Alicia Keys whose birthday is today – Happy Birthday BTW – has performed with a myriad of bands or solo artists of all genres. We have selected twelve of them.
They are : John Mayer, James Bay, Brandi Carlile, Jack White, Eve, Stevie Wonder, Oumou Sangaré, Angelique Kidjo, Rob Thomas, Andra Day, Jay Z, Queen Latifah, Kathleen Battle
Here, they are reunited in one glorious playlist. Enjoy!
Tracklist
1 . John Mayer . If I Ain’t Got You Gravity“If I Ain’t Got You” by Alicia Keys and “Gravity” by John Mayer find themselves entangled in a fascinating musical experiment during live performances that blur the lines between their identities. “If I Ain’t Got You,” a chart-topping highlight of Keys’ 2003 album “The Diary of Alicia Keys,” grapples with the futility of materialism, preferring love over shiny distractions. It’s less about romantic grandeur than an insistence on emotional substance—like a relationship check-in set to an unmistakable piano-driven melody. On the other hand, “Gravity,” Mayer’s introspective gem from his 2006 album “Continuum,” is the confessional musings of a man attempting to resist forces pulling him into life’s wreckage. Clocking in somewhere between a pep talk and a prayer, it’s introspective without being indulgent, somehow both fragile and confident. When woven into live medleys by Keys and Mayer, these tracks form anything but a polite mashup. Keys’ opening piano meshes with Mayer’s guitar riffs in a manner that neither conforms nor competes, reinforcing the emotional weight underpinning both songs rather than lightening the load. Mayer’s bluesy solos don’t just linger—they dig in, taking “If I Ain’t Got You” somewhere dirtier but no less elegant. The live renditions, such as their buzzworthy 2017 Times Square performance, spotlight their shared restraint and flair, with even Questlove’s drumming feeling more like punctuation than a full-blown rhythm section takeover. The format toys with expectations, transitioning deliberately between these two songs like a slow exhale. These moments make an argument without speaking a word: that sometimes two voices—musical or otherwise—don’t need complete harmony to coexist with electrifying friction. 
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2 . James Bay . UsThe raw intimacy of “Us” by James Bay lands somewhere between a heartfelt confession and an anthem for collective connection. Bay, known for threading emotional nuance into his music, uses stripped-back piano arrangements and sultry undertones to craft something that feels both personal and universally resonant. His lyrics walk a fine line between vulnerability and resolve, speaking to the human need for unity amidst isolation. The music video opts for minimalist storytelling, showing Bay at the piano, interspersed with everyday people forging connections, a subtle yet effective visual parallel to the song’s thematic heart. When Alicia Keys joins him in the re-released duet, the song gains layered harmonies and an added emotional weight, transforming the track from introspective to expansive. While the duet touches international charts with notable success, the original still holds its own as a stripped-down, guitar-forward piece that fits Bay’s oeuvre. Clever without being pretentious, “Us” leans on its emotional rawness to deliver its message—direct, affecting, and deeply human.
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3 . Brandi Carlile . A Beautiful NoiseReleased in the waning days of October 2020, “A Beautiful Noise” is a duet that wears its purpose as boldly as its creators, Brandi Carlile and Alicia Keys, wear their tailored suits—Carlile in white, Keys in black, a sartorial nod to unity if ever there was one. Stripped to a spine of pianos and voices, the song forsakes production frills to center its message: the power of individual voices to drive change, particularly in communities often ignored or marginalized. The lyrics pulse with a deliberate earnestness, crafted by six female songwriters, including the performers themselves—a rarity in an industry prone to overpopulated writing credits devoid of clear vision. Its debut on a CBS voting special tethered it firmly to the prejudices of its moment, political urgency seeping through every note. Cynics may roll their eyes at the lack of lyrical subtlety, but the chemistry between Carlile and Keys is undeniable, their alternating verses elevating the track into a dialogue rather than a mere performance. The song’s overt moralism may alienate those allergic to such messaging, but its simplicity ensures that the message lands, no matter one’s threshold for social commentary in art. The Grammy nod, while not surprising, may feel more reflective of its timeliness than its lasting resonance; whether it will outlive its election-day context remains an open question. The accompanying video, all stark lighting and close-up sincerity, reinforces the song’s directness, refusing metaphor in favor of raw, emotional pleas. Overall, “A Beautiful Noise” sits at the intersection of art and activism, both a call to arms and a reflection of a fraught cultural moment, though one wonders whether its purity of intent edges too close to didacticism for its own good.
