meta-scriptStevie Wonder GRAMMY Special To Air Feb. 16, 2015 | GRAMMY.com
Stevie Wonder GRAMMY Special To Air Feb. 16, 2015
Stevie Wonder

Photo: Kevin Winter/Getty Images

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Stevie Wonder GRAMMY Special To Air Feb. 16, 2015

"Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute" to celebrate the iconic songbook and legacy of the 25-time GRAMMY winner

GRAMMYs/Feb 15, 2015 - 01:08 pm

The Recording Academy, AEG Ehrlich Ventures and CBS will present "Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute," a primetime entertainment special that will celebrate the iconic songbook and remarkable legacy of the 25-time GRAMMY winner. The two-hour show will tape at the Nokia Theatre L.A. Live on Tuesday, Feb. 10, 2015, two days after the 57th Annual GRAMMY Awards, and will be broadcast in HDTV and 5.1 surround sound on CBS on Monday, Feb. 16, 2015, from 9–11 p.m. ET/PT. Performers and presenters will be announced shortly.

"Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute" will feature some of today's top artists covering songs by the legendary GRAMMY winner, as well as other archival material. In addition, various presenters will help highlight the historical impact of Wonder's songs on music and our culture.

In the 56-year history of the GRAMMY Awards, Wonder is the only artist to have received Album Of The Year honors in three out of four consecutive years with Innervisions, Fulfillingness' First Finale, and the seminal Songs In The Key Of Life. With a catalog that is one of the richest treasure troves in American music, his songs are still revered and influential today and his longevity as one of America's — and the world's — most respected and beloved artists is well earned. 

"Stevie Wonder is a beloved icon whose golden songbook remains one of America's and music's greatest treasures," said Neil Portnow, President/CEO of The Recording Academy. "A 25-time GRAMMY winner and Recording Academy Lifetime Achievement Award recipient, it's only fitting that Music's Biggest Night celebrates this legendary musical genius and pays tribute to his enduring music and legacy."

"Some of my most memorable television experiences have been with my friend Stevie, both on the GRAMMYs and off, and to be able to celebrate him in a way that only the GRAMMY stage allows is a treat that I've looked forward to for a long time," said executive producer Ken Ehrlich of AEG Ehrlich Ventures. "He is truly deserving of the term that is often used about him — an American treasure — and the night of Feb. 10 when we tape this show is going to be an amazing time." 

"Stevie Wonder epitomizes the very spirit of the GRAMMYs," said Jack Sussman, executive vice president, specials, music and live events, CBS Entertainment. "His music is as poignant as it is appealing and his songs have the ability to illustrate our world in every note. We are thrilled to pay tribute to this legendary man and musician. His influence is present in so much of today's greatest music. This salute will give everyone he's inspired a chance to show our esteem."

"Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute" continues the tradition begun this past year with "The Beatles: The Night That Changed America — A GRAMMY Salute," a two-and-a-half-hour special that celebrated the remarkable legacy of the seven-time GRAMMY-winning group. Hailed by media and fans alike as a unique and memorable music television event, the Beatles special ultimately garnered 20 million viewers and an Emmy Award for Outstanding Music Direction (for music director Don Was).

Tickets to the taping of this very special evening will go on sale Thursday, Dec. 18, via AXS.com. Call 877.234.8425 or email tickets@aegworldwide.com for more information on ticket availability including VIP ticket packages and group sales.

"Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute" is produced by AEG Ehrlich Ventures, LLC. Ken Ehrlich is the executive producer. 

The 57th Annual GRAMMY Awards will be held Feb. 8, 2015, at Staples Center in Los Angeles and broadcast live in high-definition TV and 5.1 surround sound on CBS from 8–11:30 p.m. (ET/PT). For updates and breaking news, visit The Recording Academy's social networks on Twitter and Facebook and Instagram

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

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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. 

The Black Crowes' Long Flight To New Album 'Happiness Bastards': Side Projects, Cooled Nerves & A Brotherly Rapprochement

10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams
(L-R) boygenius, Taylor Swift and Jack Antonoff at the 2024 GRAMMYs.

