She’s Got the Music in Her: Our 2025 Women’s History Month Soundtrack!

In celebration of Women’s History Month, Atwood Magazine honors the bold, brilliant, and barrier-breaking women in music — from legendary icons to today’s rising stars — whose artistry has shaped history, defined generations, and continues to inspire us through songs that uplift, empower, and endure.

Playlist: Celebrating Black Art & Artistry

Celebrating Women Art & Artistry

Our 2025 Black History Month Soundtrack!

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“You Oughta Know,” the lead single from Morissette’s 1995 album Jagged Little Pill, explores and expresses unbridled anger toward a lover that screwed her over. It is often difficult for a woman to convey anger without being labeled as melodramatic or bitchy (or, another classic: suggesting she’s on her period), but Morissette allows herself and her audience to really feel their anger — to express their emotions freely without shame or self-consciousness. By releasing “You Oughta Know,” Alanis Morissette successfully bottled and sold catharsis. – Audrey Connelly

Ever since I first pressed ‘play’ back last June, Amanda Bergman’s sophomore album has become a constant companion to my daily comings and goings. It’s a soothing, soul-stirring, endless lullaby; a spellbinding set of sweet serenades that envelop the ears while warming the heart and nourishing the soul. Calm yet cathartic, charming yet charged, Your Hands Forever Checking on My Fever is a breathtakingly beautiful triumph of the human spirit. It’s at once tender and dramatic – an infectiously catchy, all-consuming collection of radiant reveries, intimate inner reckonings, and vulnerable reflections on life and death, purpose and place – what it means to live, and what it means to live well.

Bergman is by no means “new” to the music scene – she released her debut LP Docks in 2016 – but Your Hands was her first release in several years, and a bona fide “return” to the spotlight for the Swedish singer/songwriter. Bergman has described music as “the answer to life,” and this album certainly feels like the full-bodied realization of that philosophical statement. From the smoky, scintillating seduction of album opener “Wild Geese, Wild Love” and the heartrending romantic ache of “I Love Him Til I Love Him Right,” to the exhilarating propulsion of “Day 2000 Awake,” the cinematic, ethereal exhale of “My Hands in the Water,” the gentle, tranquil ebb and flow of “The World Is Tired of You” and beyond, Bergman unpacks life itself – the world around us, as well as her very own existence – through songs filled with light, love, and an intimate, undeniable sense of awe. Like a waking dream or a fantasy fulfilled, Your Hands Forever Checking on My Fever feels otherworldly, yet comforting. It’s the musical blanket we didn’t know we needed, ready to tuck us in every night. – Mitch Mosk

Angie McMahon’s music has always felt like a quiet revelation – an intimate conversation between artist and listener, wrapped in raw lyricism and rich, unguarded emotion. From day one, the Australian artist (and two-time Atwood Editor’s Pick) has been a vessel of unfiltered performance and raw, visceral songwriting – her songs bringing out the best in us, often by showing us at our so-called “worst.” From the sonic heat and pure heart of her earliest singles like “Keeping Time,” “Slow Mover,” and “Missing Me,” to the pure passion and ache of more recent emotionally charged masterpieces like “Untangling” and “Making It Through,” McMahon remains a singular cleansing force of nature – and her music will forever soundtrack the tender turmoil of our restless souls. – Mitch Mosk

I’m about to see her perform for the fourth time in just a couple months when she hits up Boston Calling in just a couple months, so I’d say it’s certianly a ripe time to pay tribute to Avril Lavigne! Back when CD’s were still a thing, Let Go was one of the very first CD’s I ever listend to as a kid, and I’ve continued to be a fan of hers over the ensuing two decades. I’ll give a special shout-out to “Complicated,” pretty much the first pop song I remember hearing on the radio when I was a young’un, but April Grapevine (what her name translates to in French hehe) has had plenty of other enjoyable hits in the 23 years since then, and it’s worth being cognizant of that as well. Lookin’ forward to your upcoming set at BC in May, April! – Josh Weiner

Bonnie Raitt’s “I Can’t Make You Love Me” is an absolute classic! The soft melodies offer some comfort against cutting lyrics that slowly release some of the pain of knowing when you have to let go. You can’t not feel the words “I’ll close my eyes, then I won’t see, the love you don’t feel when you’re holdin’ me. Mornin’ will come, and I’ll do what’s right. Just give me till then to give up this fight.” – Aileen Goos

“Beautiful” by Carole King can serve as an anthem for women of all ages, embracing self-empowerment and discovery of one’s inner beauty. The musician’s discography is full of timeless hits that are still celebrated today. Carole King uses her positive outlook on life, along with her impressive accomplishments to empower women everywhere. – Miranda Urbanczyk

