How Many "American Idol" Winners Have Won GRAMMYs? A Rundown Of Wins And Nominations For Kelly Clarkson, Carrie Underwood & More | GRAMMY.com (2024)

For the past 20 years, "American Idol" has helped discover some of the biggest names in pop, country, R&B and beyond. As “Idol” winners and contestants have had success in the music industry, many have been awarded with GRAMMY wins and nominations.

Season 20 wraps up with the finale on May 22, when HunterGirl, Leah Marlene and Noah Thompson will compete to be the latest "American Idol" winner. This season has seen several contestants who play instruments or are also songwriters; the talent has been touted as some of the best Katy Perry, Lionel Richie and Luke Bryan have seen in their five seasons as judges.

Will any of this year's finalists end up in the GRAMMY ranks with their "Idol" predecessors? Time will tell, but for now, see how many "American Idol" winners and contestants have scored GRAMMY Awards and GRAMMY nominations.

Season 1 winner Kelly Clarkson and Season 2 winner Ruben Studdard were the first "Idol" winners to be nominated for a GRAMMY, both receiving nominations in 2004. Clarkson became the first "Idol" winner to win a GRAMMY two years later, when she scooped up two awards: Best Pop Vocal Album for Breakaway, and Best Female Pop Vocal Performance for her smash "Since U Been Gone."

Clarkson became the first "Idol" contestant to win a GRAMMY for an album twice in 2013, when she won the Best Pop Vocal Album GRAMMY for 2011's Stronger. To date, Kelly Clarkson has won three GRAMMYs and has received 15 nominations.

Season 4 winner Carrie Underwood has won eight GRAMMYs and has received a total of 16 nominations, making her the "Idol" contestant with the most GRAMMY wins and nominations. Her most recent win came in 2022, when she won Best Roots Gospel Album for her 2021 release, My Savior.

Underwood is the only "Idol" winner (and contestant) to win Best New Artist. Until 2022, she was the only "Idol" alum to even be nominated for the coveted award, but her fellow country star Jimmie Allen joined that rare rank.

Along with Underwood, Clarkson and Studdard, Season 3 winner Fantasia Barrino and Season 6 champion Jordin Sparks are the only other winners to be nominated for a GRAMMY. Though Season 5 winner Taylor Hicks hasn't technically received a nomination, he was featured on Jimmy Fallon's 2012 album Blow Your Pants Off (on the track "Friday"), which won Best Comedy Album in 2013.

Season 8's Adam Lambert is the only "Idol" runner-up to be nominated for a GRAMMY. He was nominated for a Best Male Pop Vocal Performance GRAMMY for "Whataya Want From Me" in 2011.

Perhaps two of the most remarkable GRAMMY-winning "Idol" alums are Jennifer Hudson and Tori Kelly. Each have two GRAMMYs to their name, but clearly "Idol" viewers and judges didn't see the star within: Hudson placed seventh on Season 3, and Kelly was cut before the top 24 on Season 9.

Another GRAMMY-nominated finalist who finished outside of the top 3 is Chris Daughtry, who placed fourth on Season 5. Daughtry has been nominated for four GRAMMYs, all of which came in 2008 thanks to his eponymous debut album and its hits "It's Not Over" and "Home." (Fellow Season 5 contestant Ace Young co-wrote "It's Not Over," making him another GRAMMY-nominated "Idol" star, as the single earned a Best Rock Song nomination.)

Mandisa, who placed ninth on Daughtry's season, is also a GRAMMY-winning finalist, as her 2013 album, Overcomer, won a Best Contemporary Christian Music Album GRAMMY in 2014. (She has received five nominations overall.)

Season 8's third place contestant, Danny Gokey, has also had a successful career in Christian music. He has been nominated for three GRAMMYs, with two of his albums receiving Best Contemporary Christian Music Album nods and his song "Haven't Seen It Yet" earning a Best Contemporary Christian Music Performance/Song nom.

A number of "Idol" alums have proven you don't have to win "American Idol" to win a GRAMMY or earn a GRAMMY nomination. Whatever the outcome of Season 20, be sure to keep watch on your favorite contestants — you might just see them on the GRAMMY stage one day.

