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Paul McCartney, Ringo Starr To Perform Together

GRAMMY salute to the Beatles will also feature reunited Eurythmics, Dave Grohl, John Mayer, Katy Perry, Pharrell Williams, and more

GRAMMYs/Dec 3, 2014 - 05:06 am

(Editor's Note: "The Beatles: The Night That Changed America — A GRAMMY Salute" averaged an impressive 13.95 million viewers, peaking at nearly 14.8 million during the final half hour, during its original broadcast on Feb. 9. CBS will present a special encore broadcast on Wednesday, Feb. 12 at 8:30 p.m. ET/PT.)

Paul McCartney and Ringo Starr will perform together on "The Beatles: The Night That Changed America — A GRAMMY Salute," airing Sunday, Feb. 9, 8–10:30 p.m. ET/PT on the CBS Television Network. The all-star lineup for the historic event will also feature performances and/or presentations by "The Beatles Love" by Cirque du Soleil, Kate Beckinsale, Jeff Bridges, Gary Clark Jr., Johnny Depp, Dave Grohl, Eric Idle, Imagine Dragons, Alicia Keys & John Legend, Anna Kendrick, David Letterman, LL Cool J, Jeff Lynne, Maroon 5, John Mayer & Keith Urban, Brad Paisley & Pharrell Williams, Sean Penn, Katy Perry, Ed Sheeran, Joe Walsh, Stevie Wonder, and a one-night only reunion of Eurythmics' Annie Lennox and Dave Stewart. 

The house band for the event includes notable musicians Kenny Aronoff (drums), Lenny Castro (percussion), Chris Caswell (keyboard), Peter Frampton (guitar), Rami Jaffe (organ), Steve Lukather (guitar), Greg Phillinganes (keyboard), and Don Was (bass), who also served as musical director.

The primetime entertainment special — presented by The Recording Academy, AEG Ehrlich Ventures and CBS — will celebrate the remarkable legacy of the seven-time GRAMMY-winning group the Beatles and their groundbreaking first appearance on "The Ed Sullivan Show." The show will be broadcast in HDTV and 5.1 surround sound and airs exactly 50 years to the day, date, and time of the original event. Originally slated to be a two-hour event, the special has added an additional half-hour given the overwhelming success of the taping, a wealth of archival material, and new interviews. 

The special will feature David Letterman interviewing Paul McCartney and Ringo Starr at the iconic Ed Sullivan Theater on Feb. 4, recollections from three fans who were in the audience for the Beatles' first performance on "The Ed Sullivan Show," and interviews with three people who worked at the show and were there the night this milestone event took place.

The Beatles' first appearance on "The Ed Sullivan Show" was one of the most watched television events ever — with 74 million people tuning in to watch the group perform five songs during the variety hour. It is considered by many historians and critics as one of the most important moments in music and television.

Performances set for the special are:

  • Maroon 5, "All My Loving" and "Ticket To Ride"
  • John Mayer & Keith Urban, "Don't Let Me Down"
  • Ed Sheeran, "In My Life"
  • Imagine Dragons, "Revolution"
  • Stevie Wonder, "We Can Work It Out"
  • Alicia Keys & John Legend, "Let It Be"
  • Katy Perry, "Yesterday"
  • Eurythmics, "The Fool On The Hill"
  • Dave Grohl & Jeff Lynne, "Hey Bulldog"
  • Brad Paisley & Pharrell Williams with "The Beatles Love" by Cirque du Soleil, "Here Comes The Sun"
  • Dhani Harrison, Jeff Lynne & Joe Walsh, "Something"
  • Gary Clark Jr., Dave Grohl & Joe Walsh, "While My Guitar Gently Weeps"
  • Ringo Starr, "Matchbox," "Boys" and "Yellow Submarine"
  • Paul McCartney, "I Saw Her Standing There," "Get Back" and "Birthday"
  • All-star cast finale, "Sgt. Pepper's Lonely Hearts Club Band," "With A Little Help From My Friends" and "Hey Jude"

"The Beatles: The Night That Changed America — A GRAMMY Salute" is produced by AEG Ehrlich Ventures, LLC. Ken Ehrlich is the executive producer, Rac Clark is co-executive producer, Gregg Gelfand is director, and David Wild and Ken Ehrlich are the writers.

Gary Clark, Jr. On 'JPEG RAW': How A Lockdown Jam Session, Bagpipes & Musical Manipulation Led To His Most Eclectic Album Yet
Gary Clark, Jr.

Photo: Mike Miller

interview

Gary Clark, Jr. On 'JPEG RAW': How A Lockdown Jam Session, Bagpipes & Musical Manipulation Led To His Most Eclectic Album Yet

Gary Clark, Jr.'s latest record, 'JPEG RAW,' is an evolution in the GRAMMY-winning singer and guitarist's already eclectic sound. Clark shares the process behind his new record, which features everything from African chants to a duet with Stevie Wonder.