I’ve been lucky to have made a dozen road trips to Quebec over the years, including four epic winter break trips in the last few Februaries, and listening to native Quebec artists singing or rapping in Canadian French in my car always help me to set the mood for me. On top of all the local artists I hear on the radio station “CKOI,” I also always make plenty of room for the most recognizable Quebec musician of them all: Celine Dion, a native of the Montreal suburbs. It’s hard to go wrong with any of her French-language hits from over the years – “On ne change pas,” “Je ne vous oublie pas,” “Je lui dirai,” and more – but this highlight from 1995’s D’Eux, the best-selling French-language album of all time, has emerged as one of my favorites. Her vocals on it are gorgeous, as always, and this ode to letting no one else write your story for you (“This is my detiny, I make my own path,” she sings in the chorus in French) remains inspiring 30 years later. – Josh Weiner

No one celebrates and elebrates women and femininity quite like Chappell Roan. “I get the job done,” she croons – and on her latest single she does exactly that, with a wink, a strut, and a whole lot of sultry, seductive heat. Released in mid-March, “The Giver” is a boot-stompin’, lip-biting, innuendo-laced romp – a rhinestone-studded embrace of that country-pop music made famous by titans like Shania Twain and Carrie Underwood, full of winks, swagger, and sweet sexual liberation. It’s playful, it’s provocative, it’s camp, and it’s proof that Chappell Roan can own any genre she touches – not by parodying it, but by fully embodying it.

Pop’s recently anointed Midwest Princess – and 2025’s Grammy Award winner for Best New Artist – leans into a rowdy, fiddle-fueled sound that feels entirely natural and authentic to her artistry and identity, like she’s been wearing cowboy boots all along. With her signature unapologetic boldness and charismatic flair for storytelling, she makes twang feel timeless and queerness feel classic, delivering a track that’s as effortless as it is electrifying. “The Giver” is campy, frisky, and fun – a sapphic anthem that we can all get behind, and yet another reason to fall headfirst in love with Chappell Roan’s singular artistry. – Mitch Mosk

PUT ME ON A PEDESTAL AND I’LL ONLY DISAPPOINT YOU! Courtney Barnett, you will always be famous. – Hannah Burns

Decades before the #MeToo movement, Courtney Love was defining what it meant to support women, all while tackling a reputation for being crazy and unhinged. Not only did she warn us about Harvey Weinstein, but she was actively writing songs about female injustice in modern society. She and Kurt also always tried to make their shows a safe space for women, which was a much needed action at the time and especially in the punk genre. – Olivia Martinez

I’ve been a Lovatic for as long as I can remember. And “Don’t Forget” holds a bittersweet special place for me. Having a troubled maternal relationship, this comforted parts of me that should have been arms wrapped around child-me. Lovato’s vocal abilities on the rock version embrace her new music direction while commanding listeners’ attention. The original song was a heart-wrenching ballad, but now she offers a rock-infused, high-energy rendition. Both songs are emotional down to the core. – Danielle Holian

Dua Lipa unleashes a tour de force in her empowering and entrancing song “Falling Forever” from her 2024 LP Radical Optimism. The feeling of this song captures ecstasy in the intensities of love and friendship in the celebration of being alive through its highly addictive rhythm that leaves one unleashed from the banality of everyday life. Through Dua Lipa’s remarkable presence in sound and vision we are inspired to break free from our constraints to fall freely and with passion. – David Buyze

Elodie Di Patrizi as the artist Elodie scintillates in her song “Ok. Respira” from her 2023 LP Ok. Respira of the same title. This song became the relentless soundtrack of my sojourn in Venezia, Italia during the winter season of 2023 as the passion and sensuality of her voice and presence in this song and video lent its self to being enraptured in the timeless beauty of Venezia in walking alongside the canals and reflecting on the passing ephemera of life across the centuries. Elodie’s sensual passion in this song is a seduction to reside within the beauty she bestows on our own mortality, as we design to live beyond our own aspirations. – David Buyze

Anyone who has born witness to anything Faye O’Rourke touches will agree that she is a creative visionary and a true artist at heart. From her work in the 2010s as a member of Little Green Cars, to her more recent endeavors championing Soda Blonde, the Irish singer and songwriter has continuously captured the beauty, the magic, the wonder, the complexity, and the heartache of our shared human experience. Soda Blonde has emerged over the past six years as one of my all-time favorite bands, and for good reason: From its birth in 2019 to its latest release (just a few weeks ago), the group has proved a powerful vessel of sound, style, and substance. Effortlessly blending shimmering synth-pop, brooding indie rock, and a fearless approach to storytelling, the four-piece of O’Rourke, Adam O’Regan (guitar, production, vocals), Donagh Seaver-O’Leary (bass), and Dylan Lynch (drums) craft music that is as thought-provoking as it is intoxicating – an ethos that shines throughout their catalog, especially in tracks like “Terrible Hands,” “Don’t Mind Them,” “Bad Machine,” “Bully,” and 2025’s singles “People Pleaser” and “The Queen of Mercy.” – Mitch Mosk

