Women in Music
Page: 11
It’s 9:15 a.m. in Seoul, and most of the nine members of TWICE have just woken up. They’re barefaced, dressed casually and cozily in warm knits and sweatshirts; Chaeyoung still wears her parka hood, her blonde hair peeking out of the bottom. Nayeon, seated next to her, cleans her glasses with her shirt sleeve. Tzuyu, however, is alert and attentive. When I ask (through a translator) who’s the early riser of the group, everyone points to her.
This morning, the women of TWICE look more like students who’ve arrived at an early-morning class than the wildly popular K-pop girl group they are. But for their globe-spanning cohort of fans (known as ONCE), this is a familiar sight. The group’s long-running YouTube reality and vlog show, TWICE TV, along with other online vlog content, have gone behind the scenes with the act since its 2015 debut. Over the past seven-plus years, fans have followed along as Nayeon, Jeongyeon, Momo, Sana, Jihyo, Mina, Dahyun, Chaeyoung and Tzuyu (who range in age from 23 to 27) have recorded music; toured across South Korea and Asia; attended award ceremonies; debuted their first-ever English-language single, “The Feels”; and, last year, played and sold out U.S. arenas, a still-rare feat for K-pop artists.
“That was our first time having a concert of that scale, so it was really shocking for us to see so many fans in the U.S.,” says Jihyo, recalling TWICE’s two nights in May 2022 at Los Angeles’ Banc of California Stadium.
Nayeon
Sunhye Shin
Jeongyeon
Sunhye Shin
“At that time in Korea, we couldn’t perform in the same way as in the U.S.,” adds Chaeyoung, referring to South Korea’s stringent COVID-19 restrictions. “So it was really refreshing to see the fans face to face in the U.S.”
Only a few of TWICE’s members speak English, but their fans’ raging devotion has long dispelled any questions about the group’s ability to successfully cross over. TWICE crafted a strong foundational identity early on with technicolor, rush-inducing pop exemplified by hits like 2018’s “What Is Love?” and 2019’s “Fancy.” More recently, it has expanded its sonic palette. Last year, “The Feels,” a groovy, disco-inflected song about a budding crush, became the group’s first entry on the Billboard Hot 100 (peaking at No. 83). Its subsequent album, Formula of Love: O+T =
It’s 9:15 a.m. in Seoul, and most of the nine members of TWICE have just woken up. They’re barefaced, dressed casually and cozily in warm knits and sweatshirts; Chaeyoung still wears her parka hood, her blonde hair peeking out of the bottom. Nayeon, seated next to her, cleans her glasses with her shirt sleeve. Tzuyu, however, is alert and attentive. When I ask (through a translator) who’s the early riser of the group, everyone points to her.
This morning, the women of TWICE look more like students who’ve arrived at an early-morning class than the wildly popular K-pop girl group they are. But for their globe-spanning cohort of fans (known as ONCE), this is a familiar sight. The group’s long-running YouTube reality and vlog show, TWICE TV, along with other online vlog content, have gone behind the scenes with the act since its 2015 debut. Over the past seven-plus years, fans have followed along as Nayeon, Jeongyeon, Momo, Sana, Jihyo, Mina, Dahyun, Chaeyoung and Tzuyu (who range in age from 23 to 27) have recorded music; toured across South Korea and Asia; attended award ceremonies; debuted their first-ever English-language single, “The Feels”; and, last year, played and sold out U.S. arenas, a still-rare feat for K-pop artists.
“That was our first time having a concert of that scale, so it was really shocking for us to see so many fans in the U.S.,” says Jihyo, recalling TWICE’s two nights in May 2022 at Los Angeles’ Banc of California Stadium.
Read TWICE’s full Billboard Women in Music interview here.
Image Credit: Sunhye Shin
Nayeon
Image Credit: Sunhye Shin
Jeongyeon
Image Credit: Sunhye Shin
Momo
Image Credit: Sunhye Shin
Sana
Image Credit: Sunhye Shin
Jihyo
Image Credit: Sunhye Shin
Mina
Image Credit: Sunhye Shin
Dahyun
Image Credit: Sunhye Shin
Chaeyoung
Image Credit: Sunhye Shin
Tzuyu
Image Credit: Sunhye Shin
Standing, from left: Tzuyu, Sana, Chaeyoung, Nayeon, Jeongyeon and Jihyo. Seated, from left: Momo, Dahyun and Mina. On-Site Production by Stacy Nam.