Photo: Kevin Mazur/Getty Images for The Recording Academy

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10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams

The 66th Annual GRAMMY Awards wrote another monumental chapter in music history with returns from legends like Celine Dion and wins by a promising new generation of artists like Victoria Monét.

GRAMMYs/Feb 5, 2024 - 08:35 pm

Just like that, another GRAMMYs has come and gone — but the 2024 telecast brought many moments that will be immortalized in pop culture history.

It was the evening of legends, as Billy Joel and Tracy Chapman returned to the stage for the first time in decades and Joni Mitchell made her debut with a performance of her 1966 classic, "Both Sides, Now." Stevie Wonder and Celine Dion honored greats, both those we've lost and those who are dominating today. And Meryl Streep had two memorable moments at the show, making a fashionably late entrance and getting a hilarious GRAMMY lesson from Mark Ronson.

But it was the younger generation of artists who ultimately dominated the show. Boygenius — the supergroup of Phoebe Bridgers, Lucy Dacus, and Julien Baker — won numerous awards in the Rock, Metal & Alternative Music Field. Billie Eilish and SZA scooped up a couple more golden gramophones, respectively, and Best New Artist winner Victoria Monét celebrated three wins in total, also winning Best R&B Album and Best Engineered Album, Non-Classical.

Taylor Swift built on the momentum of her colossal year with more GRAMMY records and an unexpected announcement of her next studio album.

Check out the full list of winners here, and take a look at our top 10 highlights from another show-stopping installment of the GRAMMYs below.

Boygenius Run To Accept Their First GRAMMY Award

Boygenius won the first trophy of their careers during the Premiere Ceremony, and they were so ecstatic they sprinted through the crowds to get to the stage.

"Oh my God, I want to throw up," Lucy Dacus said as the group accepted their Best Rock Performance trophy for "Not Strong Enough."

Even though the trio was over the moon, they weren't entirely shocked by their win: "We were delusional enough as kids to think this would happen to us one day," she continued. Phoebe Bridgers would sing at a local Guitar Center "in hopes of getting discovered," while Julien Baker dreamed of performing in stadiums as she played in multiple bands, and Dacus has been perfecting her acceptance speech for years.

Their hard work was manifested three times over, as the trio also won Best Rock Song for "Not Strong Enough" and Best Alternative Music Album for the record.

Killer Mike Makes A Clean Sweep

Killer Mike had the largest GRAMMY night of his career, winning all three of the Rap Categories for which he was nominated: Best Rap Performance and Best Rap Song for "SCIENTISTS & ENGINEERS," and Best Rap Album for MICHAEL.

"I'm from the Southeast, like DJ Paul, and I'm a Black man in America. As a kid, I had a dream to become a part of music, and that 9-year-old is very excited right now," he cheered. "I want to thank everyone who dares to believe art can change the world."

Minutes after his sweep, the LAPD detained the Run the Jewels rapper. However, he was released and still able to celebrate his achievements, Killer Mike's lawyer told Variety.

Miley Cyrus Finally Receives Her "Flowers"

Miley Cyrus entered the GRAMMYs with six nominations for her eighth studio album, Endless Summer Vacation. After she won Best Pop Solo Performance for "Flowers," she delivered a jubilant performance in celebration. "Started to cry, but then remembered, I just won my first GRAMMY!" she exclaimed at the song's bridge, throwing her hands in the air and joyfully jumping around the stage.

Cyrus' excitement brought a tangible energy to the performance, making for one of the night's most dynamic — and apparently one of Oprah Winfrey's favorites, as the camera caught the mogul dancing and singing along.

"Flowers" earned Cyrus a second GRAMMY later in the night, when the No. 1 hit was awarded Record Of The Year. 

Tracy Chapman Makes A Rare Appearance

Luke Combs breathed a second life into Tracy Chapman's "Fast Car" when he released a cover of the track in April 2023. He quickly climbed to the top of the Billboard charts and received a nomination for Best Country Solo Performance at this year's show. Of course, it called for a special celebration — one that was meaningful for both Combs and GRAMMYs viewers.

