"Say My Name" is a song by American group Destiny's Child from their second studio album, The Writing's on the Wall (1999).

It also reached the top ten in Belgium, Canada, France, Iceland, the Netherlands, New Zealand, Norway, Poland, and the United Kingdom.

[5][6] "Say My Name" was the group's first collaboration with producer-songwriter Rodney Jerkins, who was one out of several people hired to work with Destiny's Child on their second album.

The demo for the track had a different approach and Jerkins said that it was inspired by 2-step garage music he heard while in a club in London.

[7] When they wrote the song, however, the lead singer Beyoncé Knowles was initially displeased with the track they were working on.

[8][9] During the photo shoot for the album, Beyoncé's father-manager Mathew Knowles went to the studio informing her that Jerkins reworked on the track she "hated".

[14] It was later officially sent to urban contemporary radio on January 10, 2000,[15] and was issued physically on February 29, 2000, across four formats: CD, maxi-CD, 12-inch vinyl, and cassette.

The song spent a total of 32 weeks on the Billboard Hot 100 and was one of the top ten best-selling CD singles of 2000 in the United States.

In the United Kingdom, it was the group's biggest hit up to that point, peaking at number three on the UK Singles Chart and selling over 190,000 copies.

The single enabled the group to break into the Asian market, when R&B music was just beginning to receive strong airplay.

That same month, Mathew Knowles recruited Franklin and Williams to replace both without the signed members' consent or knowledge.

The video premiered on February 15, 2000, with Franklin and Williams alongside Knowles and Rowland, on MTV and BET simultaneously with the publication of a press release announcing the line-up change.

The video, directed by Joseph Kahn, shows the four members along with two females and one male dancer singing and dancing in color-coded sets resembling apartment living rooms.

[27] Jody Rosen from The New Yorker credited Beyoncé's slippery rap-style syncopations in the song with creating a new sound that did not exist in the world before her.