The September day that Becky G learned she had scored her first No. 1 as a solo artist on Billboard’s Latin Airplay chart, with “Bailé Con Mi Ex,” she woke up her fiancé, the soccer star Sebastian Lletget, with tears in her eyes. “He was like, ‘Is everything OK? Why are you crying?’ ” she remembers. “A lot of people like to say I’m only successful because of my collaborations. To be able to prove myself as an artist and carry my own weight was important for me. To show the world that whichever way, collaborations or alone, I’m good.”
That solo feat is just one of many points of pride for the 25-year-old Mexican American artist and businesswoman, born Rebbeca Marie Gomez, these days. In 2022, she earned her first No. 1 on the Latin Pop Albums chart with the 14-track Esquemas, and another album — her first regional Mexican set — is due to arrive later this year. Come April, she’ll have “a huge opportunity to reintroduce myself to the world” when she plays Coachella under her own name for the first time.
Jean Paul Gaultier top, AKIRA jacket, Versace shorts, Giuseppe Zanotti shoes, Moschino earrings, Grace Lee and Yvonne Léon rings.
Martha Galvan
All the while, Becky G has used her platform to help elevate the women around her. “This industry has really tried to condition women to see each other as competition. We’ve had to survive these very male-dominated spaces because of that ‘there’s only one seat at the table’ mentality. So we’re looking at each other like, ‘Who’s going to get it?’ [But] at my table, everyone is welcome,” she says firmly. “When I open the door, I’m going to leave it open and make sure everyone gets in.”
That impulse, she says, comes from her experience growing up in a tight-knit community in Inglewood, Calif., where her grandmother would cook for her grandchildren and, “If Doña Lolita from down the street came over, she would have enough [food] for her kids too,” says Becky G. “My entire being has been inspired by the houses I grew up in, the people that raised me. It really does take a village when it comes to our culture. Where one person eats, everyone can eat. I’ve really lived by ‘sharing is caring.’ ”
Monot dress, Giuseppe Zanotti shoes, Eéera earrings, Vera Belleza ring.
Martha Galvan
And this year’s Impact honoree applies that kind of thinking not only within the music industry but beyond it, including as a co-chair of Michelle Obama’s voter registration nonprofit, When We All Vote. “I want to be a bridge-maker. I want to be a peacemaker,” Becky G says. “I want to be a real model, not a role model, because I know perfection is not real.”
How have you used your position to create change around you?
It’s not about what you identify as but who you are and how you treat other people and the change you want to make after you become the change. Someone told me the other day, “This contract looks like industry standard,” and I really challenged them. I said, “To be honest, that’s offensive because industry standard wasn’t made with people like me in mind.” It wasn’t made for young, brown women who are Latinas; who identify as a boss; who have ideas; who speak two languages. It’s about time that the industry starts to reflect that. And not just in how we’re represented but how we’re treated, how we’re paid, how we’re invited into those spaces. Changing those things is hard and I can’t do that alone, so I’m grateful I’ve had the opportunity to collaborate with so many women.
Marine Serre top and pants, Al Zain necklaces, Rainbow K, Yvonne Leon and Grace Lee rings.
Martha Galvan
Which artist made you believe you could have an impact outside of music?
Selena. She was more than just a pretty face. She was a kind person, a good person, and that heart she had for people translated not just into her artistry but how she loved her fans. Being Tex-Mex, speaking Spanglish, someone who took over genres that were very male-dominated, she inspired other people.
How have you chosen which issues matter to you most?
It’s hard to think about being one person and saving the world, but when you think about being one person and making just a small impact in your community, it feels a lot more achievable. There are a lot of trailblazers coming into these spaces, and it’s important to create alliances.
Jean Paul Gaultier top, AKIRA jacket, Versace shorts, Giuseppe Zanotti shoes, Moschino earrings, Grace Lee and Yvonne Léon rings.
Martha Galvan
What does receiving the Impact award mean to you?
There’s nothing more rewarding than knowing that you’re helping others and not expecting anything in return other than seeing people live in their truths, being inspired to be the change, live better lives because of whatever awareness I can bring. That, ultimately, is my version of success.
Miu Miu top, Area NY skirt, Wolford stockings, Marc Jacobs shoes, Grace Lee earrings.
Martha Galvan
This story originally appeared in the February 25, 2023, issue of Billboard.