Chapman joined the country star on stage for her first televised performance since 2015, trading off verses with Combs as he adoringly mouthed the words. The duet also marked Chapman's first appearance on the GRAMMY stage in 20 years, as she last performed "Give Me One Reason" at the 2004 GRAMMYs. (It also marked her second time singing "Fast Car" on the GRAMMYs stage; she performed it in 1989, the same year the song won Best Pop Vocal Performance, Female and Chapman took home three awards total, including Best New Artist.)

Naturally, Chapman's return earned a standing ovation from the crowd. As Combs fittingly put it in an Instagram post thanking the Recording Academy for the opportunity, it was a "truly remarkable moment."

Read More: 2024 GRAMMY Nominations: See The Full Winners & Nominees List

Joni Mitchell Takes The GRAMMY Stage For The First Time At 80

In one of the most emotional parts of the night, Joni Mitchell performed on the GRAMMYs stage for the first time in her nearly 60-year career.

Accompanied by Brandi Carlile — who referred to Mitchell as "the matriarch of imagination" before the performance — Lucius, SistaStrings, Allison Russell, Blake Mills, and Jacob Collier, Mitchell sang a touching rendition of "Both Sides Now."

"Joni is one of the most influential and emotionally generous creators in human history," Carlile  added in her introduction. "Joni just turned 80, my friends, but we all know she's timeless!"

Mitchell also won her 10th golden gramophone at the 2024 GRAMMYs, as her live album Joni Mitchell at Newport was awarded Best Folk Album at the Premiere Ceremony.

Stevie Wonder Salutes The Late Tony Bennett, Duetted By His Hologram

Another heartfelt moment came during this year's In Memoriam segment, when Stevie Wonder memorialized his friend, Tony Bennett, who passed away from Alzheimer's disease in 2023.

"Tony, I'm going to miss you forever. I love you always, and God bless that He allowed us to have you in this time and space in our lives," Wonder proclaimed. Thanks to a hologram of Bennett, the two singers could duet "For Once in My Life" one last time.

This year's tribute also saw Annie Lennox covering Sinéad O'Connor's "Nothing Compares 2 U," Jon Batiste's medley of Bill Withers' hits, and Fantasia's reimagining of Tina Turner's "Proud Mary."

Meryl Streep Gets Educated On Album Vs. Record And Single

Meryl Streep joined Mark Ronson — who happens to be her son-in-law — to announce the Record Of The Year winner, which sparked a funny interaction between the two when Streep thought she was announcing Album Of The Year.

"A record is an album!" Streep confidently declared, only for Ronson to give a quick 101 on the difference between Record, Song, and Album Of The Year.

"It's a really important award, and it's an award that recognizes everything that goes into making a great record — the producers, the recording engineer, and the artist, and all their contributions," Ronson explained of Record Of The Year.

"It's the Everything Award! It's the best," Streep smiled.

Celine Dion Surprises The World With A Special Cameo

Before the GRAMMYs commenced, producer Ben Winston told viewers they would be in for a treat because of a surprise presenter for the final award of the night, Album Of The Year. "They are an absolute global icon. I think jaws will drop to the floor. People will be on their feet," he shared.

It was none other than Celine Dion, who has largely been out of the limelight after her stiff person syndrome diagnosis.

"When I say that I'm happy to be here, I really mean it with my heart," Dion said. "It gives me great joy to present a GRAMMY award that two legends, Diana Ross and Sting, presented to me 27 years ago."

Dion is referring to her Album Of The Year win at the 39th GRAMMY Awards in 1997, when her smash LP Falling Into You won the honor. 

Taylor Swift Breaks The Record For Most AOTY Wins

It was a historic night for Taylor Swift in more ways than one.

She began the evening by winning her 13th GRAMMY for Best Pop Vocal Album for Midnights. To commemorate the milestone (13 is her lucky number), Swift announced her 11th studio album, The Tortured Poets Department, arriving on April 19.

She ended the evening with a coveted fourth Album Of The Year win, which made Swift the artist with the most AOTY nods in GRAMMY history.

"I would love to tell you this is the best moment of my life, but I feel this happy when I finish a song or crack the code to a bridge that I love or when I'm shot listing a music video or when I'm rehearsing with my dancers or my band or getting ready to go to Tokyo to play a show," she said. "The award is the work. All I want to do is keep being able to do this."