Fiona Apple has rightly ascended up to the loftiest accolades of singer-songwriter acclaim and reputation. She is not only a fabulous, enigmatic pianist, but an innovative arranger, and an endlessly daring and unforgiving writer. Her ability to transfer her feelings and experiences into songs leaves you torn between nodding along, or festering into reflection. This song features some of her rawest vocal work, desperation straining notes into stunted rasps. – Frederick Bloy

FLETCHER’s “Healing” is a raw and emotional masterpiece that takes listeners on an exhilarating journey through her psyche, much like an unpredictable ride at an amusement park. With its unflinching vulnerability, the track offers a refreshing sense of freedom, allowing FLETCHER to expose her innermost feelings in a deeply personal and captivating way. – Danielle Holian

When we do roundups like this, I like to honor a few new artists in addition to the more established ones. In this case, I’m going to give a shout-out to “Bloodlines,” a new track by Gemma Laurence, my fellow New Englander (she’s originally from the coast of Maine) who now is making her name for herself in Brooklyn’s indie music scene. “Bloodlines,” off her new album We Were Bodies Underwater, features an intriguing blend of happy moments (the concluding guitar riff, for instance) as well as some unsettling ones (references to death and suicide midway through). Say what you will, but in the end it makes for a memorable combination. And besides, how many times have you heard a song that (in Ms. Laurence’s own words) represents “a universe where the past bleeds into the present, where the streets of Brooklyn melt into the open Oklahoma plains, and where nothing is ever truly forgotten.” That universe is worth a spaceship flight through, in my view. – Josh Weiner

I think that when most people picture a psychedelic musician, they probably picture a guy with long hair probably wearing some sort of hippie vest, etc. But the (arguably) most famous psychedelic rock song was actually written by a woman. Grace Slick wrote “White Rabbit” when she was just 25 years old. Inspired by the story and imagery of Alice in Wonderland, she wrote a song with such a unique sound that it came to define an entire genre. – Olivia Martinez

“Sudden Desire,” the fifth song on Hayley Williams’ debut solo album “Petals for Armor,” encapsulates the scorching desperation and tension in a blooming but fraught connection, and straddles the line between consciously giving into worst impulses and begrudgingly protecting your self-respect. The dance of sound dynamics in the verses and chorus really create a strong backdrop for the mental whirlwind taking place here. I feel like as women, we’re supposed to tamp down the strength of these urges to make them more manageable for everyone else, no matter how strong they’re raging inside of us. This fight about whether or not to let yourself have something you want so bad is both universal and extremely unique to every individual. – Kendall Graham

Holly Humberstone’s unique brand of melancholia has never felt more rejuvenating than it does on her debut album. “Here’s to new horizons,” she sings at the very top of Paint My Bedroom Black, cheers-ing to the dawn of a bold new era of self-empowerment, liberation, confidence, and catharsis. Already in the midst of a years-long transformation from alternative singer/songwriter to rising pop star, Humberstone does what she’s long done best, letting her music – in particular, her brutally honest, irresistibly catchy, no-holds-barred songwriting – do the talking for her. Yet this time, everything feels turned up a notch. The music is louder; the tension more palpable; the melodies brighter; the inner reckonings more visceral. Aching from the inside out, Paint My Bedroom Black‘s thirteen songs emerge out of the shadows with painstaking intimacy, vulnerability, and unfiltered, unapologetic passion.

Ever since 2020’s debut EP Falling Asleep at the Wheel first introduced her to the world, Humberstone – a longtime Atwood Magazine artist-to-watch and two-time Editor’s Pick – has been known for spilling her heart out through poignant, often breathtaking poetry, baring her soul for all the see, hear, and feel. On her first proper full-length album, she sings about human connection, self-expression, and embracing life’s little moments – all of which inevitably falls under the overarching umbrella of her own ongoing coming-of-age quest for purpose, understanding, and belonging in this large and lonely world.

