In February, Beyoncé added to her record-breaking legacy by becoming the first Black woman to top Billboard's Hot Country Songs chart with her single "TEXAS HOLD 'EM."

"I feel honored," she shared on Instagram in a countdown post to her RENAISSANCE sequel, Act II: COWBOY CARTER, out March 29. "My hope is that years from now, the mention of an artist's race, as it relates to releasing genres of music, will be irrelevant."

Since she first dabbled in country music with "Daddy Lessons" in 2016, the icon has received consistent backlash about whether she belongs in the genre. That same year, audiences campaigned for a boycott against the Country Music Awards for her performance of the track alongside The Chicks, later resulting in its erasure from promotional advertisements. And eight years later, the conversation returns as radio listeners question if her music should air on country stations.

Ironically, if you look back through music history, you will quickly discover that Beyoncé isn't the first (and certainly not the last) Black musician doing country music. 

In fact, the genre plants its sonic roots in negro spirituals and field songs, written on slave plantations. African American Vernacular English continues to influence contemporary chart-topper's lyricism and vocal twang. The banjo, which descends from the West African akonting lute, remains one of the quintessential instruments of the genre. Whether Beyoncé or the many artists who came before her, nothing sits at the heart of country music more than Black art.

To understand the full scope of Black creatives' impact in country, GRAMMY.com examines some of the influential tracks and moments of those who have made their mark on the genre and the music industry — from DeFord Bailey's Grand Ole Opry debut in 1927, to Darius Rucker's post-Hootie & The Blowfish country foray in 2008, to Breland's 2021 fusion of country and hip-hop.

DeFord Bailey — "Pan American Blues" (1927)

Before there was Mickey Guyton, Darius Rucker, or even Charley Pride, there was DeFord Bailey, the "harmonica wizard" from Tennessee.

After performing locally, another musician introduced Bailey to Nashville powerhouse radio station WSM's manager, George D. Hay, who later invited him to join the Grand Ole Opry — making Bailey the first Black member. He quickly rose to become one of the program's highest-paid players at the time, largely thanks to his iconic instrumental tune, "Pan American Blues," which imitated the sounds he heard from the railroad during his childhood.

As of press time, the only other Black inductees in the Grand Ole Opry are Rucker and Pride.

Lead Belly — "In The Pines" (1944)

"My girl, my girl, don't lie to me/ Tell me, where did you sleep last night?/ In the pines, in the pines/ Whether the sun don't ever shine/ I would shiver the whole night through," Huddie "Lead Belly" Ledbetter questions in the Appalachian folk song, "In the Pines."

Though Lead Belly isn't the original writer of the song, his chilling vibrato on the recording inspired singers for years to come, including Kurt Cobain, who later covered the track in Nirvana's 1993 MTV Unplugged performance under the title "Where Did You Sleep Last Night?" and named the '40s country blues legend his "favorite performer."

Linda Martell — "Color Him Father" (1969)

In "Color Him Father," Linda Martell narrates the heartfelt tale of a stepdad who embraces his new paternal role to a widowed mother and her seven children. It's also the song that propelled her to stardom, landing her a historic performance as the first Black woman on the Grand Ole Opry stage and later opening the door for debut album, Color Me Country.

After the project was released, Martell stepped away from the limelight, but her impact lived on. She was the inspiration for contemporary luminaries like Mickey Guyton: "The fact that she was there was groundbreaking ... She gave me the courage to be here," Guyton told Rolling Stone in 2020.

Charley Pride — "Kiss an Angel Good Mornin'" (1971)

Through his nearly seven decades-spanning career, Charley Pride became a certified hitmaker and one of the most renowned pioneers of his time. By 1987, he amassed more than 50 Top 10 hits on Billboard's Hot Country Songs chart, with 30 peaking at No. 1 — including his most notable single, "Kiss an Angel Good Mornin'."

After Pride passed away from COVID-19 complications in 2020, the response to his death highlighted the magnitude of his legacy, receiving condolences from Dolly Parton, Billy Ray Cyrus, and perhaps the most personal from Darius Rucker.

"I couldn't have done what I do, I don't think, if there hadn't been Charley before me," Rucker said in an essay for Billboard. Pride served not only as an icon but also as a mentor to Rucker, and his kindness ultimately gave Rucker the courage to do the same for the next generation.

Cleve Francis — "You Do My Heart Good" (1992)

As a cardiologist and songwriter, Dr. Cleve Francis certainly knew a "good heart."

In his 1992 track, "You Do My Heart Good," Francis sings about a budding love that shows him how to see life in a beautiful light. The song eventually became the second single from his Liberty Records debut LP, Tourist in Paradise.

Francis later founded the now-defunct Black Country Music Association in 1995 to foster an inclusive environment in the Nashville music scene and provide resources to aspiring singers. Under his advisory, the BCMA, with the help of Warner Bros., produced From Where I Stand, a record book of Black artists' contributions to the genre.

Darius Rucker — "Don't Think I Don't Think About It" (2008)

Before 2008, many knew Darius Rucker better as Hootie, thanks to his remarkable '90s run as frontman of jangle pop band Hootie & the Blowfish. But with his second album as a solo act, 2008's Learn to Live, the world met Darius Rucker, the country artist.

Fittingly, he chose a heartbreaking ballad for his first country single — "Don't Think I Don't Think About It," a heartbreaking ballad about a man who wonders what could have been in a previous relationship. The choice resonated with country listeners:  "Don't Think I Don't Think About It" debuted at No. 1 on Billboard's Hot Country Songs chart, making Rucker the first Black country artist to have a chart-topper since Pride in 1983. 

Kane Brown — "Heaven" (2017)

Since his major label debut, Brown has possessed a unique boy-next-door charm, less "Western" than his peers. "Not laced up in a tight belt and buckle hat," but proof that "you can be who you want to be, and you can still listen to country music," his manager, Martha Earls, told Variety in 2018.

Take "Heaven," a romantic ballad with the Southern drawl and instrumentation of a classic country tune. But when you add Brown's R&B influence and natural swagger, the track invites audiences both in and outside of country.

Though Brown now has 12 No. 1 songs on the Country Airplay chart, "Heaven" is undoubtedly the country star's biggest song to date thanks to its crossover qualities and romantic resonance. And just last year, "Heaven" became only the seventh country artist in history to receive a diamond certification from the RIAA; Brown is the second Black country artist to achieve the feat, as Rucker's anthemic cover of "Wagon Wheel" reached diamond status in 2022.

Mickey Guyton — "Black Like Me" (2020)

In a 2020 interview with Rolling Stone, Mickey Guyton recalled that she wrote "Black Like Me" at a writer's retreat in 2019, thinking, "There is no way that anybody is going to accept this." But at the height of the Black Lives Matter protests after the murder of George Floyd in 2020, there was no doubt that it was what the industry, especially the country genre, needed to hear.

"It's a hard life on easy street/ Just white painted picket fences far as you can see/ If you think we live in the land of the free/ You should try to be Black like me," she croons on the chorus.

The single made Guyton the first-ever Black woman nominated for Best Country Solo Performance at the 2021 GRAMMYs, and also helped her earn nominations for New Female Artist Of The Year and New Artist Of The Year at the Academy of Country Music Awards and the Country Music Association Awards, respectively, in 2021..

Guyton continues to use her voice for advocacy, from speaking out on racial issues to chronicling the Black experience on her 2021 album, Remember Her Name. 

