous names like Meghan Trainor, Mandy Moore, and Hilary Duff. Coincidentally, Duff had just announced a new album luck…or something, just two months prior. Now, I don’t care about the details of their supposed feud or what led to this explosive star-studded tell-all, but it is a great marketing strategy for both ladies to waltz back into the limelight. Considering Tisdale also was rebooting her hit animated sitcom, Phineas & Ferb as well. Let’s take a look at some of the overlooked but, timeless music, the two Disney queens have graced us with and what will be on the horizon.

Ashley Tisdale

Though her music beginnings came to fruition a bit later in her career than that of Hilary Duff’s, Ashley Tisdale unleashed some bangers during her time under Warner Brothers Records. She caught my personal attention the moment I heard her rendition of Wham!’s “Last Christmas.” It is my favorite version to have been released apart from the classic Wham! version. Then she dropped “He Said, She Said,” and the earth fell on its axis.

Headstrong

This album received mixed reviews but, still packs an epic, pop-punch that will get you up and dancing. From the start, a fusion of tropical undertones alongside club beats flow through the tracks like water. Immersing the listener in a feel-good state, Tisdale is proclaiming confidence and how she wants to be viewed and treated. All through the album she creates a little scandal with a crush.

“Not Like That” is an empowering song that places the singer standing out from the crowd of typical petty girls. “Be Good to Me” is that proclamation that Tisdale doesn’t want too much. “He Said, She Said” is a gossipy, flirty track, that throws pop into overdrive. “Don’t Touch (The Zoom Song)” and “Going Crazy” each play off the flirty theme of the album perfectly. Ballads like “Over It,” We’ll Be Together” and “Suddenly all capture Tisdale’s vulnerable side without straying too far from its bubblegum-pop brightness. The album reflects off a small image mixed with any early 2000’s group like A*Teens, or No Secrets. If I could give the album one critique, is that Disney or its producers had too much enhancement done to the album rather than using Ashley Tisdale’s authentic voice with her attitude as a tag-team combination. Overall, Headstrong continues to be a tinge of nostalgia for anyone growing up in the DCOM (Disney Channel Original Movie) era.

Key Tracks: “Don’t Touch [The Zoom Song],” “He Said, She Said,” and “So Much for You”

Guilty Pleasure

After mostly graduating from Disney Channel (because somehow one is always tied to Mickey Mouse in some way, shape or form for a number of years after); Ashley Tisdale unleashed her Britney Spears-lite era. But, shockingly Tisdale’s 2 records were under Warner Brother’s label rather than the traditional Disney route of Hollywood Records. Having been my personal favorite, Guilty Pleasure lays out a heavy set of pop-rock tracks mixed with two, eased-in ballad songs; “What If, and “Me Without You.” Though, it was unfortunately not as commercially successful, it had more appeal to me than her predecessor to my ears.

Selecting the right first single often makes for a impactful album and “It’s Alright, It’s OK” provided the perfect exciting tease new material and begin a music revolution for the teenage millennials at the time. The fellow New Jersey native hit home with the album crafting a epic story blended with Spears nods. What do I mean by this? From “Acting Out” to “Masquerade” and even “How Do You Love Someone”; each song’s lyrics tells a mini story and paints a picture of creativity. “Overrated” and “Tell Me Lies” are classic angsty ballads that lend themselves to be fun bridges between the rest of the tracks.

Meanwhile, songs like “Crank It Up, “Hot Mess,” and “Switch” all give off hints of calling back to Britney Spear’s 2007 album Piece of Me. Within the middle of the record, “Erase and Rewid,” “Hair,” and “Delete You;” are a perfect ensemble of hairbrush microphone jams or car-karaoke that allow the listener to release their inner wild side. Finally, “Blame It On the Beat” rounds out as a solid but, potentially unnecessary bonus track. This is obviously based on personal preference.

Key Tracks: “Erase and Rewind, “How Do You Love Someone,” “Masquerade.”

Symptoms

Coming off the hype of Guilty Pleasure, Ashley Tisdale took some well-deserved, personal time to herself and dove into other projects unrelated to music. Ten years later in 2019, we heard sparks of Tisdale returning to the mic. Teasing on social media with samplings of the lead single, “Voices In My Head,” Symptoms was born that Spring. The sound of the album keeps the artist’s fans appreciating and enjoying some of her music roots but, crafting a new perspective of folk and alternative-pop essences. Utilizing keyboards and light synthesizers changes up from the traditional pop sound her fans had grown accustomed to.

