If you're wondering why a company name change has caused a well-known vocal group to react, perhaps the answer is "Y not?" The YMCA is changing its name, and of course the Village People have weighed in. After more than a century and a half, the YMCA is updating its name to the Y, which reflects the nickname used by club members, but removes three-quarters of the title of a longtime disco staple. "We are deeply dismayed by today's announcement from the YMCA that they feel a name change and a rebranding are in order after 166 years. Some things remain iconic and while we admire the organization for the work they do, we still can't help but wonder Y," said the V People in a written statement. Could be they're also worried the U.S. Navy will update its name.

Here's a left-of-center way for musicians to get some ink: by getting inked. Inked magazine has released its music issue and it features the tattoos of Avril Lavigne, Ozzy Osbourne, Florida punkers Against Me!, and Atlanta-based turntablist DJ Montay, among others. Apparently Miley Cyrus' new ear tattoo didn't rank. But for those considering, beware. Ozzy, who knows a thing or two about the pharmacological effects of numerous substances, has some sage advice in his Q&A in the issue. When asked if people get tats for the endorphin rush, he replied, "That's bulls***. It's called pain. I don't really like pain. Pain and me don't get on. I can take it because I'm macho, but when it gets to a part of my body where it really hurts, I'm like, f***in' hell!"

In fashion news, Courtney Love has started a haute couture blog all about…her. The appropriately named What Courtney Wore Today finds Ms. Love (and some of her surrogates) giving detailed, and surprisingly expletive-free, descriptions of her daily wardrobe. Turns out "CLC," as she's referred to often in the blog, wears Givenchy sandals to bed, Tom Ford sunglasses in her hotel rooms, and favors "unacceptable dangling ciggies," though the cigarette is about the only item for which she doesn't drop a brand name.

Bono is back, and with new and improved parts. U2 had to cancel a run of concert dates this summer due to the singer sustaining a condition known as sudden partial paralysis. Bono says he is fully recovered and the band announced that dates have been rescheduled for summer 2011. "I can sit. I can stand. I can move around a bit. Feeling strong, feeling confident," Bono said. "And I'm ready — rebuilt by German engineering, better design I'm told — and I'm going to be fighting-fit next summer in the U.S."

The King is also back…but for one night only. Fans nationwide can relive the legend of Elvis Presley with Elvis On Tour: 75th Anniversary Celebration, a special in-theater event on July 29 at select theaters featuring more than 25 songs chronicling his multi-city 1972 series of concerts and showcasing rocker Elvis, gospel Elvis, ballad Elvis, and even kung fu Elvis. The presentation will also feature rare and never-before-seen footage and an exclusive retrospective from Priscilla Presley. Tickets are on sale now, but caveat emptor: "talent subject to change."

MTV's favorite animated music video-critiquing duo, Beavis and Butt-Head, may also be making a comeback to the primetime airwaves. According to a Reviewniverse report, show creator Mike Judge is currently outlining 30 new episodes of the iconic animated comedy. If seen to fruition, the show will keep its signature washed-out look and air in its original format, except the duo will now take on a new generation of music videos. This means that the Bieb could be at risk for scrutiny from the Beav...hehe...hehe.

Susan Boyle is trying to find the next Susan Boyle. The singer enjoyed much success in 2009 in placing second on "Britain's Got Talent" and releasing her quadruple-platinum, chart-topping debut album, I Dreamed A Dream. Now she is ready to let you dream a dream with the launch of Susan's Search, a contest that will allow one lucky fan to record a duet with her on her next album. Do you have the goods to impress Susan? View a sample entry and upload your video to her YouTube channel.