Breland — "Throw It Back" (2021)

Since making his debut with "My Truck" in 2019, Breland has been praised for his innovative fusion of country, gospel, hip-hop, and R&B. But beyond his sonic landscape, he's also inviting some unlikely choreography into the genre: twerking.

"If she got a shot of whiskey, she know how to throw it back/ She turn up for Elvis Presley, told the DJ, 'Throw it back,'" Breland cheers in the chorus of the trap-infused track.  "If you sexy and you know it, make it clap."

"Throw It Back" features Keith Urban, whoappreciates Breland for his confidence to go beyond the mold of country music's expectations. "He's one of the only artists I've ever met that does not care at all what something sounds like or what box it fits. If he likes it, if it catches his ear, he wants to be a part of it in some way," Urban explained to Taste of Country in 2021.

The War and Treaty — "Blank Page" (2022)

The War and Treaty are making the most of their "Blank Page."

The husband-and-wife pair — Michael Trotter Jr. and Tanya Trotter — began their musical journey together in 2016.  Seven years later, thanks to their first major label EP, 2022's Blank Page, they also started making history. The War and Treaty became the first Black duo to receive a nomination for Duo Of The Year at the 2023 Academy of Country Music Awards, where they also delivered a stirring performance of the EP's title track, a heartfelt song about a new slate in love. 

Six months later, they made history again as the first Black pair nominated for Duo Of The Year at the 2023 Country Music Association Awards; they took the stage there as well, performing"That's How Love Is Made" from their 2023 album, Lover's Game. 

They added to their growing legacy at the 2024 GRAMMYs as well,  receiving their first GRAMMY nominations. "Blank Page" earned the duo a nod for Best American Roots Song, and they also were up for the coveted Best New Artist.

Tanner Adell — "Buckle Bunny" (2023)

When Beyoncé dropped "TEXAS HOLD 'EM" and "16 CARRIAGES" in February, country newcomer Tanner Adell readily tossed her cowgirl hat into the ring to become Queen Bey's next collaborator. "I hope Bey decides to sprinkle me with a dash of her magic," she pitched in a tweet that has now garnered more than four million views.

Adell's music is reminiscent of Beyoncé's own empowered narratives, particularly the 2023 single "Buckle Bunny," which even declares that she's "Lookin' like Beyoncé with a lasso." Like Breland, Adell brings a hip-hop flair to country music, exemplified by the thumping beats and rap-inspired singing of "Buckle Bunny."

As artists like Adell, Breland, Kane Brown, and more continue to push the boundaries of the country genre, they'll also remind listeners of its rich lineage in Black culture — past, present, and future.

Why 2024 Is The Year Women In Country Music Will Finally Have Their Moment

Abigail Hali Ng contributed to this story

The 2025 GRAMMY U Fall Summit Presented by Mastercard returns to Nashville, Tennessee this October. The two-day event will offer a multitude of opportunities for connection and inspiration, showcasing the many ways young professionals can get involved with and grow in the music industry. 

The 2025 GRAMMY U Fall Summit kicks off on Oct. 23 at the National Museum of African American Music, and will be held in collaboration with the Black Music Collective. GRAMMY U Members will learn from trendsetting artists including Rico Nasty, Mickey Guyton, Tayla Parx, Tanner Adell, and Brittney Spencer. They will also have the opportunity to grow their networking skills and connect with leaders from the Recording Academy, Mastercard, Concord Music Publishing, Big Loud, Amazon Music and more industry organizations. 

Day two of the Summit commences on Oct. 24 at Riverside Revival, where  GRAMMY-winning singer/songwriter Maren Morris will offer a keynote presentation moderated by singer/songwriter and producer King Princess. The Summit will conclude with a closing reception where GRAMMY U members can reflect on two days of career advice and development. This year’s GRAMMY U Fall Summit is Presented by Mastercard with participating sponsor Sony Pro Audio. 

Read on for all the insider details about what to expect at the upcoming 2025 GRAMMY U Fall Summit in Nashville.

Learn To Embrace Your Identity With Rico, Tayla & Tanner

More than ever before, contemporary artists are embracing their sound without the limitations of genres. The "Disruptors by Design: Creating Your Sound" panel, which kicks off the first day of the Summit at 2 p.m. will lean into the experiences of multiple artists who have done just that.

Known for her vocal range, genre fluidity and high-energy performances, rapper and songwriter Rico Nasty innovates her sound through her lived experiences. Singer/songwriter Tanner Adell — who collaborated with Beyoncé on her Cowboy Carter track "BLACKBIRD" — has paved her own way in country music and continues to redefine the spaces she's in.

Alongside the GRAMMY-nominated singer/songwriter and producer Tayla Parx, the three will discuss how artists are openly blending cultures, sounds, and identities during the panel.

Level Up Your Networking Skills

Networking is an integral part of succeeding in the music industry. While there are countless avenues to reach contacts, there's often limited time to create meaningful relationships. 

In GRAMMY U’s first-ever two-part curated networking experience, held on Oct. 23, members will learn advanced networking strategies and advice from valued sources. Industry professionals will share their experience during the "Perfect Pitch: How to Make a Lasting Impression and Build Relationships" panel, which will lead into a networking mixer where attendees can practice their new skills.

The session will feature panelists Latoya Bennett-Johnson, VP of Global Partnerships at Mastercard, Serena Lloyd, VP of Human Services at Big Loud, Ryan Madora, Bassist, Author & Content Creator, and moderator Jess Omokheyeke, Executive Assistant and Project Manager, DEI, Recording Academy. The four will provide insight from varying angles — industry executive, aspiring artist and established musician — and explore  the pathways to making connections as well as strategies to maximize interactions in person and online.

Members will have the chance to put these learnings into action during the networking mixer to follow, hosted by the GRAMMY U Mentorship Program Presented by Amazon Music. This signature GRAMMY U experience gives members the opportunity to connect directly with mentors from music companies like the Recording Academy, Amazon Music, Mastercard, Concord Music Publishing, Jump.Global, mtheory, MusiCares, and more. The curated networking session includes guided prompts that turn introductions into opportunities, helping members feel comfortable and confident as they make professional connections that could shape the next chapter of their careers.

Gets Up Close & Personal With Mickey Guyton

Closing out day one of the Summit, four-time GRAMMY nominee Mickey Guyton will take the stage for a special Q&A moderated by fellow singer/songwriter Brittney Spencer, followed by a performance by Guyton. 

Guyton, who previously delivered a powerful performance during the GRAMMY Salute to Cyndi Lauper, made history as the first Black woman nominated for Best Country Solo Performance with her breakthrough single "Black Like Me." Her fearless storytelling and commitment to representation have redefined the sound and soul of Nashville. Together Guyton and Spencer will reflect on their creative journeys, including Spencer’s collaboration with Tanner Adell on Beyoncé’s "BLACKBIRD" as well as Guyton’s upcoming solo work — and share how they continue to use their musicality and storytelling to inspire others. 

Spend An Evening With Maren Morris

Maren Morris is celebrated for revitalizing modern country music with authenticity and depth. The Texas-born and Nashville-based singer/songwriter will discuss what she's learned throughout her long music career, as well as the many hats she’s had to wear in the industry. 

In a conversation moderated by indie/pop artist and actor King Princess, Morris will share how she began her career as a songwriter, then share how she established herself on stage before thousands. Known for her unapologetic lyrics, with breakout hits like "My Church," Morris has built a career defined by authenticity. In this keynote interview, she'll open up about creativity, growth, and the skill it takes to stand in the spotlight in one's own story. 