Billy Joel Serves Double GRAMMY Duty

After Swift's momentous win, Billy Joel ended the ceremony with a feel-good performance of his 1980 single, "You May Be Right." Along with being a rousing show closer, it was also his second performance of the night; Joel performed his newest offering, "Turn the Lights Back On," before Album Of The Year was announced.

Joel's performances included three firsts: It was the debut live rendition of "Turn the Lights Back On," his first release since 2007, and the performances marked his first time playing on the GRAMMYs stage in more than two decades. It was a fitting finale for a history-making show, one that beautifully celebrated icons of the past, present and future.

A Timeline Of Taylor Swift's GRAMMYs History, From Skipping Senior Prom To Setting A Record With 'Midnights'

Here's What Happened At The Black Music Collective’s Recording Academy Honors 2024 GRAMMY Event Celebrating Mariah Carey & Lenny Kravitz
Mariah Carey accepts the Global Impact Award during the Recording Academy Honors presented by the Black Music Collective

Photo: ROBYN BECK/AFP via Getty Images

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Here's What Happened At The Black Music Collective’s Recording Academy Honors 2024 GRAMMY Event Celebrating Mariah Carey & Lenny Kravitz

The power of staying true to yourself was at the center of the 2024 GRAMMY Week event. Honorees Mariah Carey and Lenny Kravitz were lauded by colleagues and performers, including Stevie Wonder, Quavo, Babyface and Andra Day.

GRAMMYs/Feb 3, 2024 - 08:34 pm

On a wet but buzzing Thursday evening ahead of the 2024 GRAMMYs, leading lights in the music industry gathered for the third annual Recording Academy Honors Presented By The Black Music Collective. Along the event's black carpet, stars and industry insiders were showing out — taking photos, reconnecting with friends and collaborators, and chatting with the press. 

The official 2024 GRAMMY Week event was held Feb. 1 — the first day of Black History Month — at the Fairmont Century Plaza in Los Angeles and was sponsored by Amazon Music and City National Bank. Each year, BMC presents its Global Impact Award to legendary musicians advancing the culture, and 2024’s honorees Lenny Kravitz and Mariah Carey, loomed over the entire evening before they'd even arrived.

Flava Flav, sporting his patented clock necklace, was also hyped about the evening. "It means everything to be at the GRAMMYs tonight. This is big," Flav told GRAMMY.com. The rapper then spoke about the two transcendent stars being honored. "I feel real big about the honorees. Mariah Carey, always been proud of her and I love her songs…Lenny Kravitz is my dude. That’s my man. So congratulations Lenny!" 

The significance of the event was felt from the first foot set on the black carpet. Afrobeats star Fireboy DML weighed in on the importance of the night. "I’m honored. It feels good. It’s always important to be in spaces like this," Fireboy told GRAMMY.com, adding that he's excited about his upcoming fourth album. "It’s important for the culture." 

As attendees inside the jam-packed ballroom room eagerly awaited the main guests of the night, Recording Academy CEO Harvey Mason Jr. spoke about the momentum being built through Black Music Collective. 

"[Last year] I spoke how great it was to be holding the second annual BMC event. To me it meant we established a new tradition. And now the tradition proudly continues," Mason Jr. told the audience, emphasizing how the influence of Black culture can be found in all corners of the world and across musical genres. 

A performance by Nigerian superstar Davido, a first-time GRAMMY nominee, spoke to the power of musical diversity in the Academy and BMC. Although the crowd had sat down with their appetizers, many stood up to vibe out as Davido performed his nominated song, "Unavailable."

By the time Andra Day, adorned in a bright red leather coat, got to the end of her rendition of "Strange Fruit" with support from trumpeter Keyon Harrold, everyone in the ballroom was on their feet. It was a great moment for Day, whose cover of Billie Holiday’s 1939 cry for justice hammered home the connection between Black artists across different genres and across time.

Gabby Samone garnered the second standing ovation of the night for her take on Nina Simone’s "Four Women." Simone has had a number of major cosigns as her star has grown brighter, and her fans include Jennifer Hudson and none other than Mariah Carey. Samone's performance was followed by a powerful song from Erica Campbell, whose I Love You is nominated for Best Gospel Album this year.