At the core of this album is Humberstone’s warm, seductive voice – a sonically and emotionally charged beacon of raw, radiant feeling that inevitably sends shivers down the spine, glowing with its own resonant inner light. An achievement years in the making, Paint My Bedroom Black is a celebration of Holly Humberstone’s raw humanity – dwelling not so much in the darkness, but rather in the fullness of life itself. As she sings in the album’s title track: “Finally, I’m living, not surviving.” For me, Holly Humberstone remains one of our generation’s guiding lights. – Mitch Mosk

Originally recorded by Erma Franklin and covered in 1968 by Big Brother & The Holding Company featuring Janis Joplin, “Piece of My Heart” is steeped in women’s musical history. Joplin’s vocals on this track are raw, unfiltered, and wonderfully explosive, challenging what it meant to be a female vocalist at the time. The power in her voice and in her person is tangibly electric — Janis Joplin will always be considered one of the greats, and deservedly so. – Audrey Connelly

Jann Arden is a brilliant songwriter, and Good Mother has to be one of her best. Hearing it after I lost both my parents made me re-evaluate who I was and how to move forward after losing two of my most important compasses. There’s a beautiful cathartic moment in the verse: “Cardboard masks of all the people I’ve been. Thrown out with all the rusted, tangled, dented, God damned miseries.” – Aileen Goos

The first time I ever heard Jinjer’s “Pisces,” I turned it off halfway through because it scared the crap out of me. The power reverberating through Tatiana Shmayluk’s growls is otherworldly. It’s a rite of passage for any burgeoning metal fan to acquaint themselves with this song. The astrological symbolism of Pisces (nebulous energy, spirituality, things hidden just under the surface) marries the music so well in this song; it’s a push and pull of sound dynamics that reflects a tumultuous ocean and trying to break above the waves to save yourself. There’s so much soul in the lyrics. Now I have this on semi-regular rotation because of the power and drama and drive of it all. – Kendall Graham

Few artists embody the word “girlhood” like Jo Hill – after, all, she wrote a whole album about it! Released late last year, the British singer/songwriter’s debut LP girlhood. is a liberating coming-of-age record of raw passion, inner beauty, and human connection – one that sees her embracing her own femininity, celebrating her “pow girls,” and empowering everyone and anyone around her – audience members included. And yet, where would we be if we weren’t inclusive? “I know ‘girlhood’ is a gendered word, but for me there’s this softness and lovingness that comes from the word ‘babe,'” Hill told me recently. “A guy can be a babe, a girl can be a babe, anyone can be a babe! It’s got this open encouragement that I hope anyone feels when they listen to girlhood, that I just try and bring into my music.”

With a deluxe version of her debut on the way, Jo Hill continues to be a shining beacon for all, with a message of hope and possibility that’s worth elevating, disseminating, and sharing far and wide! – Mitch Mosk

Joan Jett is a pioneer for women in punk rock, and her 1980 track “Bad Reputation” is a powerful, hard-hitting example of the ways in which she broke the mold. The message is summed up perfectly in the lyric: “A girl can do what she wants to do and that’s what I’m gonna do” — the song beckons in a new era where women have the freedom to say and do whatever they please, and that is certainly the tack Joan Jett took. – Audrey Connelly

Joni Mitchell, a poet and a voice that can never truly be emulated, is often relegated to the category of “women’s music” — women are often portrayed crying to her songs in movies and TV; wallowing and eating ice cream whilst ruminating on past loves. That’s all well and fine, as expressing emotion certainly is a large part of Mitchell’s artistry; however, this stereotype flattens her music, depriving it of its intricacy and depth. She is a woman who everyone should listen to and appreciate as she deftly dissects the relatable trials of life in song-poems such as “A Case of You.” – Audrey Connelly

Kate Bush’s “Army Dreamers” acts as a protest song to war, but does so from a completely female perspective. Using nothing but her empathy and imagination, Bush was able to write a song from the perspective of a grieving woman whose son has died in war. The song describes the hypocrisy of war being something that is easier to avoid with privilege: “Should have been a rock star, but he didn’t have the money for a guitar… Should have been a politician, but he never had a proper education… Should have been a father, but he never even made it to his twenties.” – Olivia Martinez

To describe Kim Deal as bassist of ever-influential alt. rock outift Pixies would be accurate, but an inadvertent gross reduction. To me, she is one of the most integral, individual bassists we’ve ever been gifted. She happens to have a voice that rivals the captivating presence of Black Francis’ too, as demonstrated in ‘Gigantic’; she is so much more than another bassist to be simply overlooked, cloaked in the shadow of other band members. – Frederick Bloy

If only I had known this song as a little (never quite little) girl! It is perfect for that inner child. Give her a hug. – Hannah Burns

For context, this song came out a decade before women were given the right to own a credit card without a male co-signer. The only sad part is that it is still just as relevant today. “You Don’t Own Me” remains one of the boldest and most relatable feminist anthems ever to be written. – Olivia Martinez

Unlike the feast of power ballads comprising the top of the charts in the late ’80s and early ’90s, Lisa Dominique’s “Child In Your Eyes” stands as not just a criminally underrated offering, but a tragically forgotten one. The track is beautified by Dominique’s simplistic, romantic lyricism, glammy guitars, and a chorus that soars above it all like a bird’s wings skimming the ocean’s surface.