The September day that Becky G learned she had scored her first No. 1 as a solo artist on Billboard’s Latin Airplay chart, with “Bailé Con Mi Ex,” she woke up her fiancé, the soccer star Sebastian Lletget, with tears in her eyes. “He was like, ‘Is everything OK? Why are you crying?’ ” she remembers. “A lot of people like to say I’m only successful because of my collaborations. To be able to prove myself as an artist and carry my own weight was important for me. To show the world that whichever way, collaborations or alone, I’m good.”
That solo feat is just one of many points of pride for the 25-year-old Mexican American artist and businesswoman, born Rebbeca Marie Gomez, these days. In 2022, she earned her first No. 1 on the Latin Pop Albums chart with the 14-track Esquemas, and another album — her first regional Mexican set — is due to arrive later this year. Come April, she’ll have “a huge opportunity to reintroduce myself to the world” when she plays Coachella under her own name for the first time.
All the while, Becky G has used her platform to help elevate the women around her. “This industry has really tried to condition women to see each other as competition. We’ve had to survive these very male-dominated spaces because of that ‘there’s only one seat at the table’ mentality. So we’re looking at each other like, ‘Who’s going to get it?’ [But] at my table, everyone is welcome,” she says firmly. “When I open the door, I’m going to leave it open and make sure everyone gets in.”
Read Becky G’s full Billboard Women in Music profile here.
By the time Lainey Wilson showcased for BMG Nashville staff in 2018, she was at a crossroads. She had already been in Nashville for over five years after leaving her small Louisiana hometown of Baskin and was struggling to fit in. Her heavily accented, twangy country vocals and Southern swagger weren’t in fashion as the genre leaned more toward pop, but her attempts to accommodate that style weren’t working either. So she doubled down on her tough-but-vulnerable authenticity. With that attitude, she sang, “She’s a soldier/When I hold her/Up in the air” in her defiant “Middle Finger.” “Take that, Nashville,” she thought.
Wilson, now 30, laughs when she remembers that time. “I just got to a certain point where I’d been in Nashville for so long [and] my give-a-damn was a little busted. I felt like, ‘Why not just say what I want to say how I want to say it?’ That’s one of the thoughts that really set me free.”
Lainey Wilson photographed on December 1, 2022 at Eldorado Canyon in Nelson, Nev.
Sami Drasin
That fearlessness — and her robust, honest voice — captivated BMG Nashville president Jon Loba, who had been turned on to Wilson by another artist on his roster, Jimmie Allen.
“[She had] this absolute confidence. And it was an amazing vocal and, even at that time, amazing songs,” says Loba, who immediately signed her to Broken Bow Records. “But it was her narrative in between the music [where] you really got a sense of who she was: this strong woman from a small town in Louisiana who did not want to compromise who she was.”
Five years later, Wilson’s refusal to compromise has taken her to the top of the charts and awards show podiums. Her first album for the label, 2021’s Sayin’ What I’m Thinkin’, included her first No. 1 on Billboard’s Country Airplay chart, “Things a Man Oughta Know.” “Never Say Never,” her duet with Cole Swindell, reached No. 1 seven months later. Her current single, “Heart Like a Truck,” from last year’s Bell Bottom Country, and her feature on HARDY’s “wait in the truck” are racing toward the peak of the chart. With six nods, she led all nominees for November’s Country Music Association Awards, taking home new artist and female vocalist of the year. Between supporting slots for Luke Combs — she’ll appear on his stadium tour this spring and summer after opening his 2022 arena tour — she headlined her first large club tour.
Lainey Wilson photographed on December 1, 2022 at Eldorado Canyon in Nelson, Nev.
Sami Drasin
Along the way, Wilson, who co-wrote all but one of the songs on her two albums, developed a signature look — a wide-brim hat and bell bottoms, which she has worn daily for several years — as recognizable as her clear, strong vocals and striking songs. “When I was little, my mom bought me a blue leopard-print pair of bell bottoms I was absolutely obsessed with,” she says. “At one point, she was like, ‘You’ve got to take them off, we’ve got to wash them.’ I’ve always been in love with things that are throwbacks, whether it’s music or stories.” Wilson came by her love of bell bottoms honestly, but they’ve also served a purpose: “Trying to be an artist here in Nashville, a female artist specifically, you’ve got to figure out what you can do that’s a little different to stand out — so I definitely leaned into that as much as I possibly could.”
