meta-scriptEbony And Ivory Celebration | GRAMMY.com
Ebony And Ivory Celebration
Billy Joel and Paul McCartney

Photo: Kevin Mazur/WireImage.com

news

Ebony And Ivory Celebration

The GRAMMY National Piano Month playlist

GRAMMYs/Oct 22, 2021 - 11:15 pm

Where would music as we know it be without the piano? The sound and versatile range of the instrument is unparalleled, evidenced by the instrument's prevalence in nearly every genre of music, including rock, pop, jazz, classical, R&B, blues, country, and even polka.

In 2009 the National Piano Foundation celebrated the 10th anniversary of National Piano Month, a 30-day celebration of all things piano. While news regarding a 2010 celebration has been scarce, we couldn't pass up the opportunity to help celebrate arguably the most important instrument in the history of music. On that note, here are a few randomly fun tidbits sure to augment your piano knowledge:

  • Johann Behrent built the first piano in the United States in Philadelphia in 1775

  • The term "pianist" during World War II implied a clandestine spy using radio or wireless telegraphy

  • In addition to musicians, many celebrities have been known to tickle the ivories including actors Clint Eastwood, Jeff Goldblum, Dustin Hoffman, and Dudley Moore. Telephone inventor Alexander Graham Bell and Nobel Prize winner Albert Einstein also played the piano. Former Secretary of State Condoleezza Rice is a classically trained pianist

  • A concert grand piano may have a combined string tension of up to 30 tons. (The total string tension resulting from the Pocket Piano iTunes app does not compute.)

  • The first note on a standard 88-note keyboard is A. The last note on the keyboard is C

  • Beethoven devotee Schroeder of "Peanuts" fame played "Für Elise" in "A Charlie Brown Christmas"

  • With the benefit of YouTube, one can find lessons on an infinite number of popular piano songs. Here you can view a brief tutorial on how to play the classic piano part for Journey's "Don't Stop Believin'"

In recognizing that music and the piano live together in perfect harmony, we present our piano-themed GRAMMY playlist featuring not only talented pianists, but recordings that would likely sound naked without the benefit of sounds emanating from black-and-white keys, strings and slabs of wood.

"Let It Be"
The Beatles, Best Original Score Written For A Motion Picture Or A Television Special, 1970

A tried-and-true Lennon/McCartney classic, McCartney has said the theme of the song came to him following a dream about his mother during a tense period surrounding the sessions for The Beatles (aka "White Album.") Macca was able to get over his tension enough to supply both piano and vocals on the track. "Let It Be" ranked No. 8 on Rolling Stone magazine's recent top 10 Beatles songs list and remains a McCartney solo concert favorite.



"How To Save A Life" (iTunes>)
The Fray, Best Rock Performance By A Duo Or Group With Vocal nominee, 2006

Perhaps an anomaly in the alternative rock genre, the Fray utilize the piano as a centerpiece to their sound, courtesy of lead singer Isaac Slade. Slade has described the lyrics for "How To Save A Life" as being inspired by a mentor experience he had with a teen musician. The song peaked at No. 3 on the Billboard Hot 100 and has been certified triple-platinum by the RIAA.



The Romantic Master — Works Of Saint-Saens, Handel
Earl Wild, Best Instrumental Soloist Performance (Without Orchestra), 1996

Virtuoso pianist Wild is considered a true legend in the grand tradition of Romantic pianists. A prodigy at a young age, he also possessed the rare skill of perfect pitch. Among his many career highlights, in 1986 Wild was honored with the Liszt Medal by the People's Republic of Hungary on the 100th anniversary of the death of Franz Liszt. In addition to his GRAMMY win, The Recording Academy honored Wild at the 2008 GRAMMY Salute To Classical Music. Unfortunately, two years later Wild died at his home in Palm Springs, Calif.



Alone (iTunes>)
Bill Evans, Best Jazz Performance — Small Group Or Soloist With Small Group, 1970

One of jazz's preeminent pianists, Evans' playing was marked by an unparalleled combination of harmonic sophistication, skillfully articulated improvisations, complex rhythms, and soaring melodies. Fellow jazz pianists such as Chick Corea, Herbie Hancock and Keith Jarrett, among others, have cited him as an influence. Alone was an album true to its title, consisting of just Evans and his piano.



