The 15 Most Soul-Baring Artists

Image via Complex Original

The similarities and contrasts between The Beatles’ primary songwriting partnership are a classic study in what it really means to bare your soul. Paul McCartney may have written some very sincere, emotional songs throughout his career, but his partner John Lennon always seemed somehow more raw and unfiltered, both in his songwriting and in his public persona. Even in the early, upbeat Beatlemania days, a short, seemingly simple song like “Help!” could turn out to be, as Lennon later admitted, an actual cry for help, as he dealt with the emotional pressures of fame. As time went on, he shared even more of his life in his songs, particularly in his solo career. But it’s perhaps the 1968 Beatles track “Julia,” named for his late mother, that reveals just how close to the bone his songs were: “Half of what I say is meaningless, but I say it just to reach you, Julia.”

As one of Motown’s biggest stars, Marvin Gaye excelled at bringing the songs of Holland-Dozier-Holland, Ashford & Simpson, and other legendary hitmakers to life with his vocal talent and charisma. But it wasn’t until he wrestled creative control from the label in order to co-write and release the socially conscious “What’s Going On,” and the landmark album of the same name, that the singer truly began to show his soul to the world. Even as later work turned back to the more commonplace topics of romance and heartbreak, Gaye left a personal imprint on albums like the electrifyingly sexual “Let’s Get It On” and the divorce lament “Here, My Dear.”

Her shimmering, one-of-a-kind voice may be the primary link between Joni Mitchell and the hearts of her listeners. But that voice was also the perfect vehicle for the vulnerable ache of the folk pioneer’s songs. Her landmark album Blue was recorded in 1971, as she was recovering from a breakup with one contemporary, Graham Nash, and beginning a romance with another, James Taylor. As Mitchell herself once remarked, “There’s hardly a dishonest note” on Blue, and that revealing, unguarded approach filled her striking arrangements and beautiful melodies with powerful emotion, resulting in one of the great moments in confessional pop.

Coming to fame as the frontman of Genesis, Peter Gabriel was best known for wearing surreal costumes onstage and making fantastical concept albums in the group’s early days as a stagey prog-rock collective. But he began opening up more about his life and personal experiences in his solo career almost immediately, with the debut single “Solsbury Hill” reflecting on the very decision to leave Genesis. From there, his music became more expressive, often covering dark psychological terrain, and showing empathy for global concerns with political lyrics and environmental activism. It takes a song as moving as “In Your Eyes” to make you want to hoist a boombox over your head.

When people talk about emotion in hip-hop, it’s often in terms of rappers who write love songs. But Scarface redrew many of the emotional boundaries of rap lyricism from within the dark, violent world of gangsta rap. As the breakout star of the Geto Boys, Scarface wrote tales of crime and debauchery for shock value, but he also led the group towards the sensitive psychological territory of “Mind Playing Tricks On Me.” And in his solo career, he delved further into the dark emotions that fuel evil deeds on “I Seen A Man Die.” Few rappers have ever been tougher or more intimidating than Scarface, but even fewer have convincingly probed the topics of depression, madness, remorse, and regret.

As a teenager, Eddie Vedder had the life-changing experience of learning that the man he’d been raised to consider his father was his stepfather, and that his real father had already passed away. When, years later, a demo tape by a group of Seattle musicians found its way to him by chance, he poured all the emotions of that experience into a song. After joining those musicians to form Pearl Jam, that song, “Alive,” became the debut single that would set them on the unlikely course to become one of the biggest bands of the ’90s. As a poster child for the grunge movement and the existential angst of Generation X, Eddie Vedder was a reluctant celebrity, but a great rock star, pouring his ambivalence about fame into cathartic songs like “Corduroy” that only proved to make him more beloved by his fans.

As “The Queen of Hip-Hop Soul,” Mary J. Blige helped inject the sounds and swagger of rap music into ’90s R&B. But it was the raw emotion and personal revelations of albums like My Life and Share My World that made Mary into a superstar who was beloved in a way that her more glamorous, polished contemporaries were not. Over the course of her career, as she overcame addiction and heartbreak, struggling to find happiness, her songs were like status reports on her emotional well-being, “Be Happy” and “Not Gon’ Cry” and “No More Drama” and “Just Fine” functioning as affirmations of strength and perseverance for Mary as well as her fans.

Becoming a superstar in the late ’90s alongside cool, confident rap stars like Jay Z and Puff Daddy, DMX was a live wire. His voice was a harsh bark, his beats were blaring and anthemic, and he always seemed to be unpredictably teetering on the brink of a violent outburst or a tearful breakdown. The “Prayer” interludes on his album were islands of calm, but eventually his voice would always once again rise in intensity. The unfiltered emotions in his music were mediated by his ability to make compelling, revealing songs. But eventually, his life itself seemed to spin out of control, and he could no longer spin those dark feelings into platinum albums.

