photo: nickrewind · cc by 3.0 ↗Reneé Rapp built her career backwards by design: she was the villain first. Cast as Regina George in Broadway's Mean Girls in 2019 at nineteen, she spent two years belting a camp-classic pop-rock score eight times a week before HBO Max's The Sex Lives of College Girls made her a sitcom lead in 2021. Only then did she turn that same voice toward her own songs, releasing the EP Everything to Everyone in 2022 and the debut album Snow Angel in 2023 — raw, R&B-inflected pop-rock about anxiety, heartbreak, and saying more than anyone asked her to. She reprised Regina for the 2024 Mean Girls film while her music kept climbing, culminating in 2025's brasher, more confrontational Bite Me.
Rapp has called Beyoncé "the reason that I know how to sing," telling The Hollywood Reporter she'd sit and study "her different tonalities and phonics and phrasing styles" as a kid, thinking, "Please, Jesus, let me be able to do this." When Beyoncé later sent her flowers after a cover of "Daddy Lessons," Rapp called her "everything." The influence isn't a single vocal trick so much as ambition itself: the belief that a voice can move between conversational restraint and full power within one song.
listen forPlay "Listen," the Dreamgirls showstopper written to test the outer edges of Beyoncé's range, next to Rapp's "So What Now" — both keep the verses low and almost spoken before opening into a chorus built on sustained, controlled power rather than an all-out shout.
Rapp discovered Frank Ocean as a kid through Nostalgia, Ultra's "There Will Be Tears" and has described the moment as spiritual, calling him "the greatest songwriting" she'd encountered; she's named him among the R&B artists who "made the biggest impact in my life" and has said her song "Willow" was directly inspired by him. His influence shows up as patience — a willingness to let one unresolved feeling sit quietly instead of building to a big chorus.
listen forSet Ocean's spare, piano-led "Godspeed" against Rapp's "Willow" — both strip the arrangement down to a hushed vocal and a handful of chords, addressing someone directly (a lover, a younger self) with the same unhurried, almost-spoken tenderness.
Rapp has named SZA alongside Beyoncé and Frank Ocean as one of the R&B idols who "made the biggest impact in my life," telling The Hollywood Reporter that her own R&B-leaning songs were "probably the most gratifying to write" after a childhood spent idolizing artists like her. That comes through as a loose, conversational cadence — verses that trail behind the beat instead of snapping to it, more confession than performance.
listen forPlay SZA's "Broken Clocks," with its unhurried verses dipping behind the groove, next to Rapp's "Tummy Hurts" — both let the vocal phrasing drift loosely across the bar line rather than locking to a tightly metered pop delivery.