Livestreamed on the Recording Academy's YouTube and Twitch at 6:30 p.m. CT on Oct. 24, "Finding Your Voice with Maren Morris" celebrates artistry, self-emergence, and the ongoing transformation of one of Nashville's most influential voices.

Morris will then perform exclusively for the GRAMMY U member audience. 

Celebrate The GRAMMY U Community

Following the keynote conversation and performance by Morris, attendees can join the Fall Summit closing reception — a two-hour celebration of connection and community, with sounds by GRAMMY U member DJ Coleman Christian. 

From GRAMMY U photo activations to mingling with other GRAMMY U members — the reception will provide a fitting end to a Summit designed to empower and connect the future generation of music industry professionals and creatives.

GRAMMY U members can register for the 2025 GRAMMY U Fall Summit taking place in Nashville, Tennessee October 23-24 here by Tuesday October 21. If you’re not a member, learn how to apply at grammyu.com.

For members who can’t attend in person, tune into the keynote conversation on the Recording Academy’s YouTube and Twitch channels from wherever you are. 

Plenty of musical magic is in the air as Twenty One Pilots, j-hope and GloRilla, Gunna and more release buzzy new singles just in time for Friday the 13th.

Elsewhere, India Shawn hits the "Kill Switch," Chris Brown puts on a "Holy Blindfold" in the wake of his GRAMMY win for Best R&B Album, and David Byrne delivers a relatable message for all kinds on "Everybody Laughs." Plus, Tanner Adell sheds her "Snakeskin," Tyla adds her part to the Smurfs soundtrack with "Everything Goes With Blue," G Flip drops a "Big Ol' Hammer," Will Smith follows up Based on a True Story with "Pretty Girls," and Zach Top gets ready for a summer filled with "Good Times & Tan Lines."

As far as new albums go, Calum Hood branches outside his work with 5 Seconds of Summer with his debut solo LP ORDER chaos ORDER, King Gizzard & The Lizard Wizard take a trip to Phantom Island, and Lil Tecca gives fans a major hit of DOPAMINE. What's more, The Cure offers a remix collection, Mixes of a Lost World, to benefit the nonprofit War Child UK; Brandon Lake praises the King of Hearts with his latest God-fearing set; Dierks Bentley celebrates his Nashville community on Broken Branches; CKay follows up 2024's Emotions with a six-song EP, CKay the Second; and Van Morrison unveils the 47th studio set of his legendary career in the form of Remembering Now.

There's a drove of exciting K-pop releases to enjoy as well, with ITZY and ATEEZ each dropping a new mini-album apiece and LE SSERAFIM serving up an English version and video game-themed visualizer for their latest single "Different."

Below, press play on 10 new releases, including summer-ready singles from Kane Brown, Mark Ronson and RAYE, Kehlani and others.

While their last album, 2024's Clancy, was originally meant to be the conclusion of the high-concept story Twenty One Pilots has been telling since their Blurryface days, the band will dive once more into the Breach on their upcoming eighth full-length.

Lead single "The Contract" picks up right at the cliffhanger that ended Clancy's "Paladin Strait," with Blurryface's hands around protagonist Clancy's throat. From there, frontman Tyler Joseph suddenly finds himself and bandmate Josh Dun surrounded by sinister, red-eyed apparitions as he sings "I don't sleep much, that's crazy, how'd you know that?/ Keep myself up, that's maybe how you know that/ Promises and contracts I used to keep."

While the visual ends with Dun handing Joseph the red-and-black uniform seen on the cover of Breach, fans will have to wait until the album drops this fall to find out how Clancy's epic five-album saga ends. 

Watch: Twenty One Pilots Drop Their Pants After Winning A GRAMMY In 2017 | GRAMMY Rewind

"You are now tuned in to the one and the only…j-hope!" Continuing his red-hot string of solo singles, Hobi joins forces with GloRilla on "Killin' It Girl."

Built over a minimalist hip-hop beat, the new song gives the lovestruck BTS member plenty of space to hype up a new paramour he's fallen for at first sight. "Runway ready, gotta get some confetti/ 'Cause we gotta celebrate like it's your birthday/ Looking like a twenty from Korea to Miami/ Oh, I wanna get with you in the worst way," he sings before GloRilla takes over with a verse that keeps her stiletto firmly on the track's proverbial neck. 

"Killin' It Girl" also receives the music video treatment with a choreography-filled visual filmed on location by the K-pop idol in Thailand.

Read More: Breaking Down Every Solo Act From BTS: Singles, Debut Albums & What's Next For The Septet

A mere eight months after releasing Gold in October 2024, ITZY is back with their tenth EP, Girls Will Be Girls, a five-track mini-album the K-pop girl group unveiled at the start of the week on June 9.

The quintet kicked off the release with the music video for the lead single "Girls Will Be Girls." The visual is both dark and glamorous as Yeji, Lia, Ryujin, Chaeryeong, and Yuna fight off an angry swarm of dive-bombing black creatures with giant wings — and even bigger eyeballs — in between dance breaks, action sequences and the repetitive refrain of the track's irresistible chorus. 

Read More: 10 K-Pop Artists Who Recently Went Solo: Minnie, Yeji, Mark & More

Kane Brown is ready for all kinds of fancy footwork on his new single "2 Pair," a boot-scootin' boogie that has the country singer jonesing for a night out dressed in "two pairs of Luccheses, all-white shirt and some bootcut jeans" while shouting out Nelly.

Perfect for summer, the line dance loosey marks Brown's first one-off since dropping his fourth album, The High Road, earlier this year — which featured singles "I Can Feel It," the Marshmello-assisted "Miles on It," "Backseat Driver" and the sultry "Body Talk" with his wife Katelyn Brown.

Read More: A Brief History Of Black Country Music: 11 Important Tracks From DeFord Bailey, Kane Brown & More

ATEEZ add to their ongoing series of GOLDEN HOUR EPs with the five-track GOLDEN HOUR: Part.3 — the K-pop boy band's first release as a group in 2025 following member Hongjoong's recent guest feature on Odetari's "SMB" from earlier this year.

The EP comes complete with a sweat-soaked music video for lead single "Lemon Drop," which had already racked up more than four million views within hours of its premiere. "You're the kind of muse I admire/ You inspire, yeah," Yunho croons on the track before bandmate Mingi grabs the mic for a tongue-twisting, bilingual verse that has him urgently rapping, "Emergency, emergency, you put me in an emergency" before switching to his native Korean without a hitch.

In a sweep of orchestral strings, Kehlani launches into the groove of their new single "Folded," a conflicted slow jam that delves into the reality of an off-and-on relationship the R&B star just can't seem to walk away from for good.

"I don't need no more empty promises, promise me that you got it/ I don't need roses just need some flowers from my garden," the five-time GRAMMY nominee sings before desperately imploring, "Can't you go back to how you loved on me when you started?/ I'll be here begging for ya, you should be giving me love/ All damn day til the day is done."

Read More: Crashing Into The Present: How Kehlani Learned To Trust Their Instincts And Exist Loudly

Good luck getting in Gunna's way on "Won't Stop," his first solo single of 2025 after recent collaborations with the likes of Werenoi ("Gulfstream"), Wiz Khalifa ("5 Star") and Turbo ("Classy Girl").

The rapper's ultra-smooth flow is front and center on the Turbo-produced track as he effortlessly spits, "I thought I told you time and time again, this s— won't stop/ I backend show by show, I'm tryna triple and double the pot/ Booked for at least six figures a show or more, put him on now."