A set from DJ Mannie Fresh, Kravitz took the stage to receive the first BMC Global Impact Award of the night. Introduced by mentee H.E.R, she talked about "American Woman’s" genre-bending influence on her own career and Kravitz's own influence from childhood. "The fashion, the confidence, the badass walk, and the killer vocals made me at six years old say to my dad ‘I wanna play guitar.’ ‘I wanna be a rockstar.’ ‘I wanna be like Lenny Kravitz,’" H.E.R. said. 

She then listed off some of Kravitz’s other accomplishments including working on "Rustin," the new Netflix film about critical civil rights architect Bayard Rustin, as well as Kravitz’s work in philanthropy through his Let Love Rule Foundation. 

Once the din died down, Kravitz took a trip back to childhood, too. He shared how, when he went to go see the Jackson 5 with his family, and was so hooked that he dreamed of becoming part of the storied troupe. "I fantasized that I was their long lost brother and turned the Jackson 5 into the Jackson 6," he said.

Kravitz also spoke the various genres of music that helped mold him, drawn from many different corners. From his "grandfather’s block in Bed-Stuy, Brooklyn," where he "witnessed the birth of hip-hop," to being shaped by legends like Jimi Hendrix, Marvin Gaye and Nina Simone. He also shouted out his godmother, the late great actress Cicely Tyson. 

In a particularly cool mashup of genre and generation, Quavo provided vocals to "Fly Away," flanked by P-funk all star George Clinton, Earth, Wind & Fire bassist Verdine White, and Red Hot Chili Peppers drummer Chad Smith. At the end of the performance, Kravitz went over to each performer and hugged them.

After a brief intermission, record producer and BMC Chair Rico Love shouted out leadership, including the Recording Academy board of trustees and Ryan Butler, Vice President of DEI. Love spoke about Black Music Collective as a space where everyone can feel at home. "The life of a creator is so hard. And lonely. That’s why it’s valuable to build community," he emphasized. 

Black Music Collective’s scholarship program, in collaboration with Amazon Music, Love said, will once again support HBCU students who aspire to be in the next generation of music industry power players. In 2023, scholarships were awarded to students at Florida A&M University, Texas Southern University, Norfolk State University, among others. Love recalls the mentors he had when he was coming up and is glad BMC is also paying it forward. 

Last night’s program found one of the few people on the planet that even Mariah Carey might be star struck by. Before the pop legend received her Global Impact Award, Stevie Wonder appeared and sat down over a keyboard. 

"Very excited to be here to celebrate someone that has been a friend and I’ve been a fan of since the very beginning of hearing her voice," he said, before serenading Carey with "I Just Called to Say I Love You," ending the rendition with "I love you, I love you, you are my hero."

Mariah Carey was seemingly surprised and star-struck herself. Once she overcame the awe, Carey detailed the pressure she faced early in her career to avoid leaning into Black music. "When I first started in the music business, I was often told to ‘conform’ to certain expectations. I was not encouraged to focus on my love for Black music," she told the crowd.

Later, some of Carey’s other friends and collaborators performed, including Babyface, who once sang backing vocals on Carey’s "Melt Away." (Carey then returned the favor by singing on "Every Time I Close My Eyes.") Another Carey collaborator, Busta Rhymes, performed crowd favorite "I Know What You Want" and offered sincere thanks to Carey for her boldness and desire to "run with the wolves." Tori Kelly also sang "Vision of Love" during this segment and earlier in the night, gospel legend Yolanda Adams performed "Make It Happen." The third annual Recording Academy Honors/BMC event certainly did make it happen, as attendees flooded out of the ballroom and into the streets pumped with pride.

2024 GRAMMYs: See The Full Nominees And Winners List

Head to live.GRAMMY.com all year long to watch all the GRAMMY performances, acceptance speeches, the GRAMMY Live From The Red Carpet livestream special, the full Premiere Ceremony livestream, and even more exclusive, never-before-seen content from the 2024 GRAMMYs.

2024 GRAMMYs To Pay Tribute to Tony Bennett, Sinead O'Connor, Clarence Avant & Tina Turner With In Memoriam Segment
(Clockwise from top-left:) Annie Lennox, Fantasia Barrino, Jon Batiste, Lisa Coleman and Wendy Melvoin, Stevie Wonder.

