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Although commercially successful — peaking at No. 2 on the Billboard 200, her highest ranking on the chart to date — Shakira’s self-titled set isn’t her most hits-packed project, or her most memorable one. It’s also not particularly cohesive by her standards: For an artist who’s always been intentional with every album, every song, every lyric, this one didn’t reflect that perfectionism that has defined her work. The few bangers that save this album are “Empire,” “Dare (La La La)” (because who doesn’t love a Shakira World Cup song), and the Rihanna-assisted “Can’t Remember to Forget You.”

Four years after Fijáción Oral Vol. 1 and Oral Fixation Vol. 2, both released in 2005, Shakira delivered She Wolf, placing all bets on a more electronic — clubby sound, a sharp contrast to her previously-released music. The result is not her best album — though it peaked at No. 15 on the Billboard 200 — but it is still home to her anthem “Loba” and its English version “She Wolf,” which peaked at No. 11 on the Hot 100. The single, powered by punchy lyrics and an earworm of a chorus, became one of Shakira’s most celebrated songs to date.

With Sale El Sol, an album primarily in Spanish, Shakira returned to her experimental roots without focusing too much on whether the set would have mainstream appeal or not. Unlike its predecessor, She Wolf — which was produced mostly by Shakira and The Neptunes, presenting a more “Americanized” version of Shakira — Sale El Sol was exactly the opposite.

The 16-tack set was packed with hip-swiveling reggaetón beats, merengue and Colombian cumbia, and also featured explosive collaborations with El Cata (“Loca”), Pitbull (“Rabiosa”) and Residente (“Gordita”), where the Puerto Rican hitmaker rapped about liking Shakira better when she was chubbier, had dark hair and was a rockera. Coming off a massive run with “Waka Waka” for the World Cup in Africa, this fun and eclectic album further fueled her momentum, including English and Spanish versions of the global hit.

With Oral Fixation, Vol. 2, Shakira ventured into mainstream pop and rock, marking a departure from her straight-through Latin pop and Middle Eastern-influenced sound. The album, however, presented a mixed bag. While “Don’t Bother” showcased Shakira’s ability to embrace guitar-driven rock, it lacked the distinctive flair of her previous works. The iconic “Hips Don’t Lie,” featuring Wyclef Jean, was a standout, blending salsa with reggaetón against an invigorating Jerry Rivera sample — a hit that does not lie.

However, the Carlos Santana collaboration on “Illegal” felt underwhelming, failing to deliver the expected synergy. Likewise, “The Day and the Time” with Gustavo Cerati, while demonstrating Shakira’s genre versatility, didn’t hit the mark entirely — which was a bit shocking considering the participation of these two legendary artists. Despite its uneven moments, Vol. 2 still signaled Shakira’s ambitious foray into new musical territories and peaked at No. 5 on the Billboard 200.

Named after the mythical City of Gold envisioned by the Muisca indigenous people of Colombia, El Dorado traces Shakira’s journey through a rich musical treasure trove. In the reggaetón-pop hit “Chantaje” featuring Maluma and the infectious “La Bicicleta” with Carlos Vives, Shakira blends vallenato and música urbana while infusing them with cool confidence and nostalgia. Intro track “Me Enamoré” offers a glimpse into Shakira’s former romance with Gerard Piqué, providing a stark contrast to today’s narrative surrounding the unabashedly unfaithful soccer star. “Toneladas” highlights her emotive prowess, while “Deja Vu” with Prince Royce delivers a sensual bachata fusion.

However, not all tracks hit the mark. “When a Woman” feels out of place, with its screeching vocals and starkly contrasting message to the empowering Las Mujeres Ya No Lloran (“When a woman loves a man/ Manipulate and cause you pain/ But lift you up when you’re hurting,” she wails). Despite its missteps, El Dorado still shines with resounding versatility and cultural pride. The album reached No. 15 on the Billboard 200.

Fijación Oral, Vol. 1, Shakira’s sixth studio album, arrived on June 3, 2005 — when she was on top of the world, following a decade of success in Latin America, and a victorious debut in the English market. Getting back to her native language, Shakira presented a mostly pop set, co-produced by artists such as Gustavo Cerati, Lester Méndez, Luis Fernando Ochoa and José “Gocho” Torres.

With singles like “No”, “Días de Enero”, “Las de la Intuición” and “La Tortura” with Alejandro Sanz — without a doubt the biggest hit of the set, and the only one that entered the Billboard Hot 100 — the album debuted at No. 4 on the Billboard 200 and spent 17 weeks at No. 1 on Top Latin Albums, the most for the Colombian star at the top of the ranking.