With the infectious cheerleader chant of lead single "Pretty Ugly" still echoing in fans' ears, Zara Larsson unfurls the title track to her fifth studio set, Midnight Sun.

Over plinking, jangly production from producers Margo XS and MNEK, the Swedish pop singer lays out the LP's sunshiney centerpiece as she sings, "Summer isn't over yet/ Skinny-dipping with your heart out, it's my favorite part now/ We ain't gotta tell no one/ A never-ending midnight sun/ A never-ending midnight sun." Eventually, the beat drops with such hypnotic force that the track's climax feels like staring directly into, well, a midnight sun.

Rising country singer Kashus Culpepper enlists recent four-time GRAMMY winner Sierra Ferrell for "Broken Winged Bird," his fifth single of 2025 following the likes of "Jenni," "Talk With Me," "Southern Man" featuring Marcus King, and "Man Of His Word."

The two stars' voices harmonize gorgeously on the mostly acoustic yarn, as they ruminate over nursing a broken flame back to health and love lost on the southern wind. "Broken wing bird/ Hanging off of my windowsill/ Gonna love you until/ You fly away," the Alabama native — and Big Loud Records signee — warbles over strumming guitar before Ferrell completes the verse by comparing the titular sparrow to a girl she knew who came crashing down to earth.

Read More: 25 Artists To Watch In 2025: Ca7riel & Paco Amoroso, John Glacier, Lola Young & More

Mark Ronson and RAYE are a match made in musical heaven on "Suzanne," an enchanting throwback jam the duo recorded for APxMusic to celebrate the 150th anniversary of luxury Swiss watchmaker Audemars Piguet.

Given RAYE's retro-tinged vocals and the song's femininely named title, comparisons to Ronson's work with Amy Winehouse on "Valerie" are practically inevitable, but "Suzanne" delivers a much dreamier, more laid-back vibe than that 2007 hit's swinging, horn-blasted groove. "We wanted to make a song that sounds like a perfect summer day with your first crush.. so good maybe it was a dream after all?" the 9-time GRAMMY-winning producer revealed ahead of the song's release on social media. Good thing "Suzanne" isn't a dream after all, because mission accomplished.

Whether viewed via a cardboard sleeve, plastic jewel case, or online thumbnail, the album cover can be pivotal to the perception of the music it envelops. After all, long before a single note has been played, it essentially serves as a record's first taster. None more so than in the pre-streaming, crate-digging age when consumers had to venture into brick-and-mortar stores, often relying on little more than an eye-catching image to choose their latest pet sound. Now, in time for the 2026 GRAMMYs, the Recording Academy has added a new Category celebrating what is very much an art form in its own right.

The concept of adding artwork to an album cover is credited to Alex Steinweiss, an art director hired in 1938 by Columbia Records to make the typical brown paper bags a little more aesthetically pleasing. By the end of the following decade, the practice had become commonplace, and pretty soon, creatives such as Neil Fujita, Bob Cato and Reid Miles were able to build entire careers on making vinyl pop off the shelf.

Of course, it was when the album format began to take precedence over the hit single that cover art entered its dominant era. The Beatles, the Rolling Stones, and every other artist that spearheaded the rock and roll revolution recognized the power that a 12" sleeve could hold. The psychedelic, prog-rock and heavy metal scenes became particularly enamored, too, adorning their musical masterpieces with elaborate imagery left open to copious amounts of interpretation.

Although much smaller in size, the album cover continued to thrive throughout the advent of the cassette tape and then the compact disc, with designers — including portrait photographer Annie Leibovitz, Dutch film director Anton Corbijn, and kitsch guru David LaChapelle — simply adopting different techniques to wow the crowds. And while the rise of the internet has reduced the eyeball space even further, artists are still keen to ensure that their visual representation aligns with their sonic.

No doubt that the debate over who should win Best Album Cover at the 2026 GRAMMYs is already starting. In honor of the new Category — as well as some other exciting changes for next year's telecast — GRAMMY.com revisits some of the covers that have made a mark on pop culture since the first GRAMMYs in 1959. From simple portraits to fantastical collages, here's a look at 34 that are arguably just as memorable, if not more, than the albums themselves.

Read More: 5 Reasons Why The 2026 GRAMMYs Updates Are Game Changers

1960s

Jimi Hendrix — Are You Experienced

The Jimi Hendrix Experience gave us two classic album covers for the price of one with their game-changing 1967 debut. Shot by Bruce Fleming, the original U.K. sleeve featured its eponymous frontman adopting a Dracula-like stance next to bandmates Noel Redding and Mitch Mitchell. But for its North American release, Karl Ferris repositioned the trio as a "group travelling through space in a Biosphere on their way to bring their unworldly space music to earth." Taken at Kew Gardens via the du-jour style of the fisheye lens, its deeply psychedelic aura was considered a much better fit for the Summer of Love.

The Beatles — Abbey Road

The Beatles literally stopped traffic while shooting the cover that turned an otherwise unremarkable London street into a tourist landmark. The Fab Four had initially planned to hike up the Himalayas for their 11th LP, but eventually decided a zebra crossing walk outside their EMI recording studio would suffice. Photographer Iain MacMillan was given just 10 minutes to capture the legends in all their sharp-suited — and in Paul McCartney's case, barefoot — glory. Of course, the Merseysiders' entire back catalog could have graced this list. But despite their label's concerns over the lack of a title or band name, it's Abbey Road's portrait of both unity and individuality that remains the group's defining image..

The Doors — Morrison Hotel

In one of those remarkable twists of popcultural fate, Ray Manzarek just happened to stumble across an L.A. establishment with the exact same name of the album he was scouting cover locations for. It needed a spot of subterfuge, however, for the stars to truly align. Indeed, with its front-of-house receptionist unwilling to play ball, The Doors and photographer Henry Diltz had to wait until he was called away, and in a matter of just seconds, snap the contemplative window gaze that ironically would put the Morrison Hotel on the global map.

Velvet Underground & Nico — Velvet Underground & Nico

No-wave pioneers Velvet Underground and self-proclaimed "Chelsea Girl" Nico also omitted their names on the cover to their seminal self-titled debut, allowing its designer to take full credit instead. After all, it was Andy Warhol's idea to represent their magnum opus with the image of a moldy banana, and on its early pressing, tempt record buyers to "peel slowly and see." It was a typically playful approach that counterbalanced the dark and discordant sounds hidden within. This is the moment where modern art and modern pop truly collided.

1970s

Cream — Disraeli Gears

Australian artist Martin Sharp certainly ensured that Cream's second album Disraeli Gears stood out from the crowd. The multi-talent, who also co-wrote Side B's opener "Tales of Brave Ulysses," attempted to capture its fluorescent sound with a decidedly trippy collage of colors, florals and photos taken in London's Hyde Park and Scotland's Ben Nevis. Presiding over all the organized chaos are the trio themselves, including an atypically clean-shaven Eric Clapton, positioned like the Mount Rushmore of psychedelic rock.

Joy Division — Unknown Pleasures

The Cambridge Encylopaedia of Astronomy might not initially appear to be the stuff of British post-punk history. But it was while perusing the 1977 tome that Joy Division guitarist Bernard Sumner spotted a series of pulsar radio waves that subsequently became the scene's defining image. With a little help from Factory Records designer Peter Savile, who reversed the original's black and white lines to make it look 'sexier,' the cover perfectly encapsulated the stark, atmospheric and curious nature of the Mancunians' cult classic Unknown Pleasures, and nearly a half-century on, it remains a T-shirt favorite.