Not bad for an artist who got her start imitating someone else. Wilson worked her way through high school as a Hannah Montana impersonator. One of her last gigs, at St. Jude’s Children’s Hospital in Memphis, helped prompt her move to Nashville. While performing, she established an intense connection with a little girl recovering from brain surgery. “Everybody in the building was crying as she sang every word to [Miley Cyrus’] ‘The Climb.’ I handed her the microphone, and my Hannah Montana wig was hanging off sideways. She hands me back the microphone and what she meant to say was, ‘Hannah Montana, you’re my star,’ but she said, ‘Hannah Montana, I’m your star.’ And I was like, ‘Yes, you are,’ and I thought, ‘I’ve got to figure out how to do this the rest of my life.’ ”
Lainey Wilson photographed on December 1, 2022 at Eldorado Canyon in Nelson, Nev.
Sami Drasin
Wilson’s own climb has been simultaneously exhilarating and exhausting as she navigates how to make a lifelong career in music sustainable. The self-described “homebody” slept in her own bed only 15 nights during her “whirlwind” 2022. “Last year definitely threw me for a little bit of a loop,” she says. But as her ascent continues, this year’s Rulebreaker is finding ways to make the road feel more like home, including bringing her French bulldog, Hippie Mae (who, of course, has her own Instagram account, with a bio reading “owner of that b–ch @laineywilson”), on the road with her, as well as her essential oils, meditation apps and grounding mat.
Those comforts have proved especially key as Wilson’s rise has expanded beyond music. Yellowstone creator Taylor Sheridan designed a recurring role specifically for her this season on TV’s most popular show, which Wilson found the courage to take on after considering what some of her own favorite rule breakers, Reba McEntire and Dolly Parton, would do. (She even has a song on her first Broken Bow album called “WWDD,” short for “What Would Dolly Do.”)
“When it comes to Dolly and Reba, I feel like they really do listen to their heart. I feel like they’re not scared to go outside that box and do things that are a little scary,” she says. “I had never acted a day in my life. But I thought to myself, ‘Dolly and Reba, they’ve always made sure that their music is No. 1, but that has laid the foundation for so many opportunities to come their way.’ And so, if it’s a way for me to share more of my music with the world, even if it is a little scary, you’re dang right I’m going to do it, because that’s what they would do.”
Lainey Wilson photographed on December 1, 2022 at Eldorado Canyon in Nelson, Nev.
Sami Drasin
Wilson’s radio hits and Yellowstone role have brought her fame that she’s still wrapping her head around. Late last year, her team posted a video of her onstage with an angle that unintentionally highlighted her posterior and, she says, “The next thing you know, everybody’s TikToks are about my rear end.” The clip went viral and spawned imitators with women showing off their own bountiful booties, but it also invited legions of opinions about Wilson’s body.
“I definitely went down the rabbit hole reading comments,” she says. “A year-and-a-half ago, people didn’t give a rat’s ass to say something bad about me. Now the more well-known you are, the more negative comments you’re going to get … The reason why I take it so personal is because I do believe that words are powerful.”
Wilson is handling what newfound fame throws at her much as she has her career: with an authenticity that harks back to her roots, and on her own terms. She recently purchased 30 acres in Nashville and is renovating the house on the property, bringing in her own creature comforts to create a personal oasis. It’s a far cry from the camper she lived in for her first three years in Nashville. “I’m going to have some horses,” she says, adding that she decided against moving her childhood horse, Tex, up from Louisiana given his advanced age. “I want to be able to go somewhere and turn it all off and just jump on a four-wheeler.”
Lainey Wilson photographed on December 1, 2022 at Eldorado Canyon in Nelson, Nev.
Sami Drasin
This story will appear in the Feb. 25, 2023, issue of Billboard.
By the time Lainey Wilson showcased for BMG Nashville staff in 2018, she was at a crossroads. She had already been in Nashville for over five years after leaving her small Louisiana hometown of Baskin and was struggling to fit in. Her heavily accented, twangy country vocals and Southern swagger weren’t in fashion as the genre leaned more toward pop, but her attempts to accommodate that style weren’t working either. So she doubled down on her tough-but-vulnerable authenticity. With that attitude, she sang, “She’s a soldier/When I hold her/Up in the air” in her defiant “Middle Finger.” “Take that, Nashville,” she thought.
Wilson, now 30, laughs when she remembers that time. “I just got to a certain point where I’d been in Nashville for so long [and] my give-a-damn was a little busted. I felt like, ‘Why not just say what I want to say how I want to say it?’ That’s one of the thoughts that really set me free.”