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4 . Jack White . Another Way To Die“Another Way to Die” heralds a sharp departure from the traditional Bond theme, pairing the powerhouse voices of Jack White and Alicia Keys in a duet that feels as unexpected as it is aggressive. Jack White, true to his rock roots, layers the track with distorted guitar riffs and manic drum beats, creating a stormy sonic backdrop that feels more like a bar brawl than a spy thriller. Alicia Keys counters with punctuated vocal runs, injecting moments of controlled swagger amid the chaos, but the blend of their styles often verges on cacophony, rather than cohesion. The song’s brashness finds a visual companion in the heavily CGI-driven music video, which offers abstract imagery interspersed with fleeting shots of Daniel Craig—stoic, silent, and perpetually brooding. From a chart perspective, it strikes gold in countries like Finland, but its relative underperformance on the US Billboard Hot 100 raises questions about its lasting appeal beyond its Bond affiliation. Still, the track garners critical nods, snagging a Grammy nomination for its music video and a Satellite Award win, cementing its place in the franchise’s lineage of polarizing entry themes. All things considered, it’s less a suave martini and more a hurried shot of whiskey—rough around the edges, intense, but undeniably bold.
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5 . Eve . Gangsta Lovin’Eve’s “Gangsta Lovin’,” featuring Alicia Keys, layers smooth beats with gritty charisma, bridging rap and R&B into an effortlessly radio-friendly track. Sampling Yarbrough and Peoples’ 1981 groove “Don’t Stop the Music,” the song borrows a rhythmic backbone that exudes familiar nostalgia while still feeling fresh in its early 2000s aesthetic. The interaction between Eve’s confident delivery and Alicia Keys’ silky hooks amplifies the track’s laid-back swagger, making it a standout in both artists’ discographies. Recorded at the iconic Hit Factory in New York, the production leans on polished minimalism, favoring clean melodies and steady percussion over overindulgence. Commercially, its runaway success is hard to overlook, landing just behind Nelly’s ubiquitous “Dilemma” on the Billboard Hot 100 and notching certifications across Australia, New Zealand, and the UK. Little X’s music video translates the song’s mellow vibe to visuals, weaving through carefree poolside and beachfront scenes as Eve and Keys flaunt effortless chemistry alongside playful flirtations with a love interest. Despite its glossy presentation and undeniable catchiness, the track’s reliance on past material reopens the age-old debate: homage or overuse? The result is a record that feels both universal and tied to an era when collaborations thrived on accessibility and cross-genre appeal.
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6 . Stevie Wonder . Higher Ground“Higher Ground” by Stevie Wonder lands squarely in that electric space where spiritual messaging meets funk-driven ingenuity. It’s hard not to be drawn in by the relentless groove powered by Wonder’s unparalleled mastery of the clavinet, its wah-wah snap mutating into something entirely its own via a Mu-Tron III pedal. The Moog bassline hums beneath with a gravity-defying force, while percussion and drums—both handled by Wonder—strike a rhythm as tight as a clenched fist. The track swings upward with a lyrical narrative that contemplates reincarnation, born from an almost premonitory place given Wonder’s life-altering car accident just three months after recording. Yet “Higher Ground” never feels bogged down by its spiritual introspection; instead, it marches with infectious intensity, marrying transcendence with pop accessibility. The song’s chart performance—a mammoth hit on the R&B scene and a strong Billboard presence—offers a snapshot of its cultural moment, capturing both the optimism and unease of the early ’70s. Wonder’s ability to turn personal conviction into universal resonance is perhaps the track’s most startling achievement, though it’s the sonic clarity—the brilliant clash of organ-meets-funk-meets-intensity—that makes it endure. In live performances, like the audacious 2004 MTV spot featuring Alicia Keys and Lenny Kravitz, the song’s unabated urgency proves unyielding, transcending its era without losing an ounce of its fire. If the single’s limited ascension on the UK charts seems curious, perhaps it’s merely proof that “Higher Ground” is less concerned with global ubiquity than it is with interdimensional impact.