Pink Floyd — The Dark Side of the Moon

A Black Magic chocolate box was the brief given to album cover maestros Hipgnosis for Pink Floyd's pièce de résistance The Dark Side of the Moon. Just as they'd done with their previous collaborations with the prog-rockers, designers Aubrey Powell and Storm Thorgerson thought completely outside the box — or should that be prism — using a striking combination of colors and physics for a sleeve that perfectly reflected the group's visually dazzling live shows. It's an image that has become synonymous with the Brits more than any other, proving that sometimes, the simplest ideas really are the best.

The Clash — London Calling

"Unfortunately, you always sort of tend to destroy the things you love," bassist Paul Simonon once remarked, referring to the iconic cover of The Clash's London Calling. The bassist had smashed his guitar to smithereens during a 1979 gig at New York's Palladium in frustration of some overzealous security. And while photographer Pennie Smith believed her snap — accompanied by green and pink lettering inspired by Elvis Presley's self-titled debut — was too out of focus to grace the double album, it proved to be the perfect visualization of punk rock's defiance.

The Rolling Stones — Sticky Fingers

Four years after his banana peel stunt, Andy Warhol once again toyed with the concept of the album sleeve for the Rolling Stones' ninth LP Sticky Fingers. This time, he incorporated a working zipper and perforated belt buckle which, when opened, revealed a pair of white briefs emblazoned with his famous name. Contrary to popular belief at the time, the crotch in question didn't belong to the group's rubber-lipped frontman. Not that designer Craig Braun was forthcoming in quashing the rumor: "If girls think that that's Mick's d—, we're going to sell more albums," he later admitted about the gimmick, which took cover artwork to new provocative heights.

Willie Colón — La Gran Fuga

"Armed with Trombone and Considered Dangerous," cautions the cover of Willie Colón's collaborative album La Gran Fuga (The Big Break) in an inspired mock-up of a Most Wanted poster. Committing to the bit, designer Izzy Sanabria also throws in a cheap "mugshot"-style photo of the salsa pioneer, a series of fingerprints, and a warning that his musical partner in crime, Puerto Rican singer Héctor Lavoe, is on the run, too. In fact, the whole charade was so convincing that the very real FBI insisted their name be removed from the sleeve. This was album artwork at its most tongue-in-cheek.

1980s

Bruce Springsteen — Born in the USA

Sporting the classic white T-shirt and denim jeans (alongside a pocketed red baseball cap), Bruce Springsteen embodied the All-American hero while posing in front of the Stars and Stripes for his seventh LP Born in the USA. Much to photographer Annie Leibovitz's chagrin, however, The Boss' brooding features remained entirely out of view. "In the end, the picture of my ass looked better than the picture of my face," he later admitted about the cheeky artwork that found its way into 30 million homes.

N.W.A. — Straight Outta Compton

Firmly living up to their tag of the "world's most dangerous group," the cover of N.W.A.'s debut, Straight Outta Compton, saw the rappers in full-on gangster mode. All six members look ready and willing to send their unseen victim — "I just lay on the ground and they pointed what hopefully was an unloaded gun down at the camera," photographer Kevin Poppleton later quipped — sleeping with the fishes. But it's Eazy-E who's got his hands on the trigger in a truly menacing cover that foreshadowed all the lyrical and sonic aggression ahead.

Run-D.M.C. — Raising Hell

"I hate to admit it but there wasn't a 'concept' concept for that album," art director Janet Perr has admitted about her work on Run-D.M.C.'s mainstream breakthrough. Yet it was by capturing the hip-hop pioneers at their true essence, without any bells or whistles, that made Raising Hell's artwork so authentic. Although their signature Adidas trainers are out of sight, Joseph "Run" Simmons and Darryl "D.M.C." McDaniels (not officially signed to their Profile Records label, Jam Master Jay was restricted to the back cover) still ooze Hollis cool.

Talking Heads — Remain in Light

Talking Heads' Chris Frantz and Tina Weymouth drew upon the knowhow of the Massachusetts Institute of Technology to create one of the first computer-generated album covers. Relegating their initial plans of a warplane collage to the back, Remain in Light instead splashes portrait photos of all four members with crude red 'paint' for a disturbing image that makes them resemble bloodied bank robbers. The inverted "A"s in the group's name only adds to the sense of unease.

1990s

2 Live Crew — Banned in the USA

From a distance, there's nothing particularly remarkable about the artwork for 2 Live Crew's fourth album. It's essentially just the group standing in front of the American flag in typical hip-hop attire. But shift your gaze toward the bottom right-hand corner and you'll notice a black and white sticker designed to ward off, but which only ever really enticed, the young and impressionable. Indeed, Banned in the USA was the first ever album to come equipped with a parental advisory sticker. By 1992, another 224 records had joined the potty-mouthed club; the sticker is still used in today's physical market, while streaming services will apply a similar "Explicit" tag to any tracks considered family-unfriendly.

blink-182 — Enema of the State

blink-182 promoted their second album Enema of the State with a blend of toilet humor and scantily clad visuals that perfectly aligned with the success of American Pie. The Californians apparently didn't know that model Janine Lindemulder — who they also chased in the promo for "What's My Age Again" — was in the adult entertainment industry when she was selected to brandish the blue glove in a provocative nurse's outfit. But a generation of hormonal teens, who ensured the cover art adorned more bedroom walls than any other at the turn of the century, thanked them anyway.

Britney Spears — ...Baby One More Time

While most international audiences saw a solemn Britney Spears praying angelically for the cover of her all-conquering debut album, her homeland's fans were treated to a more carefree image that better reflected her Mickey Mouse Club past. The teen princess looks the height of innocence as she kneels down smiling while surrounded by pastel pink. ...Baby One More Time's cover art essentially signaled an era in which pop became a playground for the girls (and the boys) next door.

Jay Z — Reasonable Doubt

Photographer Jonathan Mannion had planned to give Jay-Z's debut album a "Miami Vice meets the monarchy" look when it was titled Heir to the Throne. But on rechristening its vivid hustler tales Reasonable Doubt, it was decided that instead of flashy Versace suits, the Jigga Man should adopt a classic mafia persona instead. You might not be able to clearly see the rapper's face, but his hat, scarf and cigar instantly prove that he means business. And as Jay's first official studio album, Reasonable Doubt's powerful cover set the tone for how he would soon revolutionize the hip-hop world.

Lauryn Hill — The Miseducation of Lauryn Hill

Lauryn Hill went back to school to help sell the solo debut that promised a glittering career ahead. Indeed, alongside photographer Eric Johnson, the ex-Fugees singer returned to her New Jersey alma mater for a series of hallway, classroom and bus shots that tied in with the album title's theme. But it was the woodshop that appeared to inform The Miseducation's front cover, with Hill's familiar face cleverly made to look as though it had been etched on a timber desk. It's still one of the hip-hop scene's most unique covers, and perhaps all the more special because the multiple GRAMMY winner has still never been properly followed up.

Nirvana — Nevermind

Spencer Elden became the world's most famous baby in 1991 when an image of his naked four-month-old self swimming underwater (and chasing a string-tied dollar bill) adorned grunge's ultimate blockbuster.Nirvana's defiant Kurt Cobain, who'd conceived the idea after watching TV footage of water births, refused to cover the youngster up, insisting the only sticker he'd allow is one reading, "If you're offended by this, you must be a closet pedophile." Unfortunately, despite previously celebrating his contribution to Nevermind's success, the grown-up Elden is now trying to sue the band for "lifelong damages." Even so, it remains one of rock music's most striking (and unforgettable) images.