GRAMMYs/Mar 18, 2024 - 01:10 pm

Stevie Wonder once said "you can’t base your life on people’s expectations." It’s something guitarist and singer Gary Clark, Jr. has taken to heart as he’s built his own career. 

"You’ve got to find your own thing," Clark tells GRAMMY.com.

Clark recently duetted with Wonder on "What About The Children," a song on his forthcoming album. Out March 22, JPEG RAW sees Clark continue to evolve with a mixtape-like kaleidoscope of sounds.

Over the years, Clark has ventured into rock, R&B, hip-hop blues, soul, and country. JPEG RAW is the next step in Clark's eclectic sound and sensibility, the result of a free-flowing jam session held during COVID-19 lockdown. Clark and his bandmates found freedom in not having a set path, adding elements of traditional African music and chants, electronic music, and jazz into the milieu.

"We just kind of took it upon ourselves to find our own way and inspire ourselves," says Clark, a four-time GRAMMY winner. "And that was just putting our heads together and making music that we collectively felt was good and we liked, music we wanted to listen to again."

The creation process was simultaneously freeing and scary.

"It was a little of the unknown and then a sense of hope, but also after there was acceptance and then it was freeing. I was like, all right, well, I guess we’re just doing this," Clark recalls. "It was an emotional, mental rollercoaster at that time, but it was great to have these guys to navigate through it and create something in the midst of it."

JPEG RAW is also deeply personal, with lyrics reflecting on the future for Clark himself, his family, and others around the globe. While Clark has long reflected on political and social uncertainties, his new release widens the lens. Songs like "Habits" examine a universal humanity in his desire to avoid bad habits, while "Maktub" details life's common struggles and hopes. 

Clark and his band were aided in their pursuit by longtime collaborator and co-producer Jacob Sciba and a wide array of collaborators. Clark’s prolific streak of collaborations continued, with the album also featuring funk master George Clinton, electronic R&B/alt-pop artist Naala, session trumpeter Keyon Harrold, and Clark’s sisters Shanan, Shawn, and Savannah. He also sampled songs by Thelonious Monk and Sonny Boy Williamson.

Clark has also remained busy as an actor (he played American blues legend Arthur "Big Boy" Crudup in Baz Luhrmann’s Elvis) and as a music ambassador (he was the Music Director for the 23rd Annual Mark Twain Prize for American Humor).

GRAMMY.com recently caught up with Clark, who will kick off his U.S. tour May 8, about his inspirations for JPEG RAW, collaborating with legendary musicians, and how creating music for a film helped give him a boost of confidence in the studio. 

This interview has been edited for clarity.

You incorporated traditional African music on JPEG RAW. How did it affect your songwriting process?

Well, I think traveling is how it affected my songwriting process. I was over in London, and we played a show with Songhoy Blues, and I was immediately influenced. I was like, "dang, these are my musical brothers from all the way across the world." 

I always kind of listened to West African funk and all that kind of stuff. So, I was just listening to that in the studio, and just kind of started messing around with the thing. And that just kind of evolved from there. I was later told by Jacob Sciba that he was playing that music trying to brainwash me into leaning more in that direction. I thought we were just genuinely having a good time exploring music together, and he was trying to manipulate me. [Laughs.]

I quit caring about what people thought about me wanting to be a certain thing. I think that being compared to Jimi Hendrix is a blessing and a curse for me because I'm not that. I will never be that. I never wanted to imitate or copy that, no disrespect. 

You’ve got to find your own thing. And my own thing is incorporating all the styles of music that I love, that I grew up on, and [was] influenced by as a pre-teen/teenager. To stay in one space and just be content doing that has never been my personality ever…I do what I like.

I read that you play trumpet at home and also have a set of bagpipes, just in case the mood strikes. 

I used to go collect instruments and old cameras from thrift stores and vintage shops and flea markets. So, I saw some bagpipes and I just picked them up. I've got a couple of violins. I don't play well at all — if you could consider that even playing. I've got trumpet, saxophone, flutes, all kinds of stuff just in case I can use these instruments in a way that'll make me think differently about music. It'll inspire me to go in a different direction that I've maybe never explored before, or I can translate some of that into playing guitar. 

One of my favorite guitarists, Albert Collins, was really inspired by horn players. So, if you can understand that and apply that to your number one instrument, maybe it could affect you. 

Given recent discussions about advancements in AI and our general inundation with technology, the title of your album is very relevant. What about people seeing life through that filter concerns you? Why does the descriptor seem apt?