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7 . Oumou Sangaré . Fallin’Oumou Sangaré’s music reverberates with the pulse of Wassoulou, challenging convention and celebrating the dynamism of her Malian roots. “Moussolou,” her debut, is a fierce proclamation of womanhood, unflinchingly addressing the societal chains that bind, all without losing sight of the infectious rhythms that make it a bona fide hit across Africa. The follow-up, “Ko Sira,” veers into more intimate terrains, exploring love and relationships with a voice that’s equal parts tenderness and defiance. “Worotan” builds on her knack for cultural commentary, this time leaning harder into experimentation, blending traditional instrumentation with shades of modernity that never feel clumsily grafted. By the time “Seya” arrives, Oumou has mastered the art of balancing accessibility with depth, crafting songs that are as thoughtful as they are irresistibly groovy. With “Mogoya,” she embraces a sleeker, electronic edge, proving she can evolve without losing her grounding in Wassoulou tradition. The acoustic reinterpretations of her catalog in “Acoustic” strip the songs down to their essence, highlighting the texture of her voice and the primal strength of her melodies. “Timbuktu” stands as a more contemplative offering, weaving together African instrumentation and blues influences, lending a weightier introspection to her catalog without descending into indulgence. Her collaboration on Herbie Hancock’s “The Imagine Project” speaks volumes about her global appeal, her voice becoming a striking thread in the broader fabric of world music. Even when performing at international festivals like WOMAD or the Melbourne Opera, her presence feels rooted—not diluted—in her heritage, a rare feat for an artist navigating cross-cultural stages. Her music shifts effortlessly between celebration and critique, joy and protest, often inhabiting the tensions between tradition and progress, personal expression and societal expectation.
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8 . Angelique Kidjo . Afrika“Afrika,” performed by Angelique Kidjo and Alicia Keys at the Mandela Day concert in 2009, weaves together an anthem resonating with cultural pride and a deliberate sense of purpose. Kidjo’s fervent dedication to African heritage and empowerment reflects in the song’s energetic rhythms, while the collaboration with Alicia Keys adds a layer of striking vocal interplay that feels both dynamic and celebratory. The Mandela Day event’s gravitas amplifies the performance’s significance, commemorating not just Nelson Mandela’s humanitarian impact but also the undeniable ties between art and activism. Kidjo’s talent lies in bridging traditional African music with global sensibilities—here, the fusion feels organic rather than calculated, with the backing instrumentation pulsating like a heartbeat. Alicia Keys’ presence doesn’t overshadow but complements, creating a balanced exchange rather than a tug-of-war for spotlight. The YouTube recording captures more than just a performance; it documents a moment when music asserts itself as a tool for unifying aspirations. If anything, the pairing raises questions about why such shared stages remain rare, a reminder of the industry’s siloed nature. Kidjo, with accolades such as five Grammys and the Polar Music Prize, thrives on defying these borders, bringing an undeniable charisma and voice to every endeavor. The echoes of “Afrika” linger as a fleeting yet robust statement of identity, proving that some songs transcend language and geography.
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9 . Rob Thomas . Use MeBill Withers’ “Use Me” proves that funk can walk a fine line between vulnerability and raw groove without missing a step. The track, lifted from his 1972 album *Still Bill*, pulses with a hypnotic bass loop that anchors its infectious rhythm, while the percussion clashes and clicks with a complexity that feels both deliberate and effortless. Released in August of that year, it quickly climbed to No. 2 on the U.S. Billboard Hot 100 chart, a position it maintained thanks to stiff competition from the sentimental sway of Michael Jackson’s “Ben” and the polarizing novelty of Chuck Berry’s “My Ding-a-Ling.” At its core, “Use Me” flips the script on common relationship tropes, with Withers leaning unapologetically into a scenario of mutual exploitation, countering societal norms with lyrics that are as cutting as they are self-aware. Certified Gold by the RIAA, the track isn’t just a groove; it’s a statement—one steeped in Withers’ measured delivery and restrained instrumentation. He initially penned the song in response to criticism that he was “too nice,” a sort of self-directed rebellion that translated into artistic triumph. His performance of the track on “Soul Train” cemented its infectious energy, while the eight-minute live rendition on *Live at Carnegie Hall* pushes the boundaries of its studio counterpart, expanding its grooves into something almost transcendent. For all its rhythmic polish, the tension between independence and dependency hovers, making the song a cultural marker of its time and a reminder that even vulnerability can sit comfortably within the pocket of funk.