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There's arguably only one way to sum up pop music in 2023: it belonged to the women.

Whether SZA or Olivia Rodrigo were revealing the cracks in their relationships through catchy hooks, or Taylor Swift was taking over stadiums around the globe, female artists dominated genre charts and trends. And even a fictional female figure helped spawn some of the year's biggest pop tracks.

It was also a big year for legends and classic hits; pop mainstays showed just why they became superstars in the first place, and TikTok helped resurface some pop songs of old.

Below, take a deeper dive into some of 2023's biggest moments in pop.

Ex-Lovers Were Called Out

Nothing burns more than a woman scorned. This year, pop stars and rising artists were both shameless in calling out their exes for their wrongdoings.

One of the biggest moments came courtesy of SZA. The artist is known for wearing her heart on her sleeve, and SOS album highlight "Kill Bill" was a buffet of toxic "what if" scenarios. The singer let jealousy overcome her emotions as she couldn't stand to see her ex-lover move on: "I might kill my ex, I still love him though/ Rather be in jail than alone." On a similar note, Olivia Rodrigo's "vampire" finds the pop star tapping into a new level of fury. The lead single from her sophom*ore album, GUTS, "vampire" shoots bloody daggers at a manipulative boyfriend.

But it wasn't all about vengeance. In Miley Cyrus' case, her best form of revenge came in the form of forgiveness. Her "Flowers" anthem was thought to be inspired by Cyrus' divorce from Liam Hemsworth, but its messaging is relatable to anyone who had to learn how to move on from a broken heart. "I can take myself dancing and I can hold my own hand/ I can love me better than you can," Cyrus assures.

All three singles topped the Billboard Hot 100 this year, marking SZA's first solo No. 1, Cyrus' first in a decade and Rodrigo's first from her new album era. The singles also all earned 2024 GRAMMY nominations for both Song Of The Year (alongside Billie Eilish's "What Was I Made For?", Dua Lipa's "Dance the Night", Jon Batiste's "Butterfly", Lana Del Rey's "A&W" and Taylor Swift's "Anti-Hero") and Record Of The Year (next to Billie Eilish's What Was I Made For?", Boygenius' "Not Strong Enough", Jon Batiste's "Worship", Taylor Swift's "Anti-Hero" and Victoria Monét's "On My Mama").

Rising stars also joined in on the fun. After Tate McRae scored her biggest hit to date with the playful “greedy,” she delivered a fiery kiss-off anthem with “exes.” Elsewhere, Benee called her ex a "waste of f—king time" on the rowdy "Green Honda," British singer Mae Stephens contemplated all of her options on "If We Ever Broke Up," RAYE brooded over "dumb decisions" and booze on "Escapism," and Los Angeles alt-pop singer Leah Kate's jam-packed her debut album Super Over with advice on cutting off toxic relationships.

Classic Songs Made A TikTok Resurgence

TikTok has proved its social media dominance over the past few years. But aside from pop's new generation enjoying viral success, the genre's OGs also found their classic hits reborn.

Colbie Caillat's "Bubbly" single warmed our hearts when it debuted in 2007, and in true Gen Z fashion, it reemerged thanks to a meme trend. TikTok users placed the song over high-energy performance videos like those of Travis Scott, Justin Bieber and Tyler, The Creator which made for a hilarious juxtaposition. Caillat kept the momentum by making TikTok duets and even sharing an acoustic version of the song on her YouTube page.

Bridgit Mendler's 2013 single "Hurricane" also got a second wind for its 10th anniversary where female users placed it over humorous self-deprecating videos about being delusional over men. Jessie J's 2011 "Price Tag" hit sparked a dance trend with a sped-up version of the song and Lana Del Rey's "Radio" (a deep cut from 2012's Born To Die debut) inspired users to make videos that showcased how "sweet like cinnamon" their lives are.

Career-Spanning Tours Took Over The World

What better way to celebrate a decorated career than with a massive tour? Pop stars from all corners of the genre commemorated their many years (or in some cases, decades) in the music industry by going down memory lane with their fans worldwide.