That fearlessness — and her robust, honest voice — captivated BMG Nashville president Jon Loba, who had been turned on to Wilson by another artist on his roster, Jimmie Allen.
“[She had] this absolute confidence. And it was an amazing vocal and, even at that time, amazing songs,” says Loba, who immediately signed her to Broken Bow Records. “But it was her narrative in between the music [where] you really got a sense of who she was: this strong woman from a small town in Louisiana who did not want to compromise who she was.”
Read Lainey Wilson’s full Billboard Women in Music story here.
When Kim Petras emerged from beneath Sam Smith’s layered pink tulle gown on Saturday Night Live in January, it was a perfect visual metaphor for her presence on the Hot 100 chart-topper they were performing, “Unholy.” Cooing and belting about her virtues as a no-hassle, dirty-chic sugar baby, Petras was magnetic — the hit’s secret weapon, revealed.
Two weekends later, at the Grammy Awards, Petras had an even more definitive moment in the spotlight. “Unholy” won best pop duo/group performance, and, at Smith’s behest, Petras accepted the award, exuding joy and liberation in a speech that became a high point of the night. “I just want to thank all the incredible transgender legends before me who kicked these doors open for me so I could be here tonight,” said the German singer, who in that moment became the first out trans artist to ever win a major-category Grammy.
Nikita Karizma top and bottom, Laurel DeWitt wrist cuffs.
Vijat Mohindra
Changing the game has become habitual for the dance-pop devotee, who signed to Republic in summer 2021. In October, “Unholy” made Petras and Smith the first openly trans and nonbinary artists, respectively, to top the Hot 100 in its 65-year history. When Madonna introduced their performance of “Unholy” at the Grammys, thanking a new generation of “rebels out there, forging a new path and taking the heat for it,” it felt like both a coronation and vindication for Petras, who, since her 2017 arrival, has always carried herself like a main pop girl but has only recently started to be treated like one.
“My whole life revolves around strong, amazing women who do whatever they want and have an artistic point of view,” says this year’s Chartbreaker, casually vaping beneath a hoodie. “[They’re] the reason I found the power in myself to do what I do.”
JimmyPaul top and scarf.
Vijat Mohindra
Is the industry treating you differently since “Unholy” became a smash?
Hell yeah. [Before] it was like, “Oh, the gays love her,” but people didn’t want me on their songs. I didn’t get budgets approved. It was rough. I’ve been an independent artist for so long just hustling and playing clubs, and now different people are hitting me up to collaborate and get in the studio. It’s cool that people are catching on.
TikTok played a role in breaking “Unholy” before radio paid attention. What are your thoughts about the app?
I love the humor — nothing is so serious on there. I like that more weird songs blow up on TikTok than you would expect, like “Running Up That Hill.” The new generation just cares if they like the song. There’s less industry control because of TikTok.
Laurel DeWitt wrist cuffs.
Vijat Mohindra
This is your biggest hit, and first major one without Dr. Luke as a collaborator. People have questioned your working relationship with him. Do you see “Unholy” as a chance to move past it?
I’ve always been a songwriter. Anything I’ve done, I’ve been a big part of writing. I’ve always collaborated with different people and producers. Luke is the one person people like to pick out and be like, “This is obviously who has to write all of this girl’s music because she can’t be talented and that’s a big name.” But I am here because I’m good at writing, and I do my sh-t.
What was it like playing SNL with Sam?
It means the world to me. Even growing up in Germany, SNL was a huge thing. I’m a huge comedy fan, and I love Bowen [Yang] on the show. We’ve kind of become friends — there’s this really sweet story of Bowen listening to [my song] “I Don’t Want It at All” before his SNL audition.
Laurel DeWitt earrings, body chain, bra, and wrist cuffs.
Vijat Mohindra
In the last five years, how much has the industry changed its attitude toward trans artists?
A lot. When I tried to sign to [labels] in the beginning of my career, it was like, “What is the fan base going to be? How do we market this? There isn’t a place for you.” Then I went to gay clubs and built a solid fan base and showed everyone it’s possible. Now they have to accept it. I’m happy there are more trans artists now that are being taken seriously. I just don’t want to be the last.
Who are some of your career idols?