"Bohemian Rhapsody" (iTunes>)
Queen, Best Pop Vocal Performance By A Duo, Group Or Chorus nominee, 1976; GRAMMY Hall Of Fame, 2004

While discussion regarding this Queen classic typically centers around its lyrical meaning, beautifully layered vocals, fandangos, or air-guitar-worthy instrumental break, it's hard to forget the piano stylings of Freddie Mercury. As a young boy, Mercury studied piano formally, which served him well in his exploits in Queen. Mercury was said to have utilized the piano in writing his songs, and he played the instrument on other notable Queen tracks such as "Killer Queen," "Somebody To Love" and "We Are The Champions."



"Imagine" (iTunes>)
John Lennon Plastic Ono Band, GRAMMY Hall Of Fame, 1999

Arguably his most popular post-Beatles composition, "Imagine" is the title-track off Lennon's 1971 album of the same name. Written and performed by Lennon, the song not only became his signature, but a hymn for worldwide peace. The piano Lennon used to write the song is currently on display at the Musical Instrument Museum in Phoenix.



"If I Ain't Got You" (iTunes>)
Alicia Keys, Best Female R&B Vocal Performance, 2004

At an early age, Keys took piano lessons and studied the works of renowned composers such as Beethoven, Mozart and her personal favorite, Chopin. ("I love Chopin.... He's my dawg," Keys said in an interview with The Guardian.) By the time she was a teenager, she was writing her own songs. Keys parlayed her passion for the piano into a successful recording career, evidenced by her impressive 12 GRAMMY Awards.



Beethoven: Piano Sonatas (32) (iTunes>)
Artur Schnabel, GRAMMY Hall Of Fame, 1975

Despite being deaf, Beethoven was not only a prolific composer, but a virtuoso pianist and a dedicated student of the instrument. Spanning the length of his career, Beethoven's 32 piano sonatas provide a captivating look at not only his musical development and proclivity for experimentation, but also a window into some of his timeless works, including the elegant "Moonlight Sonata." Schnabel, considered to be one of the 20th century's finest classical pianists, was heralded for not only his interpretations of the works of Beethoven, but also Liszt, Chopin and Schubert. 



Chopin: Mazurkas (Complete) (iTunes>)
Artur Rubinstein, GRAMMY Hall Of Fame, 2003 

Born in Poland, Rubinstein is considered to be one of the greatest pianists of the 20th century. At the age of 3, he developed perfect pitch and was soon recognized as a piano prodigy. The New York Times has described Rubinstein's recordings of Chopin's 51 mazurkas, a Polish folk dance in triple meter, as unrivaled: "Chopin was his specialty...it was as a Chopinist that he was considered by many without peer."



"Ain't Misbehavin'" (Piano Solo) (iTunes>)
Thomas "Fats" Waller, GRAMMY Hall Of Fame, 1984

Born Thomas Wright Waller, "Fats" began playing piano at the tender age of 6 and would go on to be renowned for his mastery of the jazz stride piano style. Written by Waller, along with Harry Brooks and Andy Razaf, "Ain't Misbehavin'" was covered by luminaries such as Louis Armstrong, Miles Davis, Ella Fitzgerald, Billie Holiday, and fellow jazz pianist Art Tatum. The popular jazz standard also featured rock and roll and country treatments, courtesy of Bill Haley & His Comets and Hank Williams Jr., respectively.



Gerswhin: "Rhapsody In Blue"
George Gershwin With Paul Whiteman, GRAMMY Hall Of Fame, 1974

Written by master songwriter and pianist Gerswhin, "Rhapsody In Blue" uniquely incorporated elements of classical and jazz music. The piece received its premiere in 1924 in New York, featuring Whiteman and his band with Gershwin playing piano. Those flying the friendly skies with United Airlines may recognize the song as it has been featured in the airline's ad campaigns dating back to the mid-'70s.