The singer went on to pen A Walk In The Sun, her debut vampire romance novel, but divining the sweet spot between lust and love was her superpower in the Gypsy Ryder era. Most of the album’s tracks sit at or below the 1,000 stream mark on Spotify. It’s a damn shame, considering the gold – namely the knee-weakening power of “Child In Your Eyes” – awaiting those lucky enough to stumble upon it. – Emma Schoors

Bold, brash, and forever true to herself, Lola Young is a musical maverick. Unapologetic in every sense of the word, the 23-year-old singer/songwriter from Croydon, South London, has been spilling her guts in song for five years now. She made a splash with 2023’s major label debut album My Mind Wanders and Sometimes Leaves Completely, yet it’s with last year’s sophomore record – the critically acclaimed This Wasn’t Meant for You Anyway – that she has transcended the local scene to become somewhat of a beloved cult figure in the alternative and pop worlds.

The attitude Young displays in songs like “Messy,” “Conceited,” “Wish You Were Dead,” and “F***” is infectious and undeniable; she holds nothing back in asserting her unfiltered, charismatic self, blending raw vulnerability with youthful vigor and charm through songs that fuse her emotionally charged, soul-soaked voice with indie rock and alternative pop instruments. – Mitch Mosk

I’d say that 80 percent of the times that I put “Green Light” on, I’m full-on crying when the first chorus hits. I can’t explain it. It’s not like it’s a ballad or something that immediately lends itself to big emotional expression. It’s just that I, too, wish I could get my things and just let go. The sense of inhibition that Lorde is carrying in this song is so strong, and I sympathize with it so much. I consider her my own poet laureate, because she has always been able to near-perfectly encapsulate my feelings about my own growth about the same times/milestones in our lives with eery intuition. I can feel in every beat, every note how strongly she’s trying to let me give myself permission to just be however I am, however I want, however that comes out, no exceptions, no over-analysis. Just honest. – Kendall Graham

Oh, to be loved like Lucy Dacus loves Julien Baker… just stunning. Her song “Best Guess” is the perfect example of the capacity women have to love each other. – Hannah Burns

Lifted from one of my all-time favourite albums Electra Heart, MARINA’s “Teen Idle” has a haunting downtempo melody that underscores lyrics that tackle the darker realities of youth, using metaphors for struggles like loss of innocence, eating disorders, and mental health. The clever title captures the stark contrast between the idealized teenage dream sold by the media and the crushing weight of adolescent depression. As a teenager, when this song found me, it gave me comfort knowing the struggles I was facing, I wasn’t facing alone. – Danielle Holian

The scale of ‘power-couple’ that is Mariya Takeuchi and Tasturo Yamashita potentially risks defying explanation. Yamashita is himself a titan of the city pop genre, but that is not to undermine another one of Japan’s highest ever selling artists in Takeuchi. ‘Plastic Love’ is arguably her marquee piece, a triumphant forray so pristine that it has passed the greatest test of all, garnering consideral popularity internationally, catching eyes and ears as a frontrunner of city pop’s global prominence. – Frederick Bloy

Independence Day is one of the most unforgettable songs to tackle domestic violence, as seen through the eyes of a child caught in the middle of the nightmare. While the song empowers the victim to become her own savior, the trauma lingers as the child is taken into custody and attempts to make sense of the situation with the lyrics: “Now I ain’t sayin’ it’s right or it’s wrong, but maybe it’s the only way. Talk about your revolution. It’s Independence Day.” The combination of Gretchen Peters’ unnerving lyrics and Martina McBride’s commanding vocals creates a deeply emotional anthem. – Aileen Goos

Monica Martin’s voice captures the essence of regret and pain on “Cruel.” Rather than wallowing in despair or self-pity, Martin uniquely maintains a level of brightness that doesn’t undercut the depth of the lyrics, but instead brings a presence to the song. While “Cruel” follows the story of Martin reflecting on a past heartbreak, the song doesn’t focus on the past, but anchors the resulting feeling in Martin’s present. Opting for a level of honesty that feels particularly rare in songs broaching the topic of love, Martin both owns up to past mistakes and takes it a step further, questioning whether she might be an actually cruel person. The extremely catchy repetition in the chorus of her repeatedly contemplating her cruelty is both haunting and freeing, as it presents an artist unafraid of sharing the darkest parts of their psyche. – Ciaran Short