The title track “Symptoms” leads in with a trippy, kind of tropical sound and immerses the listener into an experience of wariness to commitment but, the strong desire to kick the uneasy feelings. “Looking Glass” plays into the initial track, hinting that, to be with her is to change up the view of which that lover will interact and interpret her. Then, “Love Me & Let Me Go” just throws all the paper up into the air and as Tisdale proclaims, she is done and starting on a fresh page for herself.

The darker tones continue with “Insomnia”. This short album is a complete 180 from her prior work but, still reflects that Ashley Tisdale can be an actor and artist contender, one and the same, even ten years later. The song is a swaying, relaxing bridge through the album. Longing for her love, Tisdale finds peace from her demons she repeats of through her album in her other half. “Vibrations” goes for the simplistic enjoyment of togetherness, rather than going out and dealing with a crowded room. Though the following track maintains a bit repetition lyrically, “Under Pressure” proclaims a freedom from feeling so overwhelmed and declaring that the singer will not be held back or, held down by stressors.

Rounding out the album, “True Romance” is a fun tug-of-war track that exclaims best of Ashley Tisdale’s then, fresh engagement and marriage to husband Christopher French in 2013 and 2014 respectively. And considering that the album itself was crafted between 2012-2013 and 2019 that would make a lot of sense. The follow-up single “Voices In My Head” is a perfect blend of her current musical state and an ode to her prior works. Its fun, bright and wispy rhythm and tonality break from the darkness effortlessly. Lyrically, it still a battle with Tisdale’s mental health struggles at the time but, through her art, the struggles are expelled from existence. At the end, “Feeling so Good” is the resolution the listener has been hoping for throughout the short piece. Tisdale wrapped this work in her post-television and personal struggles and made them work for her. Even critics graced this album with maturity and poignant vulnerability anyone can relate with.

Key Tracks: “Voices In My Head,” “True Romance,” and “Under Pressure”

Hilary Duff

The early millennium brought about Disney’s classic good-girl, Hilary Duff. Starring in movies from Casper Meets Wendy to Agent Cody Banks with Frankie Muniz, to within a few years time, the series that ultimately made her a household name – Lizzie McGuire, and its follow-up movie The Lizzie McGuire Movie; Hilary Duff exploded into the hearts and lives of a young generation. But, what set her up for success was being a doubling diva, acting and singing.

Santa Claus Lane

In briefly touching on Hilary Duff’s first album (released in October, 2002 on Wikipedia; but on Apple Music noted as (October 2003), I love Christmas music more than most people. However, the album was released before my exposure to Hilary then. Moreover, in just the samples I’d heard over the years, I cannot count the album as a contender of her true musical career in how overdone it sounds – production wise. That all being said, “What Christmas Should Be,” lyrically is a pretty, comforting and different track. Plus, the artwork certainly works in Duff’s cuteness factor.

Metamorphosis

Oh, where to begin! Having been one of my first CDs to own…yes I said CDs, I’m that old. This album helped defined a generation. You know 2 – 5 seconds into “So Yesterday,” “Come Clean,” and “Why Not” exactly what is blaring through your speakers. The whole album is fun, quirky, and a feel-good pop piece that make the dull in any day shine bright again.

“So Yesterday” starts the record off with a heavy cymbal and drum clash, capturing the listener in an intense moment of a teenage relationship. Throwing her hands up, and forgetting all about the drama, Duff is seeing things clearer and moving on with her life. Following suit, “Come Clean” is the symbolic beginning of her “Metamorphosis.” It’s reinventing and allowing herself to change with maturity, experience; and just as she sees fit.

Songs like, “Anywhere But Here,” and “Love Just Is,” are fun, light and whimsical; while others such as: “The Math,” “Little Voice” and “Workin’ It Out” provide a little head-banger vibe and procure an edgy sound to Duff’s sweet charm. “Inner Strength” and “Party Up” feel like necessary filler tracks but, can easily be someone’s favorite for their inspirational and medium-rock-pop element respectively. “Where Did I Go Right?” alludes to the brightest, best choice of a new or current romance that feels like the only good thing going for Duff in the particular moment. “Sure, I want someone to understand…” Duff proclaims on “The Math.” But, I want you to understand why this debut record is a stand-out. It is a near-perfect balance of fun and emotion. Metamorphosis is the definition of navigating your teenage angsty years and having fun doing so.

Key Tracks: “Why Not,” “Anywhere But Here,” “The Math,” and “Come Clean.”

Hilary Duff

In 2005, along came Hilary Duff’s self-titled second album. Hilary Duff showcased the artist in a more mature, personal tonality with larger punk undertones, to compete with the likes of artists such as Avril Lavigne, and at the time, Ashlee Simpson.