"Desperado" (iTunes>)
The Eagles, GRAMMY Hall Of Fame, 2000

Despite never being released as a single, "Desperado" is a favorite among Eagles fans, no doubt due to the dynamic combination of Don Henley's somber vocal with tasteful instrumentation marked by a memorable piano introduction. The song proved to be an early glimpse into the successful Henley/Glenn Frey Eagles songwriting partnership. "Glenn leapt right on it — filled in the blanks and brought structure," said Henley. "And that was the beginning of our songwriting partnership — that's when we became a team."



"Candle In The Wind 1997" (iTunes>)
Elton John, Best Male Pop Vocal Performance, 1997

Sir Elton began playing the piano at the age of 3 and soon after started formal lessons. Eventually he would go on to craft a piano style incorporating elements of classical, soul and pop music, and John has sustained a career spanning more than four decades. Re-recorded as a tribute to Princess Diana, "Candle In The Wind 1997" debuted at No. 1 on both sides of the Atlantic and he performed a heartfelt rendition at Princess Diana's memorial service on Sept. 6, 1997.



"Piano Man" (iTunes>)
Billy Joel, as featured on Piano Man, 1973

Though this song did not yield a GRAMMY Award for Joel, we'd be hard-pressed to not include a song describing the travails of a struggling lounge piano player on our playlist. (Besides, Joel is a five-time GRAMMY winner.)


Who are some of your favorite pianists and what are some of your favorite piano-based songs? Drop us a comment.

Freddy Wexler On Helping Billy Joel "Turn The Lights Back On" — At The 2024 GRAMMYs And Beyond
Photo: Lester Cohen/Getty Images for The Recording Academy

(L-R) Billy Joel, Freddy Wexler

interview

Freddy Wexler On Helping Billy Joel "Turn The Lights Back On" — At The 2024 GRAMMYs And Beyond

"Part of what was so beautiful for me to see on GRAMMY night was the respect and adoration that people of all ages and from all genres have for Billy Joel," Wexler says of Joel's 2024 GRAMMYs performance of their co-written "Turn The Lights Back On."

GRAMMYs/Feb 26, 2024 - 09:11 pm

They say to not meet your heroes. But when Freddy Wexler — a lifelong Billy Joel fan — did just that, it was as if Joel walked straight out of his record collection.

"I think the truth is none of it is that surprising," the 37-year-old songwriter and producer tells GRAMMY.com. "That's the best part. From his music, I would've thought this is a humble, brilliant everyman who probably walks around with a very grounded perspective, and that's exactly who he is."

That groundedness made possible "Turn the Lights Back On" — the hit comeback single they co-wrote, and Wexler co-produced; Joel performed a resplendent version at the 2024 GRAMMYs with Laufey. Joel hadn't released a pop album since 1993's River of Dreams; for him to return to the throne would take an awfully demonstrative song, true to his life.

"I think it's a very raw, honest, real perspective that is true to Billy," Wexler explains. "I think it's the first time we've heard him acknowledge mistakes and regret in quite this way."

Specifically, Joel's return highlights his regret over spending three decades mostly on the bench, largely absent from the pop scene. As Joel wonders aloud in the stirring, arpeggiated chorus, "Is there still time for forgiveness?"

"Forgiveness" is a curious word. Why would the five-time GRAMMY winner and 23-time nominee possibly need to seek forgiveness? Regardless — as the song goes — he's "tryin' to find the magic/ That we lost somehow." The song's message — an attempt to recapture a lost essence — transcends Joel's personal headspace, connecting with a universal longing and nostalgia.

Read on for an interview with Wexler about the impact of "Turn the Lights Back On," why he thinks Joel took such an extended sabbatical, the prospect of more new music, and much more.

This interview has been edited for clarity.

**You did a great interview with Rolling Stone ahead of the 2024 GRAMMYs. Now, we're on the other side of it; you got to see how it went down on the telecast, and resonated with the audience and world. What was that like?**

It's why I make music — to hopefully make people feel something. This song has really resonated in such a big way. More than looking at its commercial success on the charts or on radio, which has been awesome to see, the comments on Instagram and YouTube have been the most rewarding part of it.

Why do you think it resonated? Beyond the king picking up his crown again?

I don't think the song is trying to be anything it's not. I think it's a very raw, honest, real perspective that is true to Billy. I think it's the first time we've heard him acknowledge mistakes and regret in quite this way. And to hear him do it in a hopeful way where he's asking, "Is it too late for forgiveness?" is just very moving, I think.