Photo: Courtesy of artists

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2024 GRAMMYs To Pay Tribute to Tony Bennett, Sinead O'Connor, Clarence Avant & Tina Turner With In Memoriam Segment

The GRAMMY Awards segment will feature performances by Stevie Wonder in tribute to Tony Bennett; Jon Batiste honoring Clarence Avant; Annie Lennox for Sinead O'Connor; and Fantasia Barrino remembering Tina Turner, airing live on Sunday Feb. 4.

GRAMMYs/Feb 2, 2024 - 10:34 pm

The 2024 GRAMMYs will feature a special In Memoriam segment to honor the lives of some of the incredible individuals that the music world lost this year with performances by GRAMMY-winning and -nominated artists. 

Stevie Wonder will take the stage to pay homage to the legendary Tony Bennett, celebrating Bennett's remarkable contributions to music and devotion to the Great American Songbook.

Annie Lennox will perform in tribute to Irish icon Sinead O’Connor. Joining her for this heartfelt homage will be Wendy Melvoin and Lisa Coleman

Jon Batiste is set to honor Clarence Avant, the "Godfather of Black Music," with a performance dedicated to the influential figure's impact on music and culture. Lenny Kravitz, one of this year's Global Impact Award recipients, will also play a significant role in this segment, both participating and introducing the tribute, linking two generations of music icons.

In a tribute to the Queen of Rock 'n' Roll, Tina Turner, Fantasia Barrino will perform, capturing the spirit and energy of Turner's music. Oprah Winfrey will also be part of this segment, introducing the performance, and adding a layer of gravitas to the tribute to one of music's most powerful voices.

In addition to the In Memoriam segment, the 2024 GRAMMYs will feature breathtaking performances from the leading artists in music today. Performers at the 2024 GRAMMYs include Billie Eilish, Billy Joel, Burna Boy, Dua Lipa, Joni Mitchell, Luke Combs, Olivia Rodrigo, SZA, Travis Scott, and U2

Several confirmed GRAMMY performers will make GRAMMY history at the 2024 GRAMMYs this weekend: Mitchell will make her GRAMMY performance debut, while U2 will deliver the first-ever broadcast performance from Sphere in Las Vegas. Click here to see the full list of performers and presenters at the 2024 GRAMMYs.

Trevor Noah, the two-time GRAMMY-nominated comedian, actor, author, podcast host, and former "The Daily Show" host, returns to host the 2024 GRAMMYs for the fourth consecutive year; he is currently nominated at the 2024 GRAMMYs in the Best Comedy Album Category for his 2022 Netflix comedy special, I Wish You Would

Learn More: 2024 GRAMMY Nominations: See The Full Nominees List

2024 GRAMMYs: Explore More & Meet The Nominees

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, will broadcast live from Crypto.com Arena in Los Angeles on Sunday, Feb. 4, at 8 p.m. ET/5 p.m. PT on the CBS Television Network and will be available to stream live and on demand on Paramount+. Prior to the Telecast, the 2024 GRAMMYs Premiere Ceremony will broadcast live from the Peacock Theater at 12:30 p.m. PT/3:30 p.m. ET and will be streamed live on live.GRAMMY.com

On GRAMMY Sunday, fans can access exclusive behind-the-scenes GRAMMY Awards content, including performances, acceptance speeches, interviews from the GRAMMY Live red-carpet special, and more via the Recording Academy's digital experience on live.GRAMMY.com

The 66th GRAMMY Awards are produced by Fulwell 73 Productions for the Recording Academy for the fourth consecutive year. Ben Winston, Raj Kapoor and Jesse Collins are executive producers. 

Paramount+ with SHOWTIME subscribers will have access to stream live via the live feed of their local CBS affiliate on the service, as well as on demand in the United States. Paramount+ Essential subscribers will not have the option to stream live but will have access to on-demand the day after the special airs in the U.S. only.

Stay tuned for more updates as we approach Music's Biggest Night!

How To Watch The 2024 GRAMMYs Live: GRAMMY Nominations Announcement, Air Date, Red Carpet, Streaming Channel & More