The most notable trek was, of course, Taylor Swift's Eras Tour, which kicked off on March 17 and will conclude on Dec. 8, 2024. The pop star — who is arguably bigger than she's ever been, nearly 20 years into her career — used the stadium tour to pay homage to her extensive discography with a nonstop three-hour spectacle. Swift's impact quickly made history: the Eras Tour surpassed $1 billion in revenue in early December, already making it the highest-grossing music tour of all time, according to Guinness World Records. Its accompanying concert film, Taylor Swift: The Eras Tour, also became the highest-grossing concert film of all time with $250 million earned globally as of press time.

But Swift wasn't the only star celebrating their music milestones on the road. After a thrilling reunion in 2019, the Jonas Brothers continued to shock fans with what's possibly the most challenging tour of their career. Titled "Five Albums. One Night. The World Tour," the trio featured their entire discography in a set list that included over 60 songs.

Another artist who rode the ambitious train was Madonna. The pop icon's Celebration Tour was, well, a celebration of a genre-defining career spanning over four decades. Kicking off in October in London, the tour features a retrospective setlist that is a treat for diehard fans, featuring singles she hasn't performed live in decades including 1990's "Justify My Love," 1998's "Nothing Really Matters" and 2002's "Die Another Day."

On the pop-rock end, The Maine's "Sweet Sixteen Tour" highlighted the band's growth over the past 16 years through nine albums, while Boys Like Girls' anchored their comeback after an 11-year hiatus with the North American Speaking Our Language Tour.

Movies Had Major Music Moments

While music has long been a driving force in films, this year saw the pairing excitedly take over pop culture. Greta Gerwig's Barbie movie notably had the world seeing pink, with the iconic doll infiltrating everything from fashion to real estate.

Not surprisingly, the accompanying soundtrack was a pop-filled joyride. Featuring production from pop mastermind Mark Ronson, the 17-song Barbie: The Album featured the likes of Lizzo, Charli XCX, PinkPantheress, Sam Smith, GAYLE and FIFTY FIFTY. But perhaps most notably, the album dominated the Best Song Written For Visual Media category at the 2024 GRAMMYs: Dua Lipa's disco-laced "Dance The Night," Ryan Gosling's TikTok-trending "I'm Just Ken," Ice Spice's and Nicki Minaj's sparkly collaboration "Barbie World," and Billie Eilish's gripping ballad "What Was I Made For?" compete with Rihanna's Black Panther hit "Lift Me Up."

The year also called for reunions and revivals, with the biggest shock arguably belonging to NSYNC. Many fans were impatiently waiting for the boys to make a return, and they did so with "Better Place." The Trolls soundtrack highlight marked the boy band's first song after a two-decade-long music hiatus (which was accompanied by an appearance at the MTV Video Music Awards, where they presented with Best Pop Video). Under the sea, Halle Bailey refreshed a Disney classic with The Little Mermaid live-action reimagining, while the nostalgia train continued with movie musicals Wonka and Mean Girls (out in January).

Pop Titans Were Inescapable

Thanks to social media, it may seem like Gen Z artists have overthrown their elder pop counterparts. But make no mistake, the veterans are showing they aren't so easily shakeable.

This year, many preserved their legacies through various mediums. Taylor Swift wasn't the only superstar proving her staying power on the road (and in stadiums); Beyoncé's Renaissance World Tour cemented her legendary status as the highest-grossing tour by a Black artist, while Ed Sheeran's The Mathematics Tour broke attendance records worldwide.

Adele and Usher ruled Sin City with their Las Vegas residencies, with the latter set to perform at the 2024 Super Bowl halftime show. The pop titans even showed their dominance on television, with Kelly Clarkson (who also had a Vegas stint) and Jennifer Hudson gaining a new audience with their respective talk shows.

After a year filled with viral moments and comebacks, we're eager to see how artists will continue to uplift pop music in 2024.

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Twenty years ago, the Broadway-shaking musical 'Wicked' opened its doors in New York City — and the theatre world was never the same.

Based on Gregory Maguire's book Wicked: The Life And Times Of The Wicked Witch Of The West — itself influenced by L. Frank Baum's The Wonderful Wizard Of Oz — the musical debuted on Broadway on Oct. 30, 2003, six months after it premiered in San Francisco, California on May 28.