Forgiveness? That's interesting. What would any of us need to forgive him?

He has said in other interviews, "Sometimes people say they have no regrets at the end of their life." And he said, "I don't think that's possible. If you've lived a full life, of course you have regrets." He has said that he has many things he wishes he would've done differently. This is an opportunity to express that.

I think what's interesting about the song is it has found meaning in various ways with various people and listeners. Some people imagine Billy is singing to former lovers or friends. Other people imagine Billy is singing to his fans asking, "Did I wait too long to record again?" Other people wonder if Billy is singing to the songwriting Gods and muses. Did I wait too long to write again?

In Israel, where the song was number one — or is number one, I haven't checked today — I think the song's taken on the meaning of just wanting things to be normal, wanting hostages to come home and turn the lights back on. So, you never know where a song is going to resonate, but I think that Billy just found his own meaning with it.

You know the discography front to back. What lines can you draw from "Turn the Lights Back On" to past works?

I think it draws on various pieces of his catalog, right? "She's Always a Woman" has a sort of piano arpeggio in the chorus. To me, it feels like a natural progression. It feels like, on the one hand, it's a new song. On the other, it could have come out right after River of Dreams. To me, it just kind of feels natural.

**Back when you spoke with Rolling Stone, you said you couldn't wait to hear "Turn the Lights Back On" at Madison Square Garden. How'd it sound?**

Amazing. Billy is a consummate live performer. I think he's one of the few artists where everything is better live, and everything is always a little bit different each time it's played live.

It's been really cool to watch Billy and the band continue to change and improve the song and the song's dynamics for the show. He told me tonight that tomorrow night in Tampa, I think they're going to try to play with the key of the song, potentially — try it a half a step higher.

Those are the sort of things I think great artists do, right? It's different from being on a certain type of tour where every single song is the same, the set list is the same, the key is the same, the arrangements are the same.

With Billy, there's a lot of feeling and, "Hey, why don't we try it this way? Let's play it a little faster. Let's play it a little slower. Let's try it in a different key." I just think that's super cool. You have to be a really good musician to just do that on the fly.

What have you learned from him that applies to your music making, writ large?

I've learned so much from him. As Olivia Rodrigo said to us at GRAMMY rehearsals, "He's the blueprint when it comes to songwriting."

He has helped raise the bar for me when it comes to melodies and lyrics, but the thing I keep coming back to is he's reminded me that even the greatest artists and songwriters ever sometimes forget how great they are. I think we need to be careful not to give that inner voice and inner critic too much power.

Can you talk about how the music video came to be?

Well, I had a dream that Billy was singing the opening two lines of the song, but it was a 25-year-old version of Billy. It was arresting.

When I woke up, I sort of had the vision for the video, which was one set, an empty venue of some kind, and four Billy Joels. The Billy Joel that really exists today, but then three Billys from three iconic eras where each Billy would seamlessly pick up the song where the other left off.

The idea behind that was to sort of accentuate the question of the song — did I wait too long to turn the lights back on?

And so, to kind of take us through time and through all these years, I teamed up with an amazing co-director, Warren Fu, who's done everything from Dua Lipa to Daft Punk, and an artificial intelligence company called Deep Voodoo to make that vision possible.

What I'm driven by is the opportunity to create conversations, cultural moments, things that make people feel something. What was cool here is as scary as AI is — and I think it is scary in many ways — we were able to give an example of how you can use it in a positive way to execute a creative artistic vision that previously would've been impossible to execute.

Yeah, so I'm pleased with it and I'm thankful that Billy did a video. He didn't have to do one, but he liked the idea of it. He felt it was different, and I think he was moved by it as well.

What do you think is the next step here?

It's been a really rewarding process. And Billy is open-minded, which is really cool for an artist of that level, who's not a new artist by any stretch. To actually be described as being in a place in his life where he's open-minded, means anything is possible. I could tell you that I would love there to be more music.

I'd love to get your honest appraisal. And I know you're not him. But his last pop album was released 31 years ago. In that long interim, what do you think was going on with him, creatively?