Though it generally did not receive the same positive reception as its predecessor, Duff’s follow-up was mixed for sure; the album has it gems though for sure. Those few tracks keep the artist burning just bright enough to reignite her music career going forward. Opening up with “Fly” was one of the finer choices in creating the album. The beginning notes and theme of a live concert and audience allude to a grand beginning of the whole piece. Followed up with “Do You Want Me?” The song is a solid, tongue-in-cheek, seductive track that keeps the listener engaged.

Unfortunately, the next song, “Weird;” plays and feels out of sync with the rest of the album. Other tracks that have a similar displacement are “Hide Away,” “Cry (Remix),” and “Haters”; they just don’t seem to blend cohesively with the rest of the album. Though, “Cry (Remix) by itself is a pretty song. The tonality of these tracks don’t make sense.

Then there’s “Mr. James Dean.” Comparably, it gives a grunge-pop vibe description of a love who mimics that of a former cinematic star. Along “Underneath This Smile,” these two songs are both creative and intriguing in their own right. The first by its design, and the second by its vulnerability and relatability. Meanwhile, “Dangerous to Know” vocally peaks the interest through it’s verses, as has a haunting back-and-forth tempo. “Who’s That Girl” is probably my favorite track of the album. It is dramatic, shadowy, and lures the listener into their feels of either, the girl of someone Duff wishes to be or, a relationship gone off the tracks. “Shine” sings of coming out of the darkness from the help of that special someone to rely on, pulling you out of your hardest moments.

The rest of the record tends to fall right into place. “I Am” comes close to “Who’s That Girl?” for me. The song describes an individual as we all should be thought of, not just one dimensional. Most of us are gray. “I’m a million contradictions.” That lyric struck the biggest chord. The chorus then uplifts the artist to positive affirmations. A fun track, “The Getaway” makes its way zooming into the album and earbuds of the listener. It sings of a love conflict that throws their mind and heart into overdrive and reverse too frequently for Duff to figure out.

“Rock This World,” reminds me slightly of “Rock This Country” by Shania Twain. However, this is more of an in-your-face, self-confidence song that is sure to empower even today’s generation of growing teens and tweens. Then, comes the masterclass of “Someone’s Watching Over Me.” In having Hilary Duff portrayed as this Cinderella-styled princess star, the song magically sings of inspiration and perseverance with the help of a presence greater than herself. “Jericho” follows with a similar pattern of “The Getaway.” With a slight biblical connotation, the song highlights empowerment and fighting on when things seem most difficult. Not to give in just from exhaustion or doubt. “The Last Song” then wraps up in an elegant fashion, stating all the singer really needed was herself. But, coming off “Jericho,” the end leaves the listener patiently waiting for more.

Key tracks: “Who’s That Girl?,” “I Am,” and “Fly.”

Dignity

Enter, Hilary and her brunette era. 2007 was a bit of a rebirth for the artist as a full-fledged adult. At 19-20 years old, she unleashed a host of tracks that were fun, flirty, and fiery. Everything about the album, even the cover art was ablaze with a feel of passion, style, and elegance.

“Stranger” and “Dignity” lead off the album with an enticing combination of haunting pop and glitzy, glam, self-preservation call-out, respectively. The next track “With Love,” continues the feel-good, dance ensemble. The second single is a great way to get ready for any night out.

An interesting highlight comes from the middle of the album. “Danger,” plays out and is very captivating, and sounds a whole lot like a Kylie Minogue take-away. Who better to emulate than from a pop-princess herself in building her credentials as a music artist? The beats and encompassing sound of both”Danger and “Stranger” provide a worthy blend of escapism from reality into a whole new world. “Gypsy Woman” intriguingly finds its way in between two worthy contenders. And, while the beat is fun, the track itself leaves something lacking. Further, “Never Stop” plays out as an ode to commitment and genuine love of one another, leaving the listener wanting more and saving the day.

“No Work, All Play” is interesting because it gives off a very relaxed vibe and a tongue-in-cheek ‘high’ sound. But, it’s difficult to retain the listener’s interest as it’s comes off too relaxed and sleepy. To follow, “Between You and Me” uses a unique sound to initially kick listener into overdrive and wake them up. Additionally, the xylophone hints are a very nice touch to the island/middle-eastern feel of the record overall. “Dreamer” has a PSA undertone and sits as a mild track but, may be enjoyable to the select listener’s ear.

“Happy” and “Burned” follow up that somewhat mimic each other or share some similarity in sound. Both are very much worth a listen and can keep the listener’s attention to the end. Continuing, “Outside of You” is a return to hints of the teen-pop sound we all know and love from Duff; though in a mature fashion. “I Wish” keeps slightly with the Arabian theme, Hilary is wishing to be let in from the outside of the relationship. It reflects as continuation of sorts to “Outside of You.”