During the pandemic, since I wasn't out in the world, I was on my phone and the information I was getting was through whatever social media platforms and what was going on in certain news outlets, all the news outlets. I'm just paying attention and I'm just like, man, there's devastation

I realized that I don't have to let it affect me. Just because things are accessible doesn't mean that you need to [access them].  It just made me think that I needed to do less of this and more of being appreciative of my world that's right in front of me, because right now it is really beautiful.

You’ve said the album plays out like a film, with a wide range of emotions throughout. What was it like seeing the album have that film-like quality?

I had conversations with the band, and I'd expressed to them that I want to be able to see it. I want to be able to see it on film, not just hear it. Keyboardist Jon Deas is great with [creating a] sonic palate and serving a mood along with [Eric] "King" Zapata who plays [rhythm] guitar. What he does with the guitar, it serves up a mood to you. You automatically see a color, you see a set design or something, and I just said, "Let's explore that. Let's make these things as dense as possible. Let's go like Hans Zimmer meets John Lee Hooker. Let's just make big songs that kind of tell some sort of a story." 

Also, we were stuck to our own devices, so we had to use our imagination. There was time, there was no schedule. So, we were free, open space, blank canvas.

The album opens with "Maktub," which is the Arabic word for fate or destiny. How has looking at different traditions given you added clarity with looking at what's happening here in the U.S.?

I was sitting in the studio with Jacob Sciba and my friend Sama'an Ashrawi and we were talking about the history of the blues. And then we started talking about the real history of the blues, not just in its American form, in an evolution back to Africa. You listen to a song like "Maktub," and then you listen to a song like, "Baby What You Want Me to Do" by Jimmy Reed…. 

The last record was This Land, but what about the whole world? What about not just focusing on this, but what else is going on out there? And we drew from these influences. We talked about family, we talked about culture, we talked about tradition, we talked about everything. And it's like, let's make it inclusive, build the people up. Let's build ourselves up. It’s not just about your small world, it’s about everybody’s feelings. Sometimes they're dealt with injustice and devastation everywhere, but there's also this global sense of hope. So, I just wanted to have a song that had the sentiment of that.

I really enjoyed the song’s hopeful message of trying to move forward.

Obviously, things are a little bit funky around here, and I don't have any answers. But maybe if we got our heads together and brainstorm, we could all figure something out instead of … struggling or suffering in silence. It's like, let's find some light here. 

But part of the talks that I had with Sama'an and his parents over a [video] call was music. He’s from Palestine, and growing up music was a way to connect. Music was a way to find happiness in a place where that wasn't an everyday convenience, and that was really powerful. That music is what brought folks together and brought joy and built a community and a common way of thinking globally. They were listening to music from all over the world, American music, rock music, and that was an influence.

The final song on the album, "Habits," sounds like it was the most challenging song to put together. What did you learn from putting that song together?

Well, that song originally was a bunch of different pieces, and I thought that they were different songs, and I was singing the different parts to them, and then I decided to put them all together. I think I was afraid to put them all together because we were like, "let's not do these long self-indulgent pieces of music. Let's keep it cool." But once I put these parts together and put these lyrics together, it just kind of made sense. 

I got emotional when I was singing it, and I was like, This is part of using this as an outlet for the things that are going on in life. We went and recorded it in Nashville with Mike Elizondo and his amazing crew, and it's like, yep, we're doing it all nine minutes of it.

You collaborated with a bunch of musicians on this album, including Naala on "This Is Who We Are." What was that experience like?

Working with Naala was great. That song was following me around for a couple of years, and I knew what I wanted it to sound like, but I didn't know how I was going to sing it. I had already laid the musical bed, and I think it was one of the last songs that we recorded vocals on for the album. 

Lyrically, it’s like a knight in shining armor or a samurai, and there's fire and there's war, and this guy's got to go find something. It was like this medieval fairytale type thing that I had in my head. Naala really helped lyrically guide me in a way that told that story, but was a little more personal and a little more vulnerable. I was about to give up on that song until she showed up in the studio. 

"What About the Children" is based on a demo that you got from Stevie Wonder. You got to duet with him, what was that collaboration like?

Oh, it was great. It was a life-changing experience. The guy's the greatest in everything, he was sweet, the most talented, hardworking, gracious, humble, but strong human being I've been in a room with and been able to create with. 

I was in shock when I left the studio at how powerful that was and how game changing and eye-opening it was. It was educational and inspiring. It was like before Stevie and after Stevie.

I imagine it was also extra special getting to have your sisters on the album.

Absolutely. We got to sing with Stevie Wonder; we used to grow up listening to George Clinton. They've stuck with us throughout my whole life. So, to be able to work with him and George Clinton — they came in wanting to do the work, hardworking, badass, nice, funny — it was a dream. 