Look, I'm not Billy Joel, but I think there were a number of factors going on with him. Somewhere along the way, I think he stopped having fun with music, which is the reason he got into it, or which is a big part of the reason he got into it. When it stopped being fun, I don't think he really wanted to do it anymore.

Another piece to it is that Billy is a perfectionist, and that perfectionism is evident in the caliber of his songwriting. Having always written 100 percent of his songs, Billy at some point probably found that process to be painstaking, to try to hit that bar where he's probably wondering in his head, What would Beethoven think of this? What would Leonard Bernstein think of this?

I think part of what was different here was that, perhaps, there was something liberating about "Turn the Lights Back On" being a seed that was brought to Billy. In this way, he could be a little disconnected from it, where maybe he didn't have to have the self-imposed pressure that he would if it was an idea that he'd been trying to finish for a while.

Ironically, he still made it. Well, there's no "ironically," but I think that's it. There's something to that.

Billy Joel's Biggest Songs: 15 Tracks That Best Showcase The Piano Man's Storytelling And Pop Hooks

"Rhapsody In Blue" At 100: Why George Gershwin's Hotly Debated Masterpiece Still Resonates
George Gershwin

Photo: Hulton Archive/Getty Images

interview

"Rhapsody In Blue" At 100: Why George Gershwin's Hotly Debated Masterpiece Still Resonates

What a tangled web we weave with "Rhapsody in Blue," from race to class to the classical repertoire and beyond. But a talented pianist's reimagining underlines that Gershwin's 1924 crossover hit still pulses with life.

GRAMMYs/Feb 12, 2024 - 09:11 pm

It was weeks before the "Rhapsody in Blue" centenary, but Ethan Iverson still tore a hole in the Gershwinverse.

In a controversial New York Times opinion piece titled "The Worst Masterpiece: 'Rhapsody in Blue' at 100," the jazz pianist and composer called the classical crossover hit "corny and caucasian." And despite applause from the Black musical architects it drew from, like Art Blakey, Billy Strayhorn and Tadd Dameron, "The promise of 1924 hasn't been honored," Iverson asserted.

While a fairly even-handed read, "The Worst Masterpiece" reopened online fissures over race, genre, heritage, academia, the classical repertoire… the list goes on. (At press time, the debate's still actively raging on Jazz Facebook and the rest.)

Is George Gershwin's catchy, world-renowned fusion of European classical with jazz and ragtime really "naïve and corny"? Or is it a bridge built, a barrier busted, a bastion of unity in a fractionated world? What's most heartening is that we still care enough to argue about it.

Love it or loathe it, "Rhapsody in Blue" still pulses with life 100 years after its New York City premiere.

Enter Lara Downes, a celebrated American pianist who's given this "Rhapsody" her own spin via Rhapsody in Blue Reimagined. Out Feb. 2 via Pentatone, Downes' take reflects on immigration, American musical roots, and a whole lot more on her psyche.

"He was really, really influential in laying the groundwork for a lot of ideas about the way that things can go," Downes tells GRAMMY.com, "where you can infuse a symphony with jazz music music, but you're also letting symphonic sounds come into pop music."


That being said, a century has come and gone, and we're in a wildly different space regarding cultural exchange and race relations than we were in Gershwin's day.

So, for Rhapsody in Blue Reimagined, Downes felt compelled to dig much deeper into its diasporic roots — like expanding its purview to include the diasporas of Central and South America, Asia, the Middle East, and many other regions intrinsic to the development of Black American music.

"We are blessed and stuck with this piece, a flawed classic that exemplifies our nation's unsettled relationship with the originators of African American music and technique," Iverson concluded.

Which is a perfect way to sum up a piece practically begging to be built upon, in more ways than one — which will ensure we'll still be talking about it in 2124. Turn up Rhapsody in Blue Reimagined — and, then, perhaps Iverson's excellent new Blue Note album, Technically Acceptable — and keep reading for a partial list of why "Rhapsody in Blue" resonates.

It Truly Is A Melting Pot

Sure, it's a cliché, but a cliché for a reason. With "Rhapsody in Blue," Gershwin gamely attempted to cross-pollinate Black and white traditions, to at least partial success.