Cher. Nicki Minaj. Madonna. Lana Del Rey. Marina. Kylie [Minogue]. The list goes on. Women in pop music were my only friends in high school — they were everything I wanted to be and [gave me] the strength I [needed] to transition and live my life authentically. They gave me the strength to be myself.
Kim Petras photographed by Vijat Mohindra on Dec. 19, 2022 at Locus One Studio in Los Angeles. Laurel DeWitt wrist cuffs, JimmyPaul boa.
This story will appear in the Feb. 25, 2023, issue of Billboard.
When Kim Petras emerged from beneath Sam Smith’s layered pink tulle gown on Saturday Night Live in January, it was a perfect visual metaphor for her presence on the Hot 100 chart-topper they were performing, “Unholy.” Cooing and belting about her virtues as a no-hassle, dirty-chic sugar baby, Petras was magnetic — the hit’s secret weapon, revealed.
Two weekends later, at the Grammy Awards, Petras had an even more definitive moment in the spotlight. “Unholy” won best pop duo/group performance, and, at Smith’s behest, Petras accepted the award, exuding joy and liberation in a speech that became a high point of the night. “I just want to thank all the incredible transgender legends before me who kicked these doors open for me so I could be here tonight,” said the German singer, who in that moment became the first out trans artist to ever win a major-category Grammy.
Changing the game has become habitual for the dance-pop devotee, who signed to Republic in summer 2021. In October, “Unholy” made Petras and Smith the first openly trans and nonbinary artists, respectively, to top the Hot 100 in its 65-year history. When Madonna introduced their performance of “Unholy” at the Grammys, thanking a new generation of “rebels out there, forging a new path and taking the heat for it,” it felt like both a coronation and vindication for Petras, who, since her 2017 arrival, has always carried herself like a main pop girl but has only recently started to be treated like one.
Read the full interview with Billboard Women in Music’s 2023 Chartbreaker here.
In the five years that followed SZA’s culture-shifting 2017 debut album, Ctrl, the pressure to deliver another ambitious, eclectic project reached a boiling point. Yet somehow, she managed to cut through the noise, surpassing the astronomically high expectations set by Ctrl with her much anticipated follow-up.
When SOS arrived Dec. 9, 2022, on RCA Records and Top Dawg Entertainment (TDE), it didn’t just successfully steer clear of the sophomore slump — it elevated her to superstardom. Across its whopping 23 tracks, SZA embarked on a fearless sonic voyage, dipping her toes in gospel, grunge, rap and whatever else she fancied outside of R&B’s boundaries. Similarly, she took her writing up several notches with dynamic, vivid storytelling that tugged deeper at heartache and self-acceptance. And its commercial success has already made history: SOS debuted at No. 1 on the Billboard 200 and spent seven consecutive weeks there, making SZA, Taylor Swift and Adele the only three women to rule the all-genre albums chart for that long. The set then returned to No. 1 for an eighth week on Feb. 9 and just claimed a ninth (on the chart dated Feb. 25), boasting more weeks atop the Billboard 200 than any R&B album since Usher’s Confessions ruled for nine nonconsecutive weeks in 2004. SOS‘s nine weeks at No. 1 also gave it the most weeks atop the chart for an album by a woman in nearly seven years, since Adele’s 25.
And yet, despite all that success, she still feels like she has to prove herself.
“Right now, I just have extreme gratitude because I swear to God, I never thought I’d be No. 1 for even a week, let alone seven,” the 33-year-old artist born Solána Imani Rowe tells Billboard in early February as she cruises along the Pacific Coast Highway — a brief moment of reprieve before she really hits the road this spring for her first-ever arena tour.
“SZA is a force,” says Terrence “Punch” Henderson, SZA’s manager and TDE president. “To go seven consecutive weeks at No. 1 is legendary. She’s a true generational artist, a cultural reset, if you will. For her album SOS to blend so many different genres together in a cohesive frame shows her genius and versatility. Then you have the voice, the words, the pain, the growth, the relapsing, the delivery, the stories, etc. … a true masterpiece.”
While the industry and public alike overwhelmingly share Henderson’s sentiment, Billboard’s 2023 Woman of the Year remains prone to self-doubt. Thoughts like “Do I deserve this?” and “I wish I did better” frequently creep into her mind, and she’s working on quieting them. She has already released new music since SOS dropped, by way of her February appearance on the remix of Lizzo’s 2022 song “Special.”