Still one of Nicki Minaj’s greatest tracks by my own estimation, and definitely one of the ones that best proves what a dual powerhouse she is as both a singer and a MC – the rapped verses are all great, and the sung chorus has Fifteen-odd years have passed since its release and yet whenever it comes on the radio, I can’t help but to have the words “This one is for the boys with the booming system Top down, AC with the cooling system…” effortlessly exit my lips in rapidfire succession. Boy, has this song still got my heartbeat runnin’ away! – Josh Weiner

Nina Nesbitt’s “Anger” is a heartbreakingly relatable and deeply personal track that delves into the struggles of expressing emotions, particularly anger, something the introverted singer has always found challenging. With biting lyrics and impassioned vocals, the song captures the rawness of her emotions, offering an emotional experience that resonates with anyone who has struggled to articulate strong feelings. By confronting the idea that anger must be contained, Nina encourages the acceptance and expression of this often misunderstood emotion, making “Anger” both a cathartic and empowering anthem for those who struggle with their own inner conflicts. – Danielle Holian

As a girl, I had a huge Gwen Stefani obsession. She’s such a badass, and “Just a Girl” is a heavy hitter. – Hannah Burns

Kevin Barnes is an angel! When I first heard them sing, “from when they are children / they’re depersonalized / aggressively objectified…” it was an instant add to liked songs. – Hannah Burns

There’s a quality of steadiness in Orion Sun’s voice and production that permeates an enduring sense of serene calm; “Antidote” is the perfect example of her unique ability. With a gentle confidence, Orion Sun has an intricate understanding of melody and tone that situates even the most dramatic moments in her songs as just hiccups on an inevitable path towards everything being okay. This approach to music feels particularly successful due to the vivid visuals and words she crafts with her songwriting. With such a precise command of language, Orion Sun is perfectly in control of the sonic worlds she builds. Thus, as a listener, you know you’re always in safe hands. – Ciaran Short

Phoebe Bridgers’ “Motion Sickness” is a raw and honest portrayal of heartbreak, where lyrical depth meets emotional vulnerability. Bridgers masterfully blends sorrow with subtle humor, creating a song that feels both deeply personal and universally relatable. For those who’ve experienced similar struggles, like relationship abuse, the track offers a unique sense of catharsis, allowing listeners to lose themselves in its haunting melodies while simultaneously finding solace in its honest expression. It’s a perfect balance of pain and release, making it impossible not to connect with. – Danielle Holian

It took a few years after hip-hop first went mainstream in the late ’70s/early ’80s for credible female MC’s to emerge. But when they finally did, did they ever come out swinging! Queen Latifah was one of the earliest proofs in that pudding, alongside MC Lyte, Roxanne Shante, and more of the early female rappers from the ’80s. Her song “Ladies First,” from her 1989 debut All Hail the Queen, remains one of the finest Girl Power anthems any hip-hop artist has ever cooked up. Alongside Monie Love – who may not have become as much of a household name herself, but still definitely makes her presence felt in her limited time frame here – Latifah lets the fellas know that “sloppy slouchin is somethin’ I won’t do. Some think that we can’t flow? Stereotypes, they got to go.” Indeed, given all the hits from female rappers that soon followed this one – coming from the likes of Salt-n-Pepa, TLC and Latifah herself –– nobody would ever deny the ladies their props in the rap game again. – Josh Weiner

Qveen Herby’s “Bob Dylan” from her album “The Alchemist” stands out as a powerful and emotionally resonant track in her discography. With its raw delivery and her signature energy, the song strikes a deep chord with listeners, offering both healing and reflection, particularly for those navigating tough moments. The track’s impact goes beyond its catchy hooks, as it becomes a source of comfort and strength for fans, proving that Qveen Herby’s unique blend of rap and soulful vulnerability can speak to the heart in truly transformative ways. – Danielle Holian

Regina Spektor is eclectic and fastidious, such is palpable in her music. Sprawling chamber pop arrangements with bouncing, swelling string sections, are readily condensed down into just her and her piano, sometimes as delicate as a fairytale, sometimes as torrential as a salvo. She is endearing, playful, witty, charming. She deserves to be included in the annals of the most supreme female singer-songwriters. – Frederick Bloy

Romy Anna Madley Croft as the artist Romy inspires us to live through her song “Enjoy Your Life” from her 2023 LP Mid Air. I have been enveloped in this song for months at end, and in reuniting with my life-long best friend in NYC this month, we were captivated in the beautiful simplicity of this song as we soared in the sunlight and plunged into the depths of night that was capped with the most splendid glass of Châteauneuf-du-Pape at Benoit on West 55th. In this song, Romy inspires us to live with greater degrees of wonder in capturing the marvel of human relationships in our own lives as we create the memories that last a lifetime. – David Buyze