In a stunning transformation, where tears transform into diamonds and vulnerability into strength, Shakira turns pain into pop gold, affirming her alchemical prowess and resilience. Born out of an emotionally tumultuous breakup, this album serves as a pivotal chapter in her career, marking her resurgence like a phoenix rising from the ashes.

With a gap of seven years since her last studio album El Dorado — due to Piqué “dragging” her down, in her words — Shak navigates a spectrum of moods and genres, from infectious Afrobeats (“Nassau”) to soul-stirring bachata (“Monotonía”), Tex-Mex rhythms (“(Entre Paréntesis)”), and a stellar revival of her rock roots (“Cómo Dónde y Cuándo”).

Her solo tracks like “Tiempo Sin Verte” and “Última” sparkle, while collaborations with Cardi B, Grupo Frontera, Rauw Alejandro and Bizarrap add intrigue. With her 12th studio album, the self-proclaimed She Wolf restates the premise of her wildly unapologetic kiss-off “Shakira: Bzrp Music Sessions, Vol. 53,” all while continuing to craft melodies and lyrics that evoke pain, passion and allure. Meanwhile, she also invites listeners to revel, weep, wreak havoc and thrive with her all at once.

Shakira’s first set in English was monumental, as it marked the crossover of the Colombian star, who began her formal conquest of the English-speaking market with the first single “Whenever, Wherever” — and a newly dyed blonde hair. The pop rock song with strong influences from Andean music gave the singer-songwriter her biggest hit at the time, debuting at No. 6 on the Billboard Hot 100. Without a doubt, the track was the standout of the set, and its music video revealed that Shakira was not only a great performer but also mesmerizing dancer, flaunting her signature iconic hip-swiveling dance moves.

Released on Nov. 13, 2001 by Epic Records, Laundry Service is primarily a pop-rock album, but also experiments with dance-pop (“Ready for the Good Times”), Middle Eastern rhythms (“Eyes Like Yours”), and tango (“Objection (Tango)“). With titles also including “Underneath Your Clothes” and Spanish versions for some of the tracks, it debuted at No. 3 on the Billboard 200 dated Dec. 1, 2001, and spent a total of 62 weeks on the chart.

Shakira’s third studio album, Pies Descalzos, put her on the map internationally with an assertive pop-rock sound, serving as a canvas for her direct lyrics and personal aesthetic, mixed with elements of dancehall, bossa nova, bachata and more. Released on Oct. 6, 1995 under Sony Music Colombia, it is home to anthems such as “Estoy Aquí,” “Antología,” “Dónde Estás Corazón,” “Pies Descalzos, “Sueños Blancos,” and “Se Quiere Se Mata”, which consolidated the 18-year-old singer-songwriter as a rising star in Latin America and beyond.

On the Billboard charts, it peaked at No. 5 on Top Latin Albums and spent a total of 102 weeks on the ranking, and it reached No. 3 on Latin Pop Albums, spending 97 weeks on the chart. The first single, “Estoy Aquí,” reached No. 2 on Hot Latin Songs, and all the songs mentioned above (except for “Pies Descalzos, Sueños Blancos”) entered the top 20.

From the moment the intro track “Ciega, Sordomuda” kicks in on Dónde Están Los Ladrones, Shakira unleashes a maelstrom of infectious energy, blending mariachi-infused pop with Latin rock coolness and her trademark self-deprecating charm. At just 21, Shakira’s groundbreaking album not only showcased her bohemian rockera persona but also a voice unlike any other – a deep vibrato that left listeners spellbound.

Seamlessly navigating between sweet pop-rock relatability and effortless cool, her songwriting shines throughout. In “Moscas en la Casa,” she turns the mundane into a poignant exploration of everyday life. “Inevitable” induces goosebumps with its powerful balladry and explosive Latin rock crescendo, with lyrics like “Siempre supe que es mejo/ Cuando hay que hablar de do/ Empezar por uno mismo” demonstrating her wisdom beyond her years. Songs like “Tú” and “Octavo Día” show Shakira’s lyrical depth with incisive social commentary; on the latter song God becomes unemployed and wanders the streets amid a chaotic moment in time.

The album’s closer, “Ojos Así,” weaves Middle Eastern melodies, underscoring her boundary-pushing musical fusion. With Dónde Están Los Ladrones, the Colombian rising star not only questions where the thieves are (specifically, the thieves who stole her suitcase that had lyrics to her second album that never came to be), she also steals the spotlight, leaving hearts captivated every step of the way.