“Manifestation is real,” Lizzo tells Billboard. “I declare 2023 the year of SZA. But SZA has been Woman of the Year for me for at least a decade. I’m always such a fan of her music, a fan of her artistry, but I really love her as a friend. Solána Imani Rowe, you will always be ‘the one.’ ”
And, once she releases the deluxe edition of SOS — which will feature 10 additional tracks and is coming soon — SZA says she’ll be done trying to convince herself that she deserves her flowers.
“I guess I need to stop trying to figure out what it means,” SZA admits, “and start realizing and living in what it is.”
How did you feel after SOS was released? Did you have any hesitations about its reception?
You know when something is really popular, the positive is loud and the negative is loud? I’ve never been quite this popular before, so the negative is also really loud, and it threw me off. I was like, “OK, cool. Noted.” And I tried to figure out what actually resonates with me as a true assessment of my work and what is not true and something I can’t allow myself to internalize. I know people wanted [Ctrl’s] “Broken Clocks,” “Love Galore” and all that other sh-t again, but I departed from that by choice. Not because I couldn’t do that again; it was just because I wanted to grow. I wanted to do something completely different.
It’s hard making music as a Black woman [because] we don’t get the luxury to try something and have it be something that’s genuinely part of us. You have to allow people to get to know different parts of you. Some people may really f–king hate that, and some people might enjoy it. And I’m grateful for those who enjoy it.
Were you surprised that “Kill Bill” — which peaked at No. 2 on the Billboard Hot 100 to become your highest-charting song to date — was the SOS song that took off?
I knew it would be something that pissed me off. It’s always a song that I don’t give a f–k about that’s just super easy, not the sh-t that I put so much heart and energy into. “Kill Bill” was super easy — one take, one night.
The chart success of SOS has put you in the same conversation as pop superstars. Is it important for you to be recognized outside of the R&B space?
To even be in the conversation with Taylor [Swift] and Miley [Cyrus], even the fact that our fans are fighting, is ridiculous because it’s like, “How?!” I just really appreciate the opportunity to be in that conversation at all. It’s something I never dreamed of.
What are your thoughts about your upcoming first-ever arena tour and performing this album in front of your fans?
It’s interesting because my other shows were intimate, and I felt like people were really coming to see me. But I know certain people are just coming to see what the hype is about, and that makes me nervous. But I just want to put on the best show that expresses my theatrical side.
I am deeply excited to pop ass and cry and give theater. I want it to feel like a play on Broadway, but more like Suspiria and Cirque du Soleil in the weirdest way. I want it to be smart and exhilarating and exhausting and exciting like a party, but also like a therapy session.
How do you tour an emotionally intense album like SOS? Do you insulate yourself from the material, or does it inevitably dredge up emotions?
I never know. When I was performing “20 Something” before my grandma died, it didn’t hit me the same. And then after my grandma died, I could barely get through it at rehearsal. Who knows what any of these songs will bring up for me in real life? Shooting the video for “Nobody Gets Me” was really f–king sad. I cried a lot. I’m just going to wing it and see.
What does it mean for you to be Billboard’s Woman of the Year?It really scares me. But I really want to do something with my time in the sun right now. There’s so much I want to do for other people. I need to do something to deserve that in a way that has nothing to do with me, something that’s selfless and uplifts other women, people, period. It makes me feel more responsible than I was before. I feel like I owe everyone so much more than just smiling and getting onstage and waving. Part of it I know is just letting God use me and be myself and letting that be part of the work. But I know that there’s something more that I have to do.
SZA photographed on October 11, 2022 at Quixote Studios in Los Angeles.
AB + DM
You were the first woman signed to TDE in 2013. How did you manage to maneuver through the male-dominated label for nearly a decade on your own?
I didn’t mind the lack of female artists. I just felt like I was always the first to do something, and that was frustrating. It was me telling y’all I need hair and makeup because I’m super hands-on, on top of being a woman. I’m making PowerPoints trying to explain why I want to be in this type of publication versus that type of publication.
It was tough, but by the same token, I think all of us grew together at the same time. They never had to do anything like this before, and we were all being so randomly innovative together by trying to figure out what makes sense. And I also liked that they weren’t trying to clean me up and look like anybody else. They were just taking me as I was. That was really priceless, just to express myself visually how I wanted to and without the judgment of “Let’s make her pretty or sparkly and shiny and sterile.”
Who are some women in the music industry whom you look up to?