"Rhapsody in Blue" was commissioned by Paul Whiteman, a key figure in symphonic jazz and — for good or ill — another lightning rod as regards race and the music. The title of the concert? "An Experiment in Modern Music."

"My idea for the concert," Whiteman explained in his autobiography, "was to show these skeptical people the advance which had been made in popular music from the day of the discordant early jazz to the melodious form of the present."

Which, to be clear, is quite the claim about early jazz — at best, contestable, at worst, offensive. But Gershwin's heart was in the right place, and the result isn't just catchy as hell, but on a certain level, admirable.

"Gershwin is well aware of what he's doing, and he really doesn't give a damn what people think," Joseph Horowitz, the author of Classical Music in America: A History of its Rise and Fall, told NPR. "He wanted to bridge musical worlds that were separate."

It's Permeated With Joy

About those catchy melodies — "Rhapsody in Blue" is absolutely stuffed with them, which lends itself to a sense of effervescent joy. (No wonder so many, with such warm memories of this music, leapt out in response to that alleged Times takedown.)

Of course, race relations in America have largely been the opposite of glowing. But as a pure listening experience — an idealized space — it's easy to get swept away in its giddy grandeur.

By expanding "Rhapsody in Blue" in more ways than one, Downes has given its disciples even more to love. Not only has she extended the composition by some 10 minutes — through sheer inclusivity of forms, sounds and colors, Downes honors the immigration that still constitutes America's essence.

Its Influence Is All Over The Place

The genre-crossing visionary perhaps most vocally influenced by "Rhapsody in Blue" is Brian Wilson: when you consider the ingredients for the Beach Boys' inimitable sound, it's right up there with Chuck Berry, surf music, Phil Spector, and the Four Freshmen.

"I must have been two or three, which meant that the record was only about a year old," Wilson wrote in his memoir of the Glenn Miller version of "Rhapsody in Blue." "When [my grandmother] played it for me, I was blown away. I was transported somewhere else."

Elsewhere, you can hear its yearning, patriotic strains throughout the works of Randy Newman — albeit often sarcastically, as in the slaver's sales pitch for America, "Sail Away." Béla Fleck transcribed it.

While Gershwin's effort wasn't universally beloved by any stretch, the likes of Maurice Ravel and Arnold Schoenberg took him abundantly seriously.

And as Downes' take on "Rhapsody in Blue" demonstrates, the 100-year-old composition is  best seen as a canvas for us all to paint on, not a dead-in-the-water work trotted out in concert to fill seats. 

This "Rhapsody" doesn't belong to one composer, or one set of gatekeepers; it belongs to all of us.

5 Black Composers Who Transformed Classical Music

Usher's Super Bowl Halftime Show Was More Than A Performance, It Was A Celebration Of Black Excellence
Usher performs with Ludacris, Lil Jon, Jermaine Dupri and Will.i.am during the Apple Music halftime show at the NFL Super Bowl 58 football game

Photo: Michael Owens/Getty Images

feature

Usher's Super Bowl Halftime Show Was More Than A Performance, It Was A Celebration Of Black Excellence

From celebrating Atlanta's HBCU culture to shining light on Southern rappers like Ludacris and Lil Jon, Usher brought the brilliance of the Black South to Las Vegas.

GRAMMYs/Feb 12, 2024 - 08:41 pm

In the days leading up to Usher’s Super Bowl performance, the singer waxed poetically about the significance of this moment not only in popular culture but for Black music.

Speaking with Kelly Carter on "Good Morning America," Usher reflected on the history of Black entertainers who performed for the masses under restrictive laws. Although a majority of those laws have been overturned, it would be remiss to not think about the recent series of court cases that have targeted Black musicians, such as Atlanta-based rapper Young Thug, whose music is currently being used against him in court

For singers like Usher who have been privy to the ways in which Black music — and those who create it — have been mistreated, his halftime performance was as much as a statement as it was a tribute to those who came before him. "I'm coming through the front door with this one," Usher told Carter.

It is only fitting that the performance opened with lines from "My Way" the title of his Las Vegas residency, which has featured a who’s who of prominent figures in pop culture before launching into "Caught Up." Usher then descended from his anointed throne in a crisp, all white Dolce & Gabbana ensemble, he began a Michael Jackson-inspired dance routine with an array of backup dancers; the standout being renowned celebrity choreographer Sean Bankhead.