Two years later, the musical was honored by the world's leading society of music people; it won the golden gramophone for Best Musical Theatre Album at the 2005 GRAMMYs.

Fifteen years and numberless inspired performances after its premiere,

Also back in 2018, the play about the green witch named Elphaba also garnered a special called A Very Wicked Halloween, starring the aforementioned musical luminaries.

"The themes of the show, the love and friendship aspects," "Wicked" star Kristin Chenoweth told the San Francisco Chronicle at the time. "We can look at these two characters looking forward to seeing everything."

For Mitch Grassi from Pentatonix, it was a full-circle moment for him to perform in the special. "It's a full circle moment, we grew up with this show and the [album] kind of shaped us as performers," Grassi told Playbill.

'Wicked' is still on Broadway — and is about to be on the silver screen! On Nov. 27, 2024, Cynthia Erivo and Grande will star in Wicked: Part One, a film adaptation of the play. (The sequel, Part Two, is scheduled to release on Nov. 26, 2025.)

And on the stage proper, the team behind 'Wicked' is plotting a special anniversary show at the Gershwin Theatre — and on Oct. 30, the anniversary proper, the Empire State Building will light up green in commemoration of the show.

On Halloween, the New York Public Library will hold a free panel discussion about the musical, featuring panelists in book writer Winnie Holzman, producer David Stone and composer and lyricist Stephen Schwartz.

And after spooky season concludes, traveling iterations of the show will continue to roll on throughout the world — with a home base in London providing the (slightly altered) experience for Wicked fans in the United Kingdom.

Whether or not you're able to catch the film, these celebration shows, or just a good old performance, keep a little wickedness in your heart in tribute this Halloween!

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Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system.

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

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He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood."

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes.

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Since the 2021 release of SOUR, critics and listeners alike have touted Olivia Rodrigo for her knack to eloquently pen the relatable woes of adolescence and the pitfalls of falling in love too hard. Her latest single, "vampire," is no different.

Despite trading in her "drivers license" teenage loverboy for an older man, the perfectly executed expression of agony remains. As Rodrigo wails on the chorus, "You made me look so naïve/ The way you sold me for parts/ As you suck your teeth into me/ Bloodsucker, famef—er/ Bleeding me dry like a g——n vampire."

But before there was Rodrigo, there was Avril Lavigne, Taylor Swift, and Alanis Morissette — none of which would be where they were without pioneers of diaristic songwriting, Carole King and Carly Simon. Thanks to the immortalization of their music, we can relive the shift from poetic disclosures of hurt, which King exemplifies on "It's Too Late," to more unrepentant, straightforward jabs (like Kate Nash says on "Foundations," "Don't want to look at your face 'cause it's making me sick") and harrowing battle cries (as Miley Cyrus roars, "I came in like a wrecking ball").

Below, revisit 15 songs by empowered women, from 1971 all the way to 2021, who reclaimed the breakup narrative with their fervent sentences of damnation — because, as the age-old saying goes, hell hath no fury like a woman scorned.

Carole King — "It's Too Late" (1971)

When Carole King released "It's Too Late" in 1971, it marked a new era of songwriting. Discussions about divorce were generally unheard of, but even more so when initiated by a woman. Yet, King carried on to unapologetically release "It's Too Late," which later won a GRAMMY for Record of the Year and is lauded by Rolling Stone as one of the 500 Greatest Songs of All Time.

On this folky track, King and her husband's inevitable parting is on the horizon, but she isn't resentful per se. Instead, she's more troubled by the embarrassment of her husband's growing discontent, admitting, "I feel like a fool." And at this point, she's ready to move on and can be grateful for the times they've shared.

Carly Simon — "You're So Vain" (1972)

In her '70s chart-topper, Carly Simon narrates the tale of an arrogant man who believes every woman is enchanted by his aura. But the folk songstress wants to make it very clear she's not impressed by his embellished stories or luxurious closet.

Usually, it's easy to guess the subject of a breakup song, but "You're So Vain" has led to decades of speculation. Many have assumed it could be about James Taylor, who Simon married in 1972 and divorced in 1983, or Mick Jagger, who provided vocals to the track (a theory that was later debunked). To this day, she has only revealed the track's inspiration to a select few, including Taylor Swift, who names Simon as one of her role models.