Stevie Wonder and George Clinton are just different. They're pioneers and risk takers. For a young Black kid from Texas to see that and then later to be able to be in a room with that and get direct education and conversation…. It's an experience that not everybody gets to experience, and I'm grateful that I did, and hopefully we can do it again.

In 2022, you acted in Elvis. What are the biggest things you've learned from expanding into new creative areas?

I really have to give it up to a guy named Jeremy Grody…I went to his studio with these terrible demos that I had done on Pro Tools…and this guy helped save them and recreate them. I realized the importance of quality recordings. Jeremy Grody was my introduction to the game and really set me up to have the confidence to be able to step in rooms like that again.

I played some songs in the film, and I really understood how long a film day was. It takes all day long, a lot of takes, a lot of lights, a lot of big crews, big production.

I got to meet Lou Reed [while screening the film] at the San Sebastian Film Festival, and I was super nervous in interviews. I was giving away the whole movie. And Lou Reed said, "Just relax and have fun with all this s—." I really appreciated that.

Do you have a dream role?

I don't have a dream role, but I do know that if I was to get into acting, I’d really dive into it. I would want to do things that are challenging. I like taking risks. I want to push it to the limit. I would really like to understand what it's like to immerse yourself in the character and in the script and do it for real.

You're about to go out on tour. How will the show and production on this tour compare with the past ones?

We're building it currently, but I'm excited about what we got in store as far as the band goes. There are a few additions. I've got my sisters coming out with me. It's just going to be a big show.There's a new energy here, and I'm excited to share that with folks. 

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Get To Know Benson Boone, The "Beautiful Things" Singer & Rising Pop-Rock Sensation
Benson Boone performs at KIIS FM's K-Pop Village at KCON LA in August 2023.

Photo: Tommaso Boddi/Getty Images

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Get To Know Benson Boone, The "Beautiful Things" Singer & Rising Pop-Rock Sensation

As Benson Boone's erupting smash "Beautiful Things" continues to dominate Billboard's global charts, GRAMMY.com rounded up seven things to know about the budding star, from his reality TV roots to his rock star mentor.

GRAMMYs/Mar 15, 2024 - 08:25 pm

Benson Boone's swift rise to stardom has been a beautiful thing to witness. Over the past three years, the Monroe, Washington native has gone from viral TikTok influencer to one of Gen Z's most promising pop talents.

Remarkably, the 21-year-old pop-rock artist didn't even discover his voice until he reached high school, after his best friend asked him to play the piano in their school's battle of the bands competition and the singer dropped out at the last second. Boone found himself filling in, an impromptu decision that would unwittingly alter the course of his entire life.

"It's just like I unlocked something I didn't know I had," he mused recently to MTV. "And I stopped, like, halfway through the first verse and just looked around, and I was so shocked that I had just sang…It was, like, the best feeling of my life."

Cut to the present day, and Boone's voice has helped him soar to the top of multiple Billboard charts. His latest single "Beautiful Things," a desperate prayer of a love song that pinballs between warm, folksy verses and a rollicking chorus reminiscent of Freddie Mercury's electrifying vocals, has positively exploded since its January release. Boone's breakout hit has spent six consecutive weeks in the Top 10 of the Billboard Hot 100, peaking at No. 3 as of press time and topping both of Billboard's global charts for multi-week runs.

"My life has changed dramatically since the song came out," Boone reflected earlier this month in a sit-down with Variety. "It's so, so, so insane to me that this is happening. I'm trying so hard to formulate words. I have so much trouble processing it all right now…But when I sit back and look at what's happening, it really, truly blows my mind. Because it's something a lot of people dream of, and [I'm] one of those people."

Benson is steadfast in building on the runaway success of "Beautiful Things," too. The singer/songwriter's forthcoming debut album is expected some time later this year, and his just-announced Fireworks and Rollerblades World Tour kicks off April 3 in Chicago, with legs in North America, the U.K., Europe, Australia and New Zealand.

As Boone's rise to superstardom continues, GRAMMY.com rounded up everything you need to know about the buzzy star-in-the-making, from his brief stint on reality TV to the A-list rocker who's taken him under his wing.

He's A Proud "American Idol" Dropout

Before he became a rising star on the charts, Boone initially attempted to get his start in music on "American Idol." During Season 19, the then-18-year-old auditioned for the reality show with a piano-playing cover of Aidan Martin's 2017 single "Punchline" after producers came across his videos online.

Boone's jaw-dropping audition earned a standing ovation from judges Lionel Richie and Luke Bryan before Katy Perry confidently declared, "They're gonna swoon over Benson Boone." All three judges were baffled to learn that the teenager had only discovered his obvious musical talent the year before, and the "Roar" singer doubled down on her praise by predicting, "I'm gonna tell you something that you may not believe. But if you believe it, it might happen…I see you winning 'American Idol' if you want to."