Usher made it clear early on, however, that his performance was no mere spectacle. He paused to deliver a testimony, one that bears repeating despite his new album and $100 million-earning Vegas residency: "They said I wouldn't make it, they said I wouldn't be here today, but I am." 

Once the air cleared and Usher thanked his momma for her steadfast advocacy and faith in him, he led Allegiant Stadium in a sing along of "Superstar." The track from 2004’s Confessions recently inspired a viral challenge on TikTok. 

A consummate performer and supporter of his peers, Usher wasn't content to simply highlight his own success. The singer transformed Allegiant Stadium to "The Yard" — the singular place at Historically Black Colleges and Universities, where students gather to talk, discuss, and have fun — and filled it with music. 

Usher’s Yard included a performance of "Love In This Club" with the assistance of two members of Kappa Alpha Psi Fraternity Inc., the second oldest Black fraternity in the U.S. The trio was supported by the Jackson State University marching band, known as the "Sonic Boom of The South," to finish the song. 

Even his brief moment of affection with singer Alicia Keys, who joined the singer for "My Boo," can be described as a "homecoming hug." Homecoming is another HBCU tradition, where alumni convene at their respective campuses and greet their former flame with a hug.

When Jermaine Dupri entered the stage to announce the 20th anniversary of Confessions, the transportation was complete. The audience was no longer in Vegas, but in Atlanta, the Black Mecca of the world. And Usher is Atlanta’s nucleus.

It is here that the spirits of Michael Jackson, Marvin Gaye, and Prince accompanied Usher as he bewitched millions with a singular microphone and momentum stage presence. A haze of purple clouds and smoke led the way for singer H.E.R., the night’s self appointed "Bad Girl" and her crew of roller skating baddies.

While Usher may have began the halftime show with the enthusiasm of a young boy who just got his chance to perform a solo in the church choir, by its end he was fully inhabiting his chart-topping sex icon persona.Will.i.am’s voice rippled through the stadium as Usher, donning a blue and black Off-White outfit reminiscent of football shoulder pads, glided onto the stage with an aura that is equal parts charismatic and sinful sweet. 

Skating, a main tenant of Atlanta’s culture, is embedded in Usher’s ethos and a part of his larger business. The singer loves skating and owns several skating rinks.

Usher finished the extravagant performance with "Yeah!" — a song beloved in Atlanta and far, far beyond. That the song is turning 20 this year and still resonates with a global audience (not to mention a football-loving one) is further evidence that Usher truly is the "King of R&B."

"Your moment is your moment. And this is a moment I’ve prepared for during the last 30 years," Usher told Billboard ahead of the Super Bowl. 

He certainly owned his moment. Usher's Super Bowl halftime show was no singular performance or an audition, but a coronation. He was receiving the torch carried by all the Black entertainers who preceded him, and reminding the world that the South still has something to say. 

Surrounded by Ludacris and Lil Jon,  strippers, and his own marching band, Usher closed the night out with the A-Town Stomp and one important phase: "I took the world to the A!" 

Usher's Biggest Hits, From Baby-Making Slow Jams To Dance Floor Classics

Usher Electrifies Las Vegas with Triumphant Super Bowl LVIII Halftime Show: 6 Best Moments
Usher performs onstage during the Apple Music Super Bowl LVIII Halftime Show.

Photo: Ezra Shaw/Getty Images

news

Usher Electrifies Las Vegas with Triumphant Super Bowl LVIII Halftime Show: 6 Best Moments

R&B superstar Usher ran through his career of hits, from “U Got It Bad,” “Burn” and “Yeah!” to “My Boo,” “Love in This Club,” “O.M.G.,” and more during his halftime performance at Super Bowl LVIII.

GRAMMYs/Feb 12, 2024 - 03:14 am

He’s (still) got it bad! Usher lit up Super Bowl LVIII with an electrifying halftime show filled with a career-spanning setlist, drool-worthy dance moves and a parade of surprise guests including Alicia Keys, Ludacris, Lil Jon, H.E.R., will.i.am and more.