The B-52s sang about the "Summer Of Love," but could they have recorded a tune about all the love that's in the air this summer? Country songstress Carrie Underwood tied the knot with her hockey player beau Mike Fisher over the weekend, and sources say her dog took part in the festivities, dressed to the nines in a pink Swarovski Crystal-encrusted tuxedo. Then there's guitarist Carlos Santana, who proposed to his girlfriend, Cindy Blackman, onstage during a concert last Friday in Chicago. "Being in love is a gift from the universe, and the spirit and vibrations that come with it are infinitely powerful," said Santana. Let's hope she doesn't turn out to be a "Black Magic Woman." Queen of the daisy dukes Jessica Simpson also made love news as she was spotted celebrating the Fourth of July with former New Orleans Saints tight end, Eric Johnson in Ponte Vedra Beach, Fla. "She was wearing shorts and big shades," says bartender Ben Brewer. "She did look absolutely stunning." Well, that's good news.

Katy Perry's "California Gurls," featuring Snoop Dogg, stays atop the Billboard Hot 100 for a sixth consecutive week, while Eminem's "Love The Way You Lie,"  featuring Rihanna, retains the top spot on the iTunes singles chart.

Any news we've missed? Comment below.

For the latest GRAMMY news, visit us on Facebook, Twitter and YouTube.

Last Week In Music

"Genres are a funny little concept, aren't they? In theory, they have a simple definition that's easy to understand. But in practice, well, some may feel confined."

With those words, spoken on "SPAGHETTII" by Linda Martell — the first commercially successful Black female artist in country music and the first to play the Grand Ole Opry solo — Beyoncé provides a proxy response to her original call on Instagram 10 days before COWBOY CARTER was released: "This ain’t a Country album. This is a “Beyoncé” album." 

She delivered on that promise with intent. Through a mix of homage and innovation, Beyoncé's latest is a 27-track testament to her boundless musicality and draws  from a rich aural palette. In addition to its country leanings, COWBOY CARTER includes everything from the soulful depths of gospel to the intricate layers of opera. 

Beyoncé's stance is clear: she's not here to fit into a box. From the heartfelt tribute in "BLACKBIIRD" to the genre-blurring tracks like "YA YA," Beyoncé uses her platform to elevate the conversation around genre, culture, and history. She doesn't claim country music; she illuminates its roots and wings, celebrating the Black artists who've shaped its essence.

The collective album proves no genre was created or remains in isolation. It's a concept stoked in the words of the opening track, "AMERIICAN REQUIEM" when Beyonce reflects, "Nothing really ends / For things to stay the same they have to change again." For country, and all popular genres of music to exist they have to evolve. No sound ever stays the same.

COWBOY CARTER's narrative arc, from "AMERICAN REQUIEM" to "AMEN," is a journey through American music's heart and soul, paying tribute to its origins while charting a path forward. This album isn't just an exploration of musical heritage; it's an act of freedom and a declaration of the multifaceted influence of Black culture on American pop culture.

Here's a closer look at some of some of the musical genres touched on in act ii, the second release of an anticipated trilogy by Beyoncé, the most GRAMMY-winning artist of all-time: 

Country 

Before COWBOY CARTER was even released, Beyoncé sparked critical discussion over the role of herself and all Black artists in country music. Yet COWBOY CARTER doesn't stake a claim on country music. Rather, it spotlights the genre through collaborations with legends and modern icons, while championing the message that country music, like all popular American music and culture, has always been built on the labor and love of Black lives. 

It's a reckoning acknowledged not only by Beyoncé's personal connection to country music growing up in Texas, but the role Black artists have played in country music rooted in gospel, blues, and folk music. 

Country legends, Dolly Parton ("DOLLY P", "JOLENE," and "TYRANT"), Willie Nelson ("SMOKE HOUR" and "SMOKE HOUR II"), and Martell ("SPAGHETTII and "THE LINDA MARTELL SHOW") serve mainly as spoken-word collaborators, becoming MCs for Queen Bey. Some of the most prolific country music legends receiving her in a space where she has been made to feel unwelcome in music (most notably with the racism surrounding her 2016 CMA performance of "Daddy Lessons" with the Dixie Chicks) provides a prolific release of industry levies. Martell, a woman who trod the dark country road before Bey, finally getting her much-deserved dues appears as an almost pre-ordained and poetic act of justice. 