2000s

Amy Winehouse — Back to Black

"Amy was four hours late. She'd been partying all night. But she still managed to be cool and crazy." Photographer Mischa Richter certainly appeared to get the full Amy Winehouse experience when shooting the soul singer for the future GRAMMY-winning Album Of The Year Back to Black. Without knowing it, she also brilliantly captured the record's essence in a snap at her very own London home. Richter had no idea of the album's title when she snapped Winehouse in a darkroom adorned with blackboard paint. Showing little sign of the troubles ahead, the simple but effective image remains one of the most indelible of her tragically short career.

Gnarls Barkley — St. Elsewhere

Super producer Danger Mouse and soul man Cee Lo Green concocted a wild backstory for their chart-topping side project, claiming that Gnarls Barkley was a pal of Isaac Hayes, a former boyfriend of Mariah Carey, and a one-time English teacher for electro wizards Kraftwerk. Little surprise, therefore, that the cover for their debut album St. Elsewhere is similarly madcap, its nuclear explosion producing a cloud filled with everything from skyscrapers and speared army helmets to palm trees and purple tigers. It's a piece of art that practically demands listeners to give it their undivided attention.

Kanye West — The College Dropout

Conceptualized by Roc-A-Fella's in-house designer Eric Duvauchelle, The College Dropout promoted Kanye West's cuddly yet despondent looking mascot from single ("Through the Wire") to album cover. The Dropout Bear would also grace the rapper's follow-ups Late Registration and Graduation, the latter in animated form. But it's on the bleachers of a high school gym, surrounded by an array of 16th century gold ornaments, where the bear subverted hip-hop's typically macho posturing the most effectively.

*NSYNC — No Strings Attached

No one could accuse *NSYNC of failing to commit to their sophomore's puppet-master concept. As well as playing marionettes in the video for third single "It's Gonna Be Me," the boy band also tied themselves up by strings on its theatrical cover art. Justin Timberlake and co. were, of course, alluding to the domineering presence of RCA and their controversial former manager Lou Pearlman, both of whom they'd also been involved in lengthy lawsuits with. More than 2.5 million Americans instantly bought into No Strings Attached's metaphor, breaking a Billboard record for first-week sales.

Outkast — Stankonia

The American flag once again adorned an iconic album in 2000, although it looked noticeably different to the one raised for Born in the USA. Outkast not only inverted its famous stars, they also swapped out its red and blue for black, a monochromatic color scheme that helped the hip-hop duo take center stage. A shirtless, leather pants-clad André 3000, very much looking like a Jimi Hendrix-esque rock star, and a more casually dressed Big Boi adopt very different poses, perhaps reflecting Stankonia's billing as a utopia where "you can open yourself up and be free to express anything." It takes a brave act to tamper with the Stars and Stripes, but the sleeve proved that few hip-hop acts are as fearless.

Shakira — Fijación Oral, Vol. 1

Who better to take inspiration from than the universe's first ever woman? Shakira was so enamored with the idea, she played Eve on the cover of Fijación Oral, Vol. 1 and its swiftly issued sequel. It was the former's more grounded cover that packed the biggest punch, however, as the Colombian, donning a see-through gown while holding a baby girl in her arms, fought back against the idea that women can't balance motherhood with a career.  . And though there wasn't an opportunity for Shakira to win a GRAMMY for Best Album Cover back then, Fijacion Vol. 1 did earn her both GRAMMYs and Latin GRAMMYs in 2006, including Album Of The Year at the latter.

2010s

Billie Eilish — WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?

Taken on her 17th birthday, the cover for her debut album instantly confirmed that Billie Eilish wasn't your average teen starlet. Sporting pure white contact lenses while posing demonically on a bed that had been plunged into darkness, the deliberately eerie artwork looked more suited to a classic '70s horror than a '10s big pop girl. WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? Eilish asked. This pure nightmare fuel suggests we didn't want to know the answer.

Katy Perry — Teenage Dream

After approaching the aptly named confectionary-based artist Will Cotton with the sole intention of buying a painting, Katy Perry was then persuaded to pose for one instead. The result, which sees the chart-topper lying nude in a cloud of pink cotton candy, ended up gracing the cover of the seven-time GRAMMY nominee Teenage Dream. Committing even further to the sweet concept, a limited number of sleeves were also sprayed with a bubblegum-like scent. Perry continued to apply its vivid color scheme throughout her imperial phase, inspiring numerous other big pop girls to embrace their playful, irreverent side, too.

Kendrick Lamar — To Pimp a Butterfly

Just as provocative, thought-provoking, and proudly confrontational as the Best Rap Album GRAMMY winner itself, the cover for To Pimp a Butterfly transports the hip-hop house party to the ultimate house. "Just taking a group of homies who haven't seen the world and putting them in these places that they haven't necessarily seen ... and them being excited about it," is how Kendrick Lamar described the monochromatic snap taken on the presidential lawn. The fact that the rapper's shirtless, cash-waving posse (and a baby) are surrounding a dead white judge, however, suggests that their jubilance is far more politically charged.

Rihanna — Anti

It's now been nine years since Rihanna committed to a full-length studio effort. But if Anti does prove to be Rihanna's last ever album cover, then she sure went out in style. Roy Nachum's striking artwork presents the Barbadian not as a world-famous adult, but a balloon-holding girl attending her first trip to daycare while blindfolded by a gold crown. "Sometimes the ones who have sight are the blindest," the superstar explained about the sleeve, which also came accompanied with a Chloe Mitchell poem written in Braille. It was a design that expertly reflected Rihanna's evolution from teen R&B princess to serious artiste.

2020s

Bad Bunny — Un Verano Sin Ti

Designed in conjunction with the L.A. graphic artist known as Ugly Primo, the cover for Bad Bunny's Un Verano Sin Ti is perhaps best described as "happy sad." On one hand, there are palm trees, sun rays, and dolphins gliding through the air. On the other, there's a despondent, one-eyed heart who looks like they'd rather be anywhere else. Adopting a coloring book visual style, the sleeve perfectly encapsulated the record's concept of "a summer without you." Perhaps the most remarkable thing about the album's (and it's cover's) melancholic themes is its juxtaposing success: Un Verano Sin Ti went on to become the first entirely Spanish album to top the year-end Billboard 200, and the first to receive an Album Of The Year GRAMMY nod.

Beyoncé — RENAISSANCE

Having recently appeared to ditch the concept of music videos, the album cover has now become Beyoncé's dominant method of expressing herself visually. And she certainly pulled out all the stops for her dance floor-focused seventh LP, RENAISSANCE, straddling a horse constructed from mirrored disco balls while sporting a silver, helix-shaped bodysuit. Shot by Dutch fashion photographer Carlijn Jacobs, the sleeve inevitably drew comparisons with both Lady Godiva and Bianca Jagger's iconic equine entrance at Studio 54, cementing Beyoncé as today's ultimate style icon.

Charli xcx — brat

There's not many album covers that can claim to have owned an entire season. But the lime green (Pantone 3507C, to be precise) artwork for Charli xcx's zeitgeist-defining sixth LP did just that, spearheading what would become known as Brat Summer. "I wanted to go with an offensive, off-trend shade of green to trigger the idea of something being wrong," the party starter explained about the remarkably effective sleeve that, despite its apparent simplicity, took five months to execute. The fact that everyone from the London Mayor to Kamala Harris adopted the same aesthetic proved it was very right.