Days before taking the stage at Allegiant Stadium, the eight-time GRAMMY-winning R&B superstar opened up to Apple Music about the creative approach he took to planning his halftime show. “What I did is, I was very mindful of my past, celebrating my present, which is here in Las Vegas, and thinking about where we’re headed in the future, and that was really the idea,” he said. “What songs do I feel people know me for? What songs have been a celebration of all of the journey of what life and love and emotion has been offered in my music?

Usher’s halftime show comes on the heels of a monumental year and a half for the star, following his sold-out 100-show Las Vegas residency, My Way, at the Park MGM’s Dolby Live Theater. The R&B heartthrob also released Coming Home — his ninth studio album (and first in nearly a decade) on Friday — just two days before his epic performance.

Below, GRAMMY.com broke down all the best moments from Usher’s momentous halftime show.

That Grand, Las Vegas-Style Entrance 

From the drop, Usher let us know his Super Bowl set would be a celebration of all things Sin City as the camera wove through acrobats, showgirls, contortionists and dancers to reveal the R&B icon in all his glory — dressed in a dazzling white cape and seated on a mirrored thrown. 

From there, he launched into a high-energy rendition of “Caught Up,” one of the five consecutive top 10 singles from his landmark 2004 album Confessions. Not even an acrobat being launched through the air could distract from Usher’s swagger as he sauntered across the field.

A Sweet Shout-Out to His Mom

Transitioning between 2003’s “U Don’t Have to Call'' and a snippet of Confessions deep cut “Superstar,” Usher took a moment to recognize the magnitude of the occasion with a shout-out to his mother, Jonetta Patton. “But if you do call, know that God answers prayers. They said I wouldn’t make it. They said I wouldn’t be here today, but I am. Hey, mama, we made it. Now this — this is for you. My number one,” he said before crooning, “Spotlight, big stage / Sixty-thousand fans screamin’ in a rage.”

A Nostalgic Duet with His “Boo”

Usher’s halftime performance really hit its stride once he broke into his 2008 No. 1 hit “Love in This Club” with a full marching band. But the end of the song delivered the first big surprise of the night as the singer gestured across the field to introduce none other than Alicia Keys.

Seated at a futuristic red piano with a majestic cape of the same shade billowing behind her, the 16-time GRAMMY-winning singer-songwriter performed a snippet of her own 2004 single “If I Ain’t Got You” before being joined by Usher on their No. 1 hit “My Boo.” 

The pair’s decades of friendship were palpable as they belted out, “I don’t know about y’all but I know about us, and uh / It’s the only way we know how to rock / It started when we were younger, you were mine / My boo” and the number ended with both stars grinning ear to ear as Usher wrapped his arms around Keys. 

“Burn”-ing Up to Confessions

With producer Jermaine Dupri playing hype man, Usher celebrated the 20th anniversary of Confessions by running through a medley of songs from the 14x-platinum album, including “Confessions Part II” and a soaring take on “Burn,” which was undeniably one of the standout vocal moments of Usher’s entire set.

The star also put his sex appeal on full display, tearing away his glittery silver top to reveal a simple white tank as he performed “U Got It Bad” — only to remove that as well, finishing the song shirtless and glistening with sweat before ceding the spotlight to H.E.R. on an electric guitar.

“O.M.G.,” That Roller Skate Choreography!

Joined by will.i.am, Usher returned to stage dressed in a sparkling black-and-blue ensemble and roller skates — incorporating a popular moment from his recent residency as he ran through his 2010 chart-topper “O.M.G.” by nailing the choreography on wheels. For added measure, he finished off the section by skating deftly through will.i.am’s legs and striking a pose. 

Peace Up, A-Town Down

Of course, the grand finale of Usher’s halftime set couldn’t be anything but “Yeah!,” his smash worldwide hit that became the longest-running No. 1 of 2004 and an inescapable soundtrack to the early 2000s. Enlisting help from collaborators Lil Jon and Ludacris, Usher turned Allegiant Stadium into an all-out dance party and brought his halftime show to a triumphant climax with the song’s infectious, shout-it-out chorus.

Reba McEntire Performs Patriotic Rendition of the National Anthem at Super Bowl LVIII