Finally, comes the very first single, “Play With Fire.” This track made the album literally light up in every way. It also is very creative in the fact that it differentiates from typical albums, having a more upbeat song to close out the album rather than a somber or darker song. “Play With Fire is a flirty, sexy, and fun way to close out the album.

Dignity provides so much maturity and relaxed enjoyment throughout the record. If you’re looking for an album to make time go by and your ears remain at attention, Dignity is that all-access pass to the star and her personal emotions.

Key Tracks: “Play With Fire,” “Danger,” and “Between You and Me.”

Breathe In. Breathe Out.

We’d thought we had seen the last of Hilary Duff, at least as far as music is concerned. A big surprise came about in 2015, 8 years later. In music, 3 years is an eternity; but with, it can be hard to gin up the same line of enthusiasm or recreate the same phenomenon, once held in a non-technical and social-media-driven world.

Breathe In. Breathe Out. starts off with the lead single, “Sparks.” The intro track was a perfect way to effectively draw in new and old listeners alike. Creating ‘sparks’ that she was back in business, Duff perfectly crafted a great marketing single to reignite the music scene. “My Kind” is a lighter track that follows. The entirety of the album is themed and threaded within a more peaceful, earthy tonality. Each track brings about a rejuvenation of Duff’s overall artistry and where she’s been rooted with Metamorphosis.

“One In A Million” continues the album, with the singer reclaiming her worth and her brand from a generations gone by. Embodying self confidence, the song offers a boost in self-confidence and comfortability. Feeling light as a feather and in a state of pure blissfulness, “Confetti” plays out as an emotional overload that exhilarates the singer and leaves her in constant desiring need for her other half to catch her. Meanwhile the title track, “Breathe In. Breathe Out.” slows the album just a bit to pour out raw emotion of the postpartum of a breakup. Its sleek and cool sound bridges the album in a way that doesn’t completely hinder the tempo or rate of the album.

Up next “Lies” has a good beat and sound maintained throughout but, feels like it’s the most out-of-place song on the record. Though it may be a break-up song, it’s repetitive bordering on filler. On the flip-side, “Arms Around a Memory” is a bold and enjoyable club song, proclaiming what’s done is done in one breath; but Duff is feeling a lingering, longing sense of desire for more than just memories and afterthoughts.

“Stay In Love” follows and is completely fresh. In what way? Well, most love songs are longing for someone or defiant in never going back without acknowledging there was any tangible love or history there. “Stay In Love” puts the message out there in owning and admitting that, sometimes if you just stay to stay, you’re only spiting both of yourselves from growth. “Brave Heart” continues along that same notion, with a message of self-confidence and can-do attitude. And even in doing it alone, recovering will be possible.

Coming up to my favorite track on the album, “Tattoo” is fiery and raw. Both the studio and acoustic versions give off a simplistic, clean feel in their sound, given its strong deliverance in messaging. In resolution, “Picture This” follows suit with a calm and soothing one-night-stand that the artist alludes to as a dream. To her, there is an escape from the past in this new love. Whether it lasts or is nothing more than a one-off, is to be determined but, she finds herself at peace for a time now in a long time. Finally, the album closes just as it started, and that’s surprisingly rare. It ends with a party mood, a night out. “Night Like This (feat. Kendall Schmidt),” allows the listener to break free of the heartstrings and heart ache woven through the album, and end on a high. Hilary Duff knows how to keep the crowd smiling at all times.

Within the deluxe version, “Chasing the Sun,” and “All About You” were two early singles, internationally but, not included in the USA deluxe edition. These songs unfortunately failed to highly chart. However, “All About You” laid out perfectly in rhythm and phrasing with the lyrics. It really is the highlight of the teaser/international singles. “Outlaw” and “Rebel Hearts” are the third and fourth respective deluxe singles but, initially they were unreleased in the USA.

So The Drama? Worth It? Up Next

Whether your team Tisdale or team Duff (just like the team Edward or team Jacob debacle), the article seems moot. Ashley Tisdale’s feelings may be valid and whatever had gone on, may or may not be accurate in claims, (“He Said, She Said”); it was certainly a great marketing tactic to put herself back in the spotlight. As an artist and actor she will be launching new shows or products, most notably her skincare line ‘Frenshe’ and the re-launch of the hit show, Phineas & Ferb.

Meanwhile Hilary Duff is launching her latest album, luck…or something out February 12. Additionally, she has been touring on a minor scale, and just recently announced a world tour at one of her latest live shows. Both women have so much to gain from publicity, and all press is good press when you are trying to drive a product or sales. So good for these two for keeping the claws pretty much at bay and their respective successes.

Both these women are nostalgic gold and pop princesses that can turn any bad day into a hairbrush concert. Let’s see how it all unfolds.

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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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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.