"That is the biggest compliment I've ever gotten, thank you," a starstruck Boone replied. However, by the time Hollywood week rolled around, the fresh-faced teenager had apparently decided he didn't want to win the long-running reality competition, and withdrew after advancing to the Top 24. 

"The reason I quit 'American Idol' is because I wanted to do music," he explained a couple of years later during an appearance on The Zach Sang Show. "I don't want people to be like, 'Oh, Benson Boone, 'American Idol' blew him up. Like, that's where he comes from. No. I want to be Benson Boone 'cause I write smash hits and they love my music…I just didn't want that label on me."

He Has A Bonafide Rock Superstar For A Mentor

Part of Boone's success as a solo artist can be attributed to Dan Reynolds of Imagine Dragons, who came across the young talent and personally signed him to Night Street Records, the rock singer's own Warner Records imprint that has also boasted K.Flay on its exclusive roster, in 2021. 

"We sign artists so rarely at Night Street — it was one of those moments where you know you have no choice," the frontman told Billboard at the time Boone inked his record deal. "That's how I felt when I first sat in a recording booth with Benson. I'm excited for the world to get to know him the way I have these last months."

Since then, Reynolds has also served as a sort of industry mentor figure for Boone, as the burgeoning rocker explained in a 2023 interview promoting the release of his EP Pulse. "He makes you feel comfortable in your own skin, he's very gifted in that way," Boone told iHeartRadio Canada. "So working with him has been incredible, and him taking time for an artist very much smaller than him is just…he's a very kind soul. 

"I think that the main thing that he's taught me is that in this industry, everybody wants something different from you," he continued. "Everybody has a different outlook on yourself than you actually do. And regardless of what that is, you are the leader of your own career and your own life. You have to do things that make you happy, write music that you want to be writing, releasing things that you're proud of…He's just taught me to stick to my gut and just follow my own dreams."

His Earlier Singles Pack An Emotional Punch (No, Seriously, Grab Some Tissues)

The runaway success of "Beautiful Things" may have earned Boone's legions of newfound fans in the last two months, but it's actually not his biggest song on streaming platforms (at least just yet). Before his soul-baring folk-rock anthem was burning up charts around the world, the singer released his debut single "Ghost Town" and heartbreaking follow-up "In The Stars," both of which are included on his debut 2021 EP Walk Me Home… (As of press time, the former has more than 336 million streams on Spotify, and the latter has a whopping 617 million.)

Another smoldering torch song, "Ghost Town" became Boone's first official entry on the Hot 100 after it was released in October 2021. "Maybe you'd be happier with someone else/ Maybe loving me's the reason you can't love yourself/ Before I turn your heart into a ghost town/ Show me everything we build so I can tear it all down," he laments on the soaring chorus over a running piano line and booming, orchestral percussion.

On the heels of "Ghost Town," Boone then penned "In the Stars" in 2022 about the death of his beloved great-grandma. "That kind of loss can be more emotional and heartfelt than a relationship," he told Genius about the song's tender meaning. "I wanted to write about something that was real. It's something I've never really talked about or dealt face to face with. Songwriting is very new to me, and so I'm still learning that process of figuring out how to cope with something through a song. And I think this is kind of where that starts for me." 

Other pre-"Beautiful Things" tracks worth checking out in Boone's quickly blossoming discography include the addictive TikTok smash "Sugar Sweet," wistfully upbeat bop "Coffee Cake" and the introspective "What Was."

His Stage Presence Is Downright Acrobatic

Boone may be a relative newcomer in the music industry, but he's already developed a magnetic stage presence at his packed live shows. In fact, one of his signature tricks on stage is landing a backflip mid-song without so much as missing a beat.

To tease his upcoming world tour, the singer posted a clip of himself in late January belting out "What Was" in front of an ecstatic crowd. In the video, he impressively nails a flip before effortlessly transitioning right into the power ballad's bombastic climax, wailing, "Let me/ Start over/ The moment that I left you in tears/ Is a mem'ry that will haunt me for years/ And years and years and years and years."

"My dad is 49 years old and still backflips, I get it from him," the singer confessed to Australian outlet The Project on his first trip Down Under in the fall of 2022. "I always thought he was, like, the coolest…but yeah, I've been flipping since I was, like, four and it's just always been my thing."

He Has Roots In Mormonism

Boone grew up in small-town Washington as the only boy in a Mormon family with four sisters. He's never really spoken publicly about growing up in the clean-cut, high-demand religion, but he actually briefly attended Brigham Young University—Idaho, the Mormon university in Rexburg, for a semester before pausing his education to focus on music.