Alecia “Pink” Moore became a star for LaFace Records by applying her big, soulful voice to some very slick of-the-moment R&B and dance pop. But it was by rebelling against the label party line and insisting on a more personal, idiosyncratic second album that she doubled her sales with the blockbuster 2001 LP Can’t Take Me Home. “Don’t Let Me Get Me” addressed insecurities about herself and her career, while “Family Portrait” plumbed the depths of a broken home’s effect on children, and the new autobiographical bent of Pink’s music resonated with millions. Her tempestuous attitude toward the music industry has led to more ups and downs—the unpopular left field Try This, followed by the defiant comeback album I’m Not Dead. Still, after a decade Pink has emerged as not just one of the most honest and relatable stars in pop, but one of the biggest as well.

An artist of boundless passion, everything Kanye West has accomplished seems to be a direct result of his own drive to make it happen. When he found success as a producer for the likes of Jay Z but faced skepticism about his skills as a rapper, he muscled his way onto the Roc-A-Fella Records roster with an undeniable set of songs that became the multi-platinum The College Dropout. And instead of sticking to the formula laid out by that album, he kept following his muse to create divisive albums like 808s & Heartbreak, inspired by a breakup with a longtime girlfriend and the death of his mother, and Yeezus, filtering the frustrations of his fashion career into a dark, confrontational opus. West may inspire love or hate from his audience, but it seems clear that he’s always ready to feel even more strongly about his work than they do.

The Brit born Adele Laurie Blue Adkins is a testament to how big an impact a musician can have on the world simply by singing their heart out. Her two albums, 19 (released in 2008) and 21 (released in 2011), were both named for her age when they were recorded, and represent all the emotional ups and downs of the transition into adulthood. From the dizzy infatuation of “Crazy For You” to the crushing heartache of “Someone Like You,” Adele put all her cards on the table. And for the trouble of her oversharing, she got armfuls of Grammys and eye-popping, record-breaking sales.

Before seemingly every major pop star had a sentimental piano ballad on the radio the last couple years, that was the territory that John Legend dominated with hits like “Ordinary People.” So it was perhaps inevitable that he joined the downtempo party with the biggest song of his career, “All Of Me.” Not only does the song bare the feelings of the newly married John Legend’s feelings for his partner, the “All Of Me” video bares the body of his bride, Sports Illustrated swimsuit model Chrissy Teigen. Still, in light of the overflowing emotion all over the piano man’s catalog, from “Get Lifted” to “Love in the Future,” it’s easy to accept the displays of married affection in his video as sharing and not, well, bragging.

If it’s become something of an unfortunate running joke in the press that Taylor Swift has a long line of ex-boyfriends, each of them remembered in a breakup song. Whether that’s fair or not, it seems like a simple byproduct of her ability to write album after blockbuster album of intimately personal songs. Whether she’s lamenting a December breakup she’s not sure she wanted, or dissing a hipster ex who listened to cooler records than her, Swift always seems to leave a breadcrumb of details that makes the fans and the press alike want to trace the lyrics back to real events. She remains cagey as ever on such matters, but whether she has a more active imagination than people think, the emotions in Taylor Swift’s songs never sound phoned in or made up, so the speculation will continue.

Jermaine Dupri recently revealed that the two-part title track from Confessions, in which Usher shared tales of cheating and getting his side chick pregnant, were actually based on his own life and not Usher Raymond’s. But a decade after the 2004 album broke records, little details like that hardly matter. The love affair between Usher and TLC’s Chili—and subsequent breakup that played out in the singer’s songs and videos over a few years—was one of R&B’s great soap operas. And once that album put Usher’s personal life on display like never before, the floodgates were open for him to share life events like marriage, fatherhood, and divorce in his most recent albums, making the once guarded star one of the most vulnerable singers of his generation.

Many hip-hop album covers have featured depictions of the rapper as a child, but few have as much loaded subtext as the candid Polaroid featured on the cover of Kendrick Lamar’s acclaimed 2012 major label debut good kid, m.A.A.d city. The picture of a young K. Dot, next to an uncle who’s throwing up gang signs, is the perfect invitation to an album in which the rapper painstakingly deconstructs his own experiences growing up in Compton, and his decisions not to follow the path some of his friends and relatives took. Kendrick Lamar’s lyrics always sound like an interior monologue, sometimes deliberately so, as in the internal back-and-forth conflict of multiple voices in his head on “Swimming Pools (Drank).” Even in his most aggressive moment as a rapper, the epic guest verse on Big Sean’s “Control,” Kendrick seems to be simply letting out an unfiltered account of what every ambitious rapper secretly thinks about his friends and competitors.