"BLACKBIIRD," a version of the Beatles' civil rights era song of encouragement and hope for the struggle of Black women is led softly by Beyoncé, backed by a quartet of Black female contemporary country songbirds: Tanner Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts. 

Beyoncé holds space for others, using the power of her star to shine a light on those around her. These inclusions rebuke nay-sayers who quipped pre-release that she was stealing attention from other Black country artists. It also flies in the faces that shunned and discriminated against her, serving as an example of how to do better. The reality that Beyoncé wasn't stealing a spotlight, but building a stage for fellow artists, is a case study in how success for one begets success for others. 

Read more: 8 Country Crossover Artists You Should Know: Ray Charles, The Beastie Boys, Cyndi Lauper & More

Gospel, Blues, & Folk (American Roots)

As is Beyoncé's way, she mounts a case for country music with evidence to back up her testimony. She meanders a course through a sequence of styles that serve as the genre's foundation: gospel, blues, and folk music.

"AMERIICAN REQUIEM" and "AMEN" bookend the album with gospel-inspired lyrics and choir vocals. The opener sets up a reflective sermon buoyed by  the sounds of a reverberating church organ, while the closer, with its introspective lyrics, pleads for mercy and redemption. The main verse on "AMEN", "This house was built with blood and bone/ The statues they made were beautiful/ But they were lies of stone," is complemented by a blend of piano, and choral harmonies. 

Hymnal references are interlaced throughout the album, particularly in songs like "II HANDS II HEAVEN" and in the lyrical nuances on "JUST FOR FUN." In the later track, Beyoncé's voice soars with gratitude in a powerful delivery of the lines, "Time heals everything / I don't need anything / Hallelujah, I pray to her." 

The gospel-inspired, blues-based "16 CARRIAGES" reflects the rich history of country songs borrowing from the blues while simultaneously calling back to songs sung by field laborers in the colonial American South. "Sixteen dollars, workin' all day/ Ain't got time to waste, I got art to make" serves as the exhausted plea of an artist working tirelessly long hours in dedication to a better life. 

Rhiannon Giddens, a celebrated musician-scholar, two-time GRAMMY winner, and Pulitzer Prize recipient, infuses "TEXAS HOLD 'EM" with her profound understanding of American folk, country, and blues. She plays the viola and banjo, the latter tracing its origins to Sub-Saharan West Africa and the lutes of ancient Egypt. Through her skilled plucking and bending of the strings, Giddens bridges the rich musical heritage of Africa and the South with the soul of country, blues, and folk music.

Pop, Funk, Soul & Rock 'n' Roll 

All in, Beyoncé is a pop star who is wrestling with labels placed on her 27-year career in COWBOY CARTER. Fittingly, she brings in two other pop artists known for swimming in the brackish water between country and pop, Miley Cyrus and Post Malone. Her intentional inclusion of two artists who have blurred genres without much cross-examination begs the question, Why should Beyoncé's sound be segregated to a different realm? 

On "YA YA" Linda Martell returns as the listener's sonic sentinel, introducing the track like a lesson plan: "This particular tune stretches across a range of genres. And that’s what makes it a unique listening experience." The tune sinks into the strummed chords of Nancy Sinatra's "These Boots Are Made for Walkin'" before leaping into a fiery dance track that features reimagined lyrics from the Beach Boys, with soulful vocal flourishes and breaks that show the throughline connection between '60s era rock, funk, and pop music.

Robert Randolph lends his hands on "16 CARRIAGES" with a funk-infused grapple on his pedal-steel guitar. It's a style he honed through his early years touring and recording with his family band and later in his career as an in-demand collaborator working with names including the Allman Brothers, and Norah Jones. 

The lesson is solidified as the album transitions into an interlude on "OH LOUISIANA," featuring a sped-up sample of a classic track by Chuck Berry. This moment emphasizes the pop superstar's nod to civil rights era music history, spotlighting a controversial artist celebrated for his pioneering contributions to rock 'n' roll. (It's a part of music history Beyoncé knows well, after starring as Etta James in the 2008 film Cadillac Records, a veiled biopic of the legendary Chicago label Chess Records.)