Mormonism is a trait he coincidentally shares with his mentor Reynolds, who's been outspoken throughout his career about his Mormon background and actually got kicked out of Brigham Young University around the same time he formed Imagine Dragons. 

While Boone grew up outside the "Book of Mormon Belt" — the geographic area that radiates from Mormonism's Salt Lake City headquarters to include parts of Idaho, Arizona, Nevada, Colorado, Wyoming and even southern Alberta, Canada — his Mormon roots have shown up in his music in subtle ways. He even filmed the official music video for "Beautiful Things" against the majestic backdrop of the red rock bluffs outside St. George, Utah (which just so happens to be this writer's hometown!).

He Serves As His Own Creative Team

Boone's creative side extends beyond the realm of music: he's also a talented artist who often draws the cover art for his own singles. When "Ghost Town" was released in 2021, he showed off his skills by sketching the song's artwork for Spotify's Today's Top Hits — even admitting it was his first time attempting to draw a self-portrait with charcoal.

"I've always loved drawing and painting," Boone said of his artistic flair in a 2023 interview, also noting that he designs all his own merchandise. "I get that from my dad…My dad's, like, a crazy artist, he's so good. And so it's kinda just always been something that I've done."

He's An Avid Rollerblader

As the name of his upcoming Fireworks and Rollerblades World Tour would suggest, Boone is both a self-proclaimed adrenaline junkie and has a not-so-secret passion for rollerblading. In fact, the singer's TikTok feed is littered with videos of himself landing tricks, stunts and, of course, flips on wheels in between the requisite promo material teasing new music like his upcoming single "Slow It Down," footage from live shows and other viral TikTok content.

What other tricks does Benson Boone have up his sleeve for the rest of 2024? Judging by his meteoric chart success thus far, the world is eagerly waiting to find out.

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Listen: Miley Cyrus & Pharrell Reunite For New Song "Doctor (Work It Out)"
Miley Cyrus performs at the 2024 GRAMMYs.

Photo: Kevin Winter/Getty Images for The Recording Academy

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Listen: Miley Cyrus & Pharrell Reunite For New Song "Doctor (Work It Out)"

Ten years after their first funky single, Miley Cyrus and Pharrell Williams strike again with "Doctor (Work It Out)," which arrived on March 1. Hear the new track and watch the spirited music video here.

GRAMMYs/Mar 1, 2024 - 04:31 pm

On the heels of her first GRAMMY wins, Miley Cyrus is feeling good — and she's ready to be your cure.

The pop superstar unveiled her new single, a lustful, funky dance track titled "Doctor (Work It Out)," on March 1. The track is her latest collaboration with Pharrell, and their first in 10 years.

Over a pulsating bass guitar-driven beat, Cyrus opens with the punchy chorus (“I could be your doctor/ And I could be your nurse/ I think I see the problem/ It's only gon' get worse/ A midnight medication/ Just show me where it hurts," she sings) before erupting into a dance break as she declares, "Let me work it out… Imma work it out…”

So far, 2024 is feelin' fine for Cyrus. At the 2024 GRAMMYs, her 2023 smash, "Flowers," took home two awards, for Best Pop Solo Performance and Record Of The Year. Following her first win, she delivered a knockout performance featuring the unforgettable ad lib, "I started to cry and then I remembered I… just won my first GRAMMY!" 

Less than a month later, "Doctor (Work It Out)" serves as another groovy celebration of Cyrus' achievements in life and music so far.

The song's music video is reminiscent of her 2024 GRAMMYs performance, too. Not only is she wearing a similar shimmery fringe dress, but the entire video is a jubilant, blissful solo dance party.

Though Cyrus first teased "Doctor (Work It Out)" just a few days before the song's arrival, Pharrell first gave a sneak peek in January, at his American Western themed Fall/Winter 2024 Louis Vuitton Men's fashion show in Paris. It was Pharrell's third collection for the luxury house, and the bouncy single served as a fitting soundtrack. 

The song marks Cyrus' first release in 2024, and her first collab with Pharrell since 2014's "Come Get It Bae" from his album G I R L'; Pharrell also co-wrote and produced four tracks on the deluxe version of Cyrus' 2013 album, Bangerz.

Watch the "Doctor (Work It Out)" video above, and stay tuned to GRAMMY.com for more Miley Cyrus news.

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Behind The Scenes With Nirvana Photog Charles Peterson: 6 Images From His New Book
Krist Novoselic and Kurt Cobain in Seattle on September 16, 1991.

Photo: Charles Peterson

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Behind The Scenes With Nirvana Photog Charles Peterson: 6 Images From His New Book

In 'Charles Peterson’s Nirvana,' the Sub Pop photographer chronicles the career of Kurt Cobain and his Seattle band — from their indie days to stardom. Speaking to GRAMMY.com, Peterson shares behind-the-scenes stories about some of his favorite shots.