Joan Jett And The Blackhearts — "I Hate Myself For Loving You" (1986)

Joan Jett might not give a damn about her bad reputation, but she despises nothing more than her ex-lover making her look like a lovesick fool.

On "I Hate Myself for Loving You," the '80s chanteuse wraps herself around a classic glam rock beat, unveiling her contempt for a man who's neglected her. Stripped of her pride, Jett begins to resent herself for holding onto her feelings — as evidenced by the song's title.

She tries to hide her dwelling desires ("I want to walk, but I run back to you") but ultimately fails to rid herself of the emotions, leaving her to fantasize about the sweet justice of one day roping him back in, just to leave him.

Alanis Morissette — "You Oughta Know" (1995)

It's impossible to talk about scathing breakup songs without acknowledging Alanis Morissette's quintessential heartbreak anthem, "You Oughta Know." At the time of its release, the Jagged Little Pill single contained some of the most honest and vitriolic lyrics in existence.

Morissette begins with an illusive statement, "I want you to know that I'm happy for you," which, by the second verse, crumbles into a revelation, "I'm not quite as well, you should know." As she culminates into her most confessional, the instrumental rises into an addicting ruckus, with Morissette revealing the thoughts most of us would be too ashamed to admit: "It was a slap in the face how quickly I was replaced/ And are you thinkin' of me when you f— her?"

Shania Twain — "That Don't Impress Me Much" (1997)

Shania Twain has a particular superpower of delivering each of her lyrics with an air of lightheartedness and confidence. So, when you hear a track like "That Don't Impress Me Much," her disappointment and irritation becomes undetectable.

A quick examination of Twain's story proves — despite the song's bouncy melodies — she's jaded by her ex's preoccupation with his vehicle, appearance and intelligence. Sure, he might be perfect on paper, but he lacks the qualities of a forever lover, and his unmerited ego should be reserved for true big shots like Elvis Presley and Brad Pitt.

Michelle Branch — "Are You Happy Now?" (2003)

In the opening verse of "Are You Happy Now?," Michelle Branch pleads, "No, don't just walk away/ Pretending everything's okay, and you don't care about me." At first, she is in disbelief that her once admirer would swiftly brush her off, but as she reaches the chorus, she begins to question whether his actions were a lie all along.

Her mind racing, Branch teeters between shameless questions of "Do you really have everything you want?" and "Could you look me in the eye and tell me you're happy now?" But by the song's end, she gets the most satisfying payback of all — peace without him: "I'm not about to break/ 'Cause I'm happy now."

Avril Lavigne — "My Happy Ending" (2004)

"My Happy Ending" finds 2000s pop-punk maven Avril Lavigne grasping onto the shards of a broken relationship and trying to pinpoint where everything went wrong. She could have said the "wrong" thing, or her partner's misfit friends might have spoken negatively about her. But there is one thing she does know with certainty: there is no way to pick up the pieces.

Coming to terms with the truth, Lavigne repositions her anger toward the other person for stripping her of her fairytale ending, sarcastically acknowledging him for their time spent together over a somber piano: "It's nice to know you were there/ Thanks for acting like you care/ And making me feel like I was the only one."

Kelly Clarkson — "Gone" (2004)

Kelly Clarkson has traversed almost every emotion in love, from her epic breakup anthems like "Behind These Hazel Eyes" to her most recent LP chemistry. But "Gone" may just be her most unrelenting to date.

Introduced by its Breakaway counterpart "Since U Been Gone," the mononymous "Gone" extends Clarkson's journey of healing — this time, with a more explicit and mature diatribe against her ex's character. Rather than using trivial attacks, Clarkson instead chooses to call out his assumption she'd run back into his arms, later declaring an end to her toleration: "There is nothing you can say/ Sorry doesn't cut it, babe/ Take the hit and walk away, 'cause I'm gone."

Lily Allen — "Smile" (2006)

With "Smile," Lily Allen gets her sweet revenge through the sight of her former flame's tears and misfortune. But the lyrics of Allen's breakthrough single doesn't exactly clarify the specifications of her antics, only an explanation for its origins.