The Weeknd — After Hours

The Weeknd certainly committed to the visual concept for fourth LP After Hours, which began with the red-suited star staggering around Vegas in the video for "Heartless" and concluded alongside an army of bandaged dancers at the Super Bowl. The R&B lothario also portrayed the character "having a really bad night out" on its cover, hence the blood, bruises and slightly Joker-esque grin that suggests he's actually reveling in all the chaos. Ultimately, it proved that the humble album cover could still cause a stir.

Editor's Note: This article was originally published on June 21, 2023, and was updated on June 11, 2025 with the additions of Chappell Roan and Lady Gaga.

"I want to shout out every single person in this community. You guys, we're the f—in' lifeline of the world, I'm not even kidding. Happy Pride, everybody," Troye Sivan declared on stage on June 6.

Along with Jennifer Lopez, the pop star was headlining the World Pride Music Festival, where artists like Kim Petras, RAYE, RuPaul, Betty Who, Paris Hilton, and MARINA all descended on Washington D.C. to mark 50 years of Pride celebrations in the nation's capital. 

Music has always been a safe haven for gay and trans people of all kinds — from the closeted kids in Middle America finding sanctuary in the songs of their favorite pop stars, to the out-and-proud artists forming the soundtrack for the next generation of LGBTQIA+ fans. And Pride has always been a special time of the year to celebrate visibility and inclusion in the music industry — a place where everyone deserves to show up and be seen (and heard!) as their authentic self, and where every proverbial note, melody and harmony make up a beautiful and unique soundtrack that can only be yours.

Recently, queer musicians and allies who use their platforms to stand up for the LGBTQIA+ community have felt more important than ever. Blatant anti-LGBTQIA+ sentiment continues to sweep the country, from hundreds of anti-LGBTQIA+ bills being introduced in state legislatures across the nation, to the Department of Defense purposely stripping legendary gay rights advocate Harvey Milk's name from a Navy ship during Pride, to states like Utah starting to ban Pride flags in schools and government buildings. But those who stand for the community are fighting even harder.

As Pride month carries on, GRAMMY.com has rounded up a list of eleven LGBTQIA+ artists, allies and bonafide gay icons who've made advocating for the community a central tenet of their music, their words and their actions. Of course, there are dozens to highlight, but take a look at how queer artists like Sivan and Lady Gaga and allies like Taylor Swift and Madonna have helped fans shine as their authentic selves.

Read More: Pride Month 2025 Playlist: Listen To Unabashedly Queer Songs By Chappell Roan, Billie Eilish & More

ARTISTS

Betty Who

In June 2023, the indie pop star received an invitation directly from Joe Biden to perform at the White House's official Pride Celebration, where the then-President formally announced his administration's plan titled New Actions to Protect the LGBTQIA+ Community.

"Today was the biggest pride celebration ever held at the white house and i got to be a part of it!!!!!!!!" Betty, who identifies as both queer and bisexual, wrote afterwards on social media. "What an honour it is, how proud i am to be part of the lgbtqia+ [community]...queer joy spouting everywhere!!!"

A staple on the roster of Pride events across the country every year, Who shared an empowering message ahead of hitting the stage at World Pride in Washington D.C. two years later. 

"To my LGBTQIA+ sisters, brothers, everyone in between, in the community: don't give too much of your time and energy to the people who don't get it," she said in a May 2025 interview with PRIDE. "Try and save it all for the people who do, and celebrate you for who you are. Because those are the people who reflect back to you what a special and amazing person you really are… You can't let other people hold you back from living your life and feeling the joy that you absolutely deserve to feel." 

Big Freedia

In 2023, Big Freedia was honored by PFLAG — the nation's longest-running LGBTQIA+ organization — with its first-ever National Breaking Barriers Award. The honor is meant to shine the spotlight on "an individual who uses their platform to help remove obstacles to LGBTQIA+ and intersectional equality in pursuit of a more just, equitable and inclusive world."

Upon receiving the award, the bounce music trailblazer took to Instagram with a determined message, writing, "There's still so much work to do to fight discrimination and I will continue to work on behalf of our whole community to spread love, acceptance, inclusion and everyone's right TO BE FREE."

In May 2025, Freedia suffered a devastating loss when her partner of 20 years, Devon Hurst, passed away from complications with diabetes. "Happy pride month from me and my guardian angel," the GRAMMY nominee wrote on June 1, captioning a bittersweet photo with her late love to mark the start of another Pride season.

Chappell Roan

"I think throughout the year, I'm like, 'What can I get away with?' Because right now it's pretty tame for what it is like to be a gay artist," Chappell Roan told GRAMMY.com last year. "But I just want to push it to see how far can I go — with the most controversial outfits or things to rile people up. I'm not really afraid to do that."

That mantra has helped Roan become one of pop's current queens and the Best New Artist winner at the 2025 GRAMMYs. The outspoken star, who identifies as a lesbian, has unabashedly weaved her sexuality into her music, whether she's pining for a "Super Graphic Ultra Modern Girl," calling out compulsory heterosexuality in "Good Luck, Babe!," or celebrating the place where she can express her true self in "Pink Pony Club." Her recent single "The Giver" continues that trend: "only a woman knows how to treat a woman right," she declares on the bridge.

She's also championed women's rights and trans rights during performances, using her platform to promote change and to uplift oppressed communities. And as she continues to stake her claim as a household name, Roan is ensuring that queer women are both seen and heard.

Read More: From Dusty To Chappell: A Timeline Of Lesbian & Queer Girl Pop Icons

Lady Gaga

Since the very beginning of her career, Lady Gaga has been a fearless and unwavering champion of her LGBTQIA+ fans and the community at large. After all, there's a reason the superstar, who publicly came out as bisexual in a 2009 interview with Barbara Walters, is called Mother Monster.

As she rocketed up the charts with early hits like "Poker Face" and "Bad Romance," the pop star was unequivocal about her connection to the queer community, whether that meant telling an interviewer on the red carpet that her inspiration came from "God and the gays" or famously dismissing transphobic questions about her own anatomy in a 2011 sit down with Anderson Cooper. (Years later, she admitted her now-famous response to the offensive line of questioning was a conscious and purposeful effort to support any trans or intersex fans who'd found a safe space in her music.)

At nearly every turn, Gaga has used her platform to uplift her queer fans, giving them some of the greatest gay anthems of a generation, from "Born This Way" to "Abracadabra." She launched the Born This Way Foundation with her own mother in 2011, and has been a constant, outspoken advocate for gay rights on the political front — including at the 2025 GRAMMYs, where she declared that "Trans people deserve love" and "The Queer community deserves to be lifted up."

Lil Nas X

Lil Nas X has never been shy when it comes to sticking up for the queer community — and he usually does so with a healthy dose of snarky humor on social media. He's cheerfully clapped back about everything from the explicit queerness of his music videos and his place in the modern pantheon of hip-hop to conservative outrage over Pride-themed merchandise at retailers like Target.

"Can't believe target is supporting this nonsense, im never shopping there again, my son is not 'too cool for school' these shirts are ridiculous. He is going to school and he WILL learn," the GRAMMY winner wrote in a since-deleted tweet in 2023, mockingly referencing the anti-LGBTQIA+ crusaders upset with inclusive and trans-friendly apparel being sold at the popular retailer.

With anti-trans sentiments reaching dangerous new levels in the years since, Lil Nas is giving his fans a momentary escape with flamboyant and fun new singles like "HOT BOX" and "DREAMBOY" while choosing to remain optimistic about the future of the LGBTQIA+ community.