GRAMMYs/Feb 20, 2024 - 04:07 pm

When photographer Charles Peterson first saw Nirvana at a small Seattle club in 1988, he was so underwhelmed he didn’t bother taking a single picture of them.

The band shared a bill with local act Blood Circus, who, Peterson says, "put on quite a grungy show; lots of hair going everywhere and guitars flying." When Nirvana came on, "they had the lighting guy dim the light really low and Kurt [Cobain] just stood there and stared at his feet. The music came off as kind of heavy, really difficult to play. I just didn’t get it." At one point Peterson even turned to Sub Pop Records co-founder Jonathan Poneman and asked him, "Jon, are you sure about these guys?"

 Sub Pop was sure about Nirvana, and would later sign them. And as the label’s in-house photographer, Peterson (who was in his mid-20s at the time) documented the band’s career for the next five years — from their indie days to international stardom. In his latest book, Charles Peterson’s Nirvana, from Minor Matters Books, Peterson has winnowed down his impressive catalog of an estimated 3,000 shots to a well-curated 90. 

Released on Feb. 20, Cobain’s birthday, Charles Peterson’s Nirvana features shots from his first session with the band, lounging in the wilds of Bainbridge Island, Washington ("They did have that kind of hippie aspect to them") to his last, a promotional shoot for In Utero ("They all, Kurt especially, just seemed a little tired"). While the book tells the band's story, it's less of a history and more reflective of Peterson's own experience. 

As Peterson recalls, Minor Matters Founder Michelle Dunn Marsh defined the book’s direction, believing Peterson's "artistic sensibility and how it moves the viewer and portrays the power of the music" set his work apart from the thousands of other images taken of Nirvana. 

Peterson spoke with GRAMMY.com about the stories behind five images in the book. "And like I say in the introduction, go put on a Nirvana record before you look at this book, and you really get that idea of immersion in the music," the photographer advises.

All images © Charles Peterson/Minor Matters Books

Kurt Cobain, University of Washington, Seattle, Jan. 6, 1990

Kurt Cobain, University of Washington, Seattle, Jan. 6, 1990

Peterson Got Up Close & On Stage With Nirvana

Peterson had ready access to the band in their pre-Nevermind years. "It was great, in these early days, to be able to just crawl around on the stage, go do whatever I wanted to," he says. "It does bring an intimacy that you lose later on when you’re stuck in a position like the pit or off behind a PA or something."

In his early days of photographing Nirvana, Peterson had free range of movement and often stood behind the band or close at their side. The musicians had also become a lot more active on stage compared to when Peterson first saw them. 

Krist Novoselic, University of Washington, Seattle, Jan. 6, 1990

Krist Novoselic, University of Washington, Seattle, Jan. 6, 1990

"I don't know what it was, if it was having Chad [Channing] as their drummer or the addition of Jason Everman for a while [on guitar]; maybe that allowed Kurt to worry a little bit less about hitting the chords perfectly so that he could jump around and go face down on the stage and roll around and do all that," Peterson says. "Even so, he’s not holding the audience’s attention. They’re not looking at Kurt; they’re all looking at something over there, which must be somebody stage diving or something.

"It’s all those little details that you pick up on that are great; there’s a piece of crumpled paper in front, and another photographer up in the back," Peterson notes. "And again, in the Krist shot, he's looking at me yet everyone else is looking away. There’s all this other stuff going on that you don’t even have to pay attention to the band. There’s feet in the air here. A lot of Converse in the photos!"

Nirvana Crowd shot, Motor Sports International Garage, Seattle, Sept. 22, 1990

Crowd shot, Motor Sports International Garage, Seattle, Sept. 22, 1990

Nirvana's Audience Was Just As Important — And Interesting

Peterson always focused his lens on the audience as much as the bands. "I love this one because you’ve got a Nirvana shirt there. One person is looking at me; nobody else is. Bare chests. A lot of sweaty, sweaty hair," he says of the above photo, taken at a makeshift venue that was actually a parking garage.

"Seattle crowds, we’re some of the best. And it just didn’t seem right to isolate the power of the bands from the effect that they were having on the audiences," Peterson reflects. "I found that the photos had just that much more power if you could anchor the band in their time and space with the audience, and see what that reaction is between the two, versus it just being the beauty shot of the singer." 

Peterson says there was both a symbiotic and cathartic relationship between Nirvana and their fans. "People would be like, ‘Oh my God, look at those audiences in Seattle!’" The photos distill the essence of that relationship. "The bands are great, the personalities in the bands are great…that idea that it’s a complete scene, that the participation of the audience is just as important as the participation of the bands."

Peterson recalls standing next to the PA at stage right during this show.