After a cheating scandal ends her relationship, her mental health plummets — until he comes crawling back for her mercy. Upon hearing his pleas, she comes to a realization: "When I see you cry, it makes me smile." And as the conniving music video shows, anyone who cheats on her will get their karma — perhaps in the form of organized burglary, beatings, and a laxative slipped into their morning coffee.

Kate Nash — "Foundations" (2007)

Following in the footsteps of her mentor Lily Allen, Kate Nash vividly paints the tragedy of falling out of love, made prismatic by her plain-spoken lyrics ("Your face is pasty 'cause you've gone and got so wasted, what a surprise!") and her charming, thick London accent.

In this story, Nash has not quite removed herself from the shackles of her failing relationship. In fact, she'd like to salvage it, despite her boyfriend's tendency to humiliate her and her irresistible urge to sneer back with a sarcastic comment. By the end of the track, Nash, becoming more restless, packs on new ways to inconvenience him — but in the end, still wonders if there's any saving grace to preserve their once blazing spark out of a fear of loneliness.

P!nk — "So What" (2008)

The year P!nk wrote "So What," she already had a bevy of platinum singles under her belt. With a gleaming social status and peaking career, she was apathetic to the temporary separation from her now husband, Carey Hart. Feeling the highs of newfound singlehood, P!nk was ready to incite personal tyranny, whether that meant not paying Hart's rent, drinking her money, or starting a fight.

Ironically, Hart appears as the antagonist in the music video, which P!nk revealed via her official fan website was a testament of their growth: "Carey hadn't heard the song before he did the video. That's how much he trusts and loves me [...] He gets it. He gets me," she said.

Taylor Swift — "Picture To Burn" (2006)

Taylor Swift has long solidified herself as the reigning queen of love songs, from ballads honoring the most committed relationships to diss tracks of heartbreaking adolescent flings. The latter houses one of the earliest (and most twangy) hits in Swift's sweeping catalog: "Picture to Burn."

In this deceivingly upbeat tune, Swift vows to seek vengeance on a boyfriend after he leaves her to date one of her friends — from getting with his friends to having her father give him a piece of his mind. And along the way, she will gladly dish out a few insults: "You're a redneck heartbreak who's really bad at lying/ So watch me strike a match on all my wasted time/ As far as I'm concerned, you're just another picture to burn."

Miley Cyrus — "Wrecking Ball" (2013)

Closing the door on her Hannah Montana days, Miley Cyrus' "Wrecking Ball" saw the childhood pop star in her most grown-up and vulnerable state to date. Months before the release, Cyrus had called off her engagement to her longtime boyfriend, Liam Hemsworth, paving the way for her thunderous performance on the Bangerz single.

Just as affecting as Cyrus' belting vocals is the track's iconic music video. Cyrus climaxes with a deafening cry — "All you did was wreck me" — as she swings across the screen on an actual wrecking ball, breaking down all her physical and metaphorical walls.

Halsey — "You should be sad" (2020)

By the mid-2010s, the industry had put angst on the back burner in exchange for feel-good EDM and trap beats. Well, that is, at least, until Halsey entered the picture.

After just two years in the limelight, Halsey had cultivated a vibrant assortment of sonic melodrama — from the dirt and grime of toxic, failed love on tracks "Bad at Love" and "Colors" to the Bonnie and Clyde-esque heated passion of "Him & I."

In 2020, Halsey rounded out her discography with the genre-bending, introspective Manic, where a track like "You should be sad" commands your attention with matter-of-fact, vindictive comments: "I'm so glad I never ever had a baby with you/ 'Cause you can't love nothing unless there's something in it for you."

GAYLE — "abcdefu" (2021)

Unlike most love songs, GAYLE refuses to point her fury on "abcdefu" solely toward her heartbreaker. The then-16-year-old singer, instead, rages against his mother, sister and pretty much anyone (and anything) he's associated with — other than his dog — across a searing melody with a bewitching bassline.

Earlier this year, GAYLE revealed to GRAMMY.com that she was "angry at him and was angry at the people who enabled him and his behavior." That animosity was palpable in "abcdefu," creating a magic as empowering as it is cathartic — and, like many songs that came before it, proving that there can be power in pain.

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