There’s nobody in the industry that f–ks with me and that I f–k with the way that Lizzo f–ks with me and the way I f–k with her. She never made me feel like because I don’t have a No. 1 song or I [previously] didn’t have a No. 1 album that I wasn’t capable. She’d been telling me that she thought I was the one for years. The way that she thinks of me so highly as a human being and as an artist means so much to me. I just have never met anybody like her in this entire industry.
There’s a lot of women I look up to in general that I don’t know personally, but watching them is incredible. Beyoncé, but who doesn’t look up to Beyoncé? I love Jozzy’s and Starrah’s energy. I love the way Nija is from New Jersey and has been able to transmute her energy from being a writer to an artist. Kehlani’s hella effervescent, and you can just feel the energy when she’s performing. I love Chloe Bailey and her commitment to perfection — I feel like she’s going to be a legend. Even Taylor letting that whole situation go with her masters and then selling all of those f–king records. That’s the biggest “f–k you” to the establishment I’ve ever seen in my life, and I deeply applaud that sh-t.
What does the future look like for SZA?
After I do the deluxe, I’m hoping to be able to accept that this chapter is done. I’m looking forward to actually feeling proud of myself and not just smiling and nodding at accolades but really feeling it internally and knowing that I’m good enough.
A version of this story will appear in the Feb. 25, 2023, issue of Billboard.
Rosalía will receive the inaugural Producer of the Year Award at the Billboard Women in Music Awards. The Spanish superstar is set to receive the honor on March 1 at the YouTube Theater at Hollywood Park in Los Angeles.
“We are thrilled to honor Rosalía with this award and recognize her behind the scenes work in the recording studio to bring her vision to fruition,” Hannah Karp, Billboard’s editorial director, said in a statement. “With numerous groundbreaking hits that blur the lines between traditional music genres, Rosalía consistently uses her unique producing abilities to break the mold and deliver the unexpected. There are so many talented producers like Rosalía out there, looking for their big break — we’re excited to provide these women and non-binary creatives with support and a much-needed platform through our new partnership with Bose.”
Earlier this month, the 30-year-old artist’s Motomami won best Latin rock or alternative album at the Grammys. The genre-hopping set (dembow, bachata, reggaeton, bolero) also won album of the year at the Latin Grammys. The 16-track LP peaked at No. 3 on Billboard‘s Top Latin Albums chart. About the vision for her award-winning and critically acclaimed album, Rosalía previously told Billboard: “There is no correct or incorrect in making music; if I thought like that I wouldn’t do anything. I always feel music is about an urge. And [in] Motomami, there are so many different influences, and I need to feel free to create and I need to create in order to feel free. I make music because that’s my truth.”
It followed Rosalía’s 2018 breakthrough set El Mal Querer (which also won a Grammy for best Latin rock or alternative album) and her debut album, Los Ángeles. In 2019, she was honored with the Rising Star Award at the Billboard Women in Music Awards, becoming the first Spanish artist to receive that honor.
Also a force in the touring realm, Rosalía’s Motomami World Tour earned $28.1 million and sold 343,000 tickets across three continents, according to figures reported then to Billboard Boxscore. She landed at No. 7 on the 2022 year-end Top Latin Tours chart.
Through alignment with the Billboard Women in Music Awards, Bose will both spotlight existing women and non-binary producers breaking boundaries and provide a platform dedicated to uplifting and amplifying aspiring creatives. As a Category Sponsor, Bose and Billboard will honor the inaugural Producer of the Year as a part of this year’s Women in Music celebrations. This first-of-its-kind program will further cement Bose’s commitment to uplifting underrepresented voices while directly spotlighting a trailblazer in the space.
This year’s event, hosted by Quinta Brunson, will recognize music’s top artists, women producers and executives for their contributions to the music industry, their communities and beyond. SZA will receive the Woman of the Year Award; Becky G will be honored with the Impact Award presented by American Express; Doechii with the Rising Star Award presented by Honda; Ivy Queen with the Icon Award; Kim Petras with the Chartbreaker Award; Latto with the Powerhouse Award; Lainey Wilson with the Rulebreaker Award; Lana Del Rey with the Visionary Award, and TWICE with the Breakthrough Award.
Tickets are available to the public, and can be purchased via Ticketmaster here, with more information at billboardwomeninmusic.com. Prices range from $85 to $275. Sponsors for the 2023 Women in Music Awards include American Express, Honda, Mugler, Nationwide, Bose and Smirnoff ICE.