"What I would do is, with one hand, lean out holding the camera upside down over the audience. And then I would have my flash in the other hand, so that the light gave a nice kind of mottling to it. Not looking through the viewfinder, just photographing. I do a lot of that," he says. "The camera takes the picture whether you’re looking through the viewfinder or not." 

Kurt Cobain, Commodore Ballroom, Vancouver, BC, Canada, March 8, 1991

Kurt Cobain, Commodore Ballroom, Vancouver, BC, Canada, March 8, 1991

Peterson Sensed This "Smells Like Teen Spirit" Shot Was Something Special  

Peterson knew immediately that something special had occurred when he took this picture. "I remember pushing the shutter on this shot and going, What just happened? But then the show moves on." 

A few days later, Peterson was in his darkroom developing the film and finally saw the impact of the moment he captured. He printed the image and a proof sheet, and gave them to Nirvana’s Seattle publicist Susie Tennant, who shared them with Cobain. The picture is on the back of Nirvana's "Smells Like Teen Spirit" single. 

The photo became one of Peterson’s most widely reproduced images. "I think what makes a photo iconic is that the photo reads easily and at the same time is larger than life and dramatic," he says. "And despite the fact that it reads easily to the eye, there’s a lot of other stuff, hidden stuff going on that you need to think about. 

"It’s also a photo that you can sort of transport to any time and place. It doesn’t necessarily have to be locked in with this particular show or anything. It really goes beyond that and then that ends up standing the test of time."

Krist Novoselic and Kurt Cobain, Beehive Music & Video, Seattle, September 16, 1991

Krist Novoselic and Kurt Cobain, Beehive Music & Video, Seattle, September 16, 1991

By '91 Nirvana Inspired Mosh Pits Everywhere, Even In Stores

Peterson calls this in-store appearance, a week before Nevermind was released, as "a watershed moment." 

"This was the last time I saw them play on a floor, which to me makes for great photos because you’re right there at the same level as them. It really is in your face," he says. "What was totally surprising was the subsequent mosh pit in the store, with people being hoisted on shoulders." 

There were also signs of how things were about to change for the band, Peterson recalls. "Kurt was besieged by autograph seekers outside the store. It was the first time I think that really happened to him. He was definitely overwhelmed by it."

Peterson had some challenges in the darkroom when developing this film, which led to a "weird graininess" that differs from many of his other images. "At the time I was like, ‘Oh God!’ But I think it has a unique look that you just don't get with digital now, unless you really manipulate it."

Kurt Cobain, Reading Festival, Reading, UK, August 30, 1992

Kurt Cobain, Reading Festival, Reading, UK, August 30, 1992

Kurt Cobain Cared About His Peers

By the time of this show, Nirvana were a bonafide international sensation. The band were plagued by stories of drug use and rumors about an impending break-up, while Courtney Love had just given birth to her and Cobain's daughter. All of which attracted huge media interest in this performance. 

"I was a little shocked when I went into the press tent; I had never been to a festival like this before and there were 96 photographers listed on the dry board!" Peterson reflects. "Photographers that were shooting from the pit in the front of the stage, they would bring them out and give them five minutes each."

That was not going to work for Peterson. 

"And all of a sudden, Nick Cave finished and there was this huge rush to the stage. And [Nirvana’s UK publicist] Anton Brookes grabs me by the wrist and he’s like, ‘Dude, come with me!’ And we all start running up onto the stage, up the ramp. I was taking a few snaps and then everybody settled into their place. There was Eric Erlandson [from Hole] next to me, and to the right was Mark Arm [from Mudhoney] and some members of L7," Peterson says. "I didn’t have an official stage pass or anything like that, but as long as I was with those guys, it was all cool. That was my spot, so I didn’t dare move from it.

"This photo was a really, really special moment. Kurt, in between songs, he just looked over at us, and mouthed something like, ‘How are you guys doing?’ And we’re like, ‘We’re fine.’ And then we started waving like back at him, like, ‘Go play, dude! Don’t worry about us,’" Peterson remembers. 

"It was like he wanted to check in with his peeps on the side of the stage. It’s one of my favorite photos."

A potential volume two of Nirvana photos is being considered, as is a retrospective of Peterson’s work, which includes photos of Soundgarden, Screaming Trees, TAD, Mother Love Bone, Beat Happening, and a multitude of others. But Nirvana invariably tops the list. 

"You can talk and write reams about the dramas and the ins and outs. But it’s the power of the music that keeps people coming back," he says of the band. "And the fact that it’s not rooted in a time and place; you can make the music be whatever you want it to be. I mean, half the time you don’t know what Kurt’s singing about or even what the words are, but you can shout your own words along to it if you want. It’s the music that really is that lasting, lasting legacy."

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