"Everything with the young males being taught these super conservative ways, at least in America: everything is shifting with this rebellious hyper-masculine thing," he told PAPER in April. "I think it's going to work itself out. I think things are going to be fine. 

"I'm not trying to minimize what's happening," he continued. "I just think s— is going to work itself out, especially in the generation where everything is a trend. The second the next thing comes along, it will be like, 'Hey, we don't hate women and gay people anymore. Let's do something else now.'"

Read More: Black Sounds Beautiful: How Lil Nas X Turned The Industry On Its Head With "Old Town Road" And Beyond

Kim Petras

Petras cemented her place as a rising star in the pop music echelon in February 2023, when she became the first trans woman to win the GRAMMY for Best Pop Duo/Group collaboration with Sam Smith for their subversive collaboration "Unholy." (Smith, who identifies as non-binary, also made history with the win, though they graciously ceded the floor for Petras to give her awestruck acceptance speech on the GRAMMYs stage.)

The German pop princess opened up about her experience growing up trans and the vulnerable state of trans youth in the ongoing political climate in the cover story of Out's 2023 Pride issue. "I literally was very suicidal as a kid, and I just wouldn't still be here had my parents not believed me," she told the magazine. "I hate that another generation is going through this, and I hate that young kids are going through the same s— I was going through, and that apparently just isn't changing. I think it's sad. I just never understood why people were so obsessed with what people do to be happy. Just focus on what you can do to be happy."

Petras was booked and busier than ever in 2025, criss-crossing the country to headline major Pride celebrations like Outloud Music Festival at WeHo Pride; World Pride Music Festival in Washington, D.C.; Nashville Pride Festival; Drag Me to Cowboys in Calgary, Alberta; San Diego Pride and more.

Read More: A Legacy Of Pride: Queer Artists Who Changed The GRAMMYs Forever

Troye Sivan

Years before releasing his debut album Blue Neighborhood in 2015, Troye Sivan came out publicly via YouTube. Since then, he's been consistently outspoken about his experiences as a gay artist in the music industry.

The Australia native has made an intentional point in his career of turning his visuals into unapologetic examples of queer art — from the lusty defiance of 2018's "My My My!" and to the "gushy juicy doting adoring power b^tt^m gay ballad" perfection that was 2021's "Angel Baby."

Perhaps most powerful of all, though, was his video for early single "Heaven" featuring Betty Who, which depicted historic moments in the LGBTQIA+ rights movement including some of the earliest Pride parades on record. "We have always been here. we will always be here. this video is dedicated to all those who've come before me and fought for our cause and those who now continue the fight," he wrote in the video's description. "in dark and light times, let's love forever. love, troye x."

Meanwhile, in the last two years, Sivan has established his place as at the very center of gay culture thanks to his 2023 album, Something to Give Each Other, and the headline-making SWEAT Tour with Charli xcx, who also tapped him to collaborate on the 2024 remix of Brat single "Talk Talk."

ALLIES

Beyoncé

Long considered a gay icon in her own right, Beyoncé paid reverential honor to the LGBTQIA+ community and her late uncle Johnny with 2022's RENAISSANCE, an undulating magnum opus inspired by the underground ballroom scene sparked by Black, trans and gay pioneers of the 1970s, '80s, '90s, and beyond.

Queen Bey also held space for queer artists throughout RENAISSANCE's sprawling, hour-long track list, collaborating with TS Madison and Big Freedia, sampling Kevin Aviance and late drag star Moi Renee, working with Honey Dijon behind the boards and more. "Thank you to all of the pioneers who originate culture, to all of the fallen angels whose contributions have gone unrecognized for far too long," the living legend wrote in a note posted to her personal website upon the album's release. "This is a celebration for you."

The most-awarded artist in GRAMMY history revived the spirit of RENAISSANCE during her 2025 COWBOY CARTER TOUR as well, performing fan favorite cuts from the era like "CUFF IT," "THIQUE," "I'M THAT GIRL" and "COZY" during the tour's final two acts. 

Dan Reynolds of Imagine Dragons

Imagine Dragons frontman Dan Reynolds has emerged as a powerful advocate for the LGBTQIA+ community through his nonprofit organization Loveloud and its popular Utah festival, which he launched in 2017 to support LGBTQIA+ teens in the state's overwhelmingly conservative (and outspokenly anti-LGBTQIA+) Mormon community.  

Since then, Reynolds and the Loveloud board — which includes out and proud musicians like Tyler Glenn of Neon Trees, Tegan Quin of Tegan & Sara, VINCINT, Greyson Chance, and Parson James — have expanded Loveloud's mission beyond the Mormonism of the Wasatch front. In 2023, Loveloud morphed into a traveling festival with stops in Austin, Texas (where dozens of anti-LGBTQIA+ laws have been pursued by the state legislature and Gov. Greg Abbott) and Washington D.C., and in 2024, held its first-ever events in New York City, Chicago and Miami after being named to the Out100.

Madonna

What hasn't Madonna done in her iconic career to lift up the LGBTQIA+ community? In fact, there's an entire Wikipedia page dedicated solely to her status as a living gay icon.

Famously, Her Madgesty's love for the gay community started with her early mentor and dance teacher Christopher Flynn. Early in her career, she became one of the first artists to speak out about the HIV/AIDS crisis and decry the stigmatization of gay people at the time.

She's been recognized by the GLAAD Media Awards multiple times, including in 1991 with the Raising Gay Awareness award and in 2019 with the Advocate for Change award. (At the latter ceremony, GLAAD president Sarah Kate Ellis stated, "Madonna always has and always will be the LGBTQ community's greatest ally.")

Naturally, the icon's Celebration Tour throughout 2023 and 2024 felt like one massive tribute to the queer community, whether the icon was paying emotional tribute to the lives lost to the HIV/AIDS crisis with "Live to Tell" or hosting an impromptu ballroom competition every night during "Vogue."

While that global tour has since concluded (with a record-setting concert at Rio de Janeiro's Copacabana Beach, no less), Madonna has continued to celebrate her LGBTQIA+ fans by sharing messages about Trans Day of Visibility and Pride — and promoting the Trans Justice Funding Project — in the lead-up to the release of her long-rumored remix project Veronica Electronica.

Taylor Swift

While she'd slyly referenced her support for the LGBTQIA+ community in the past on songs like "Welcome to New York," Taylor Swift took a public stand in 2019 with her Lover era single "You Need to Calm Down." The gay anthem's celebratory music video issued a call to action for her fans to support the as-yet-unpassed Equality Act with her very own Change.org petition.

During her Eras Tour stop in Chicago in June 2023, the superstar spoke specifically to her LGBTQIA+ fans, promising them that her concerts would always be a "safe space" for them to celebrate who they are. 

"I wish that every place was safe and beautiful for people in the LGBTQ community, I really wish that. We can't talk about Pride Month without talking about pain," she told the sold-out crowd of Swifties at Soldier Field. "There have been so many harmful pieces of legislation that have put people in the LGBTQ and queer community at risk. It's painful for everyone — every ally, every loved one, every person in these communities. And that's why I'm always posting, 'This is when the midterms are. This is when these important, key primaries are.'

"'Cause we can support as much as we want during Pride Month," the 12-time GRAMMY winner continued. "But if we're not doing our research on these elected officials — Are they advocates? Are they allies? Are they protectors of equality? Do I want to vote for them? — I love you guys so much, and happy Pride Month."