Sarah McLachlan resounds in the triumphant song “Awakenings” in her splendid return after a seven-year absence through her 2010 LP Laws of Illusion. The music of Sarah McLachlan has been the soundtrack of my youth and has saturated the drying ache of the incredible first love of life. Through Sarah McLachlan’s remarkable lyricism and song-craft, she always inspires me to live again and with more passionate intent in our continual attempt to create meaning in life. – David Buyze

“Me Again” takes a deep dive into Sasha Alex Sloan’s mental health and insecurities. The gut-wrenching lyrics, like the rest of her music discography, voices topics that many may struggle to express. There’s comfort in her songs bringing listeners light in their darkest hours. A multi-talented artist that should be celebrated! – Danielle Holian

Fifteen-plus years into an already illustrious career, Sharon Van Etten continues to keep things fresh and find new ways of stunning through song. Her new band, Sharon Van Etten & The Attachment Theory (which arrived alongside a self-titled debut album earlier this year), marks perhaps one of her greatest achievements yet: Described by Van Etten herself as “a meeting of the minds and a sonic trust fall,” the group harnesses the combined talents of its four members (Van Etten, Jorge Balbi, Devra Hoff, and Teeny Lieberson) to create bold, brash, genre-defying music that is as memorable as it is mesmerizing. Catchy pop-structured songs like “Trouble” and “Afterlife” – two of the record’s singles – put Van Etten’s cathartic, contemplative songwriting on full display, while tracks like “Indio” (which employed alternative scales) and “I Can’t Imagine (Why You Feel This Way)” capture the band’s inventive spirit and originality – a flair that sets them apart, not just from past Van Etten works, but from most contemporary rock artists.

As if the album experience were not enough, the band’s live show is another beast entirely – and one that once again showcases the depths of Van Etten’s creative spirit and ingenuity. On stage, the four-piece deliver a soul-stirring, shiver-inducing performance that defies definition. Bits of indie rock, new wave, math rock, garage, post-punk, psychedelic, and more shine through the haze as, with Van Etten’s breathtaking vocals at the helm, the group deliver a dizzying, dynamic rock show that taps into the core of human experience. It’s a rush, a reckoning, and quite frankly, a raw reflection of where we’re at in 2025. – Mitch Mosk

“Nothing Compares 2 U” was initially written by Prince and recorded by The Family, but was later covered by Irish singer and activist Sinéad O’Connor. Known for her outspokenness on subjects such as women’s rights and child abuse in the Catholic church —protesting the latter before the public was aware of the full scope of the abuse — O’Connor’s career was steeped in controversy, despite her protests being objectively justified. In her well-known cover of “Nothing Compares 2 U”, her vocals were recorded in a single take. Socially aware and incredibly musically talented, Sinéad O’Connor is an important woman to remember this month and always. – Audrey Connelly

“Cranes in the Sky” by Solange is not just a song, but an auditory experience bringing the listener on a meditative journey of self-reflection. From the opening moments of the song, the addictive drum loop will have you bobbing your head along for the entire ride, until the strings start to swell and you feel an internal dissonance that’s tearing at your insides, preparing for the angelic and textured crooning of her voice. Once the baseline hits, you’ll be completely lost in the song, oscillating between a desire to dance and cry, truly feeling the impact of every lyric and musical flourish. Taking elements of R&B, Indie, and Hip-Hop, Solange’s Album, A Seat At The Table, felt like a defining moment for Alternative R&B and has shaped popular music in the years to come. – Ciaran Short

This song really helps me deal with my impostor syndrome. Or at least give a name to it so I can compartmentalize it. Courtney LaPlante knows this feeling well, existing as a woman in metal where we only make up 3 percent of the genre. This song checks all the “Spirit-boxes” (see what I did there?) with relentless riffs and hard pre-chorus drops. Courtney doesn’t scream in this song, but she doesn’t have to; the calmness of her voice here belies the strength and ache behind resisting the labels, expectations and assumptions foisted upon you. There’s resignation in this song where it’s almost expected of you to give up, but there’s nobility in that, too: leaving things unhealthy for or unsuited to you behind with nothing more than a small flourish, a sweeping closed of the curtain. – Kendall Graham

Suki Waterhouse’s “Nostalgia” immediately captures the listener with its dreamy blend of soft, soothing vocals and intimate, wistful lyrics. The song opens with atmospheric acoustic guitar and airy vocals, creating a tender and nostalgic atmosphere that evokes a longing for simpler, more cherished times. Waterhouse’s delicate delivery and poignant lyricism paint a vivid picture of admiration for the past, all while subtly contrasting it with the complexities of the present. It’s a song that wraps you in a feeling of both melancholy and beauty, making it impossible not to fall in love with. – Danielle Holian