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10 . Andra Day . Someday At Christmas & Rise Up“Someday At Christmas,” as reimagined by Andra Day, delivers a poignant update to Stevie Wonder’s original—a wishful anthem yearning for a world untainted by war, inequality, and unrest. Day’s tender delivery underscores the timeless resonance of such aspirations, making her version feel intimate while preserving the universal message. Some might find her rendition a touch too polished compared to Wonder’s raw sincerity, yet it undeniably carries emotional weight. When paired with Alicia Keys for a live duet, the song transcends into a communal experience, merging two vocal powerhouses whose chemistry elevates the performance. “Rise Up,” arguably Andra Day’s most defining track, embodies resilience through a personal lens, written during a friend’s battle with cancer. Its gospel-infused poignancy is both a rallying cry and a gentle hug, offering solace without veering into overt sentimentality. The song’s quadruple-platinum status mirrors its cultural relevance, but it’s the live performances—like the one at the Democratic National Convention—that prove its staying power. Shyamalan’s cinematic video adds another layer, though some might argue it risks overshadowing the song’s organic essence. Still, its recognition at the Soul Train and Daytime Emmy Awards solidifies its place as a contemporary anthem of triumph over adversity. Together, these songs exemplify Andra Day’s ability to navigate between homage and originality, situating herself as a modern artist unafraid to imbue her work with both timeless messages and deeply personal stakes. Whether reworking holiday classics or crafting original anthems of perseverance, she strikes a balance that resonates equally on political stages and personal playlists.
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11 . Jay-Z . Empire State Of MindJay-Z’s “Empire State of Mind” sits at the intersection of tribute and anthem, threading its New York nostalgia through a hip-hop lens without teetering into saccharine sentimentality. The song introduces itself with Alicia Keys’ sweeping piano chords, a cinematic overture that prepares listeners for a love letter to the concrete jungle. Borrowing from The Moments’ “Love on a Two-Way Street,” the production by Al Shux anchors the track in a soulful undercurrent, balancing Jay-Z’s sharp verses with Keys’ powerhouse chorus. Originally penned by Angela Hunte and Janet Sewell-Ulepic, the lyrics underwent a transformation in Jay-Z’s hands, morphing from a neighborhood homage to a citywide anthem. The verses move at a brisk pace, name-dropping cultural landmarks and personal milestones, while the chorus offers the soaring, crowd-ready hook that ensures its ubiquity on playlists worldwide. The track’s black-and-white music video amplifies its dedication to New York’s grit and grandeur, featuring an eclectic montage of skyscrapers, subways, and street scenes, all filmed with a reverence usually reserved for museum exhibits. Despite its pop-appeal, the song nods to hip-hop’s roots with subtle references to earlier NYC anthems like Nas’ “N.Y. State of Mind” and Billy Joel’s “New York State of Mind.” Commercially, the single performed like a Taylor Swift album drop—topping the Billboard Hot 100 for five weeks and achieving multi-platinum status faster than it takes to commute uptown during rush hour. Winning two Grammys, the track cemented itself not just as a commercial juggernaut but as a cultural mainstay, soundtracking everything from NBA events to cab radio stations. Ultimately, “Empire State of Mind” acts less as a whimsical postcard and more as a sprawling street mural: grandiose in ambition, vivid in execution, and unapologetically proud of its roots.
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12 . Queen Latifah & Kathleen Battle . Superwoman“Superwoman” by Alicia Keys from her 2007 album *As I Am* wears confidence like a badge, without slipping into saccharine platitudes. The song, co-written by Keys, Linda Perry, and Steve Mostyn, presents itself as an anthem of resilience, layering honey-dipped vocals over a sturdy, piano-driven melody crafted for uplift but not melodrama. Released as the album’s fourth single in 2008, it climbed to number twelve on the U.S. Hot R&B/Hip-Hop Songs chart—respectable yet not monumental, echoing its vibe of quiet triumph rather than bombastic proclamation. The music video, directed by Chris Robinson, telegraphs its message through a series of archetypes—a young mother, a businesswoman, an astronaut, an African woman—while sprinkling in starry cameos like Jada Pinkett Smith and Jaden Smith for added pizzazz. Sure, it risks veering into over-effortful symbolism, but Keys’ grounded performance reigns it back in. A live rendition with Queen Latifah and Kathleen Battle at the 2008 American Music Awards took the song’s premise of universal strength to the next level, with Latifah’s crisp bars and Battle’s operatic pipes rounding out the experience. It snagged a Grammy for Best Female R&B Vocal Performance in 2009, a victory that felt less about morphing the genre and more like a ceremonial nod to artistry well-done. Critically, it balances delicacy and determination, but it’s perhaps best enjoyed as background affirmation rather than a revolutionary statement.
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