Growing up as a Swiftie, it’s incredible how resonating each Taylor Swift song is. “I Can Do It With A Brokenheart” would be a theme song of my life – for many reasons – but in this period of my life it feels like strength to sing along to the lyrics. It’s a sad, but uplifting song. Taylor Swift is one artist I will be telling my children about – she’s a timeless artist. – Danielle Holian

One of the best qualities of The Chicks – aside from the impeccable musicianship of sisters Emily Strayer and Martie Maguire – is their uncompromising stance. But in 2003, Natalie Maines criticized then-President George W. Bush, resulting in death threats and a near-fatal blow to their career. Their response? The unapologetic “Not Ready to Make Nice”. During two sold-out shows in Winnipeg, the crowd erupted when Maines delivered a powerful bridge, “How in the world can the words that I said send somebody so over the edge that they write me a letter, sayin’ that I better shut up and sing or my life will be over”. That moment still gives me goosebumps! – Aileen Goos

“Dreams” by The Cranberries, originally released in 1992, is a lastingly popular Irish soft rock song about lead singer Dolores O’Riordan’s first love. The sweet lyrics wash over the listener like an incoming tide, gilded by O’Riordan’s intoxicating voice. The song is punctuated by beautifully wild yodeling — a stark contrast to the gentle nature of the song, it elicits the surprising, untamable nature of first love. The song is a testament to the skills of Dolores O’Riordan as well as the power of women in rock and roll. – Audrey Connelly

Do you even know me if you don’t know The Pretty Reckless are one of my all-time favourite bands? “Witches Burn” is mesmerizing with Taylor Momsen’s vocals, the band’s catchy riffs, and the ability to bring up the rage and settle it all in the space of a song’s duration, creating an atmosphere of emotion, rebellion, and anthemic. – Danielle Holian

For me, no female act shines with quite as much beauty, light, and wonder as The Staves. This isn’t the first time I’ve highlighted them in a list like this, and I’m sure it won’t be the last; for ten-plus years, the Staveley-Taylor sisters (Camilla, Emily, and Jessica) have been weaving worlds of stirringly intimate folk and folk-adjacent wonder. Whatever they do and wherever they go, they leave a path of stunned listeners in their wake. 2021’s beautiful third LP Good Woman – a masterpiece, in my book – is the quintessential example of their lyrical and musical excellence at work. Dedicated to their mother, their grandmothers, to all the women who’ve guided them throughout their lives, and to each other, Good Woman aches with raw emotion, candid, confessional lyrics, and deep, soul-stirring intent as The Staves ride that turbulent, but sometimes magical, roller-coaster of life’s highs and lows.

Lives have been lived and in recent years, Emily has left the band for other endeavors while Camilla and Jessica soldiered on as a two-some, most recently releasing their fourth album, All Now, last year. Both live and on record, The Staves remain a dazzling force of light, love, and lilting sound – their songs inspiring and provoking deep emotional responses within. – Mitch Mosk

Elizabeth Fraser of The Cocteau Twins provided the indelible soundtrack of my generation through a kaleidoscope of work in music that accompanied us throughout many a late night and into the crisp dawn of day. The transcendent cover track “Song to the Siren” with the 4AD collective This Mortal Coil from the 1984 album It’ll End in Tears captures the chrysalis of our youth in the fragility of love while dreaming of the promise of all that we could become together. My memory of this immortal song remains entwined within those candlelit late autumn nights in upstate NY as we immersed ourselves in each other’s beings at Stadium apartments amidst the solace of swirling foliage and desperate winds as we held each other so very close. – David Buyze

Beach House are a rarity of a band, in that they have perfected a sound and can reiterate it time and time again without it ever decaying, or going stale. Spearheading it all are the elusive, ephemeral vocals of Victoria Legrand that billow and cascade about each track, poetry laden with longing, or melancholy, or warmth. ‘Myth’ might be one of the best songs ever written, incidentally. – Frederick Bloy

The quiet glamor in this song has kept me returning to it in the 11 years since it appeared on Little Dragon’s 2014 “Nabuma Rubberband” (my favorite Little Dragon album). It’s wistfulness and a warning packaged into one. I love the way Yukimi gently prods us in the direction of choosing our own fates and individuality, rather than giving into that listless feeling of letting life make your choices for you. It feels like she’s speaking to us through layers of dreaming; the production is soft and swirling, lightly orchestral in spots, supporting that mystic, lilting energy that Yukimi’s voice lends itself so achingly well to. – Kendall Graham

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:: Women’s History Month 2025 ::