Classical & Opera

Opera was missing from many listeners' Beyoncé Bingo card, but didn't surprise those that know her background. Beyoncé was trained for over a decade starting at an early age by her voice teacher David Lee Brewer, a retired opera singer who once lived with the Knowles family. 

COWBOY CARTER gives sing-along fans a 101 opera class with "DAUGHTER." In Italian, Beyoncé sings passages from the 1783 Italian opera "Caro Mio Ben," composed by Giuseppe Tommaso Giovanni Giordani. The aria is a classic piece of vocal training that fittingly shows off her full range — taking us back to the earliest days of her vocal teachings.

Hip-Hop & R&B

Midway through the album on "SPAGHETTII" Beyoncé announces, "I ain't no regular singer, now come get everythin' you came for," landing right where expectations have confined her: in the throes of a romping beat, experimenting with sounds that blend hip-hop with R&B and soul. The track notably highlights the talent of Nigerian American singer/rapper Shaboozey, who also shows up to the rodeo on "SWEET HONEY BUCKIN'" brandishing his unique mix of hip-hop, folk-pop, and country music. 

Beyoncé worked with longtime collaborator Raphael Saadiq on this album, a career legend in the R&B industry, who lends his mark to several tracks on which he wrote, produced, and played multiple instruments. Beyoncé also utilizes the Louisiana songwriter Willie Jones on "JUST FOR FUN," an artist who draws on a contemporary blend of country, Southern rap, and R&B in the hymnal ballad. 

The violin-heavy "TYRANT" and "SPAGHETTII" both underscore hip-hop's long love affair with the classical string instrument (See: Common's "Be," and Wu Tang Clan's "Reunited" as the tip of that particular iceberg) with a blend of soulful R&B lyrics paired with beat-based instrumentalization. 

In a world quick to draw lines and label sounds, Beyoncé's COWBOY CARTER stands as a vibrant mosaic of musical influence and innovation. Ultimately, Beyoncé's COWBOY CARTER isn't seeking anyone's acceptance. As a Texan once told she didn't belong, her critical response claps back at this exclusion.  It's also a reminder that in the hands of a true artist, music is limitless.

Run The World: Why Beyoncé Is One Of The Most Influential Women In Music History

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.

Miley Cyrus' Big GRAMMYs Night: Why Her Two Wins Were Monumental

Laura Jane Grace is on the precipice of a brand new life.

The Against Me! frontwoman just got married in a whirlwind, to comedian Paris Campbell. Her Jeep got sideswiped by a drunk driver; when we spoke, the pair were on an Amtrak from Chicago to St. Louis to pick it up from the mechanic. At press time, Grace and Campbell will soon drive it back to their new, shared home in Chicago: they've been handed the keys, and they're in the center of that maelstrom.

"We've moved Paris' apartment from New York to Chicago, and now we're moving my apartment to the house we got," Grace tells GRAMMY.com over the phone, sitting on the tracks with Campbell in Joliet, Illinois. "It's scientifically proven that moving is one of the most stressful things you can do in life.

"Just take my word for it," she quips, when asked if that's true. "Don't Google it."

Grace has done a lot of Googling as of late — to mixed results. Her latest solo album, Hole in My Head — helmed by Drive-By Trucker and Dexateen Matt Patton — dropped Feb. 16, and the press cycle rolls on.

Warm, lived-in and melodic songs like "Dysphoria Hoodie," "Birds Talk Too" and "Tacos and Toast" comprise a satisfying continuation of what Grace does best: yowly, heartfelt punk rock. But presenting them to the world has been challenging. Tidbits from the bio get blown out of proportion. Flat-out mischaracterizations make it to print, and stay there.

She's not bitter about any of it; she's mirthful. "I do think that, ultimately, [you shouldn't] read the reviews, and that you shouldn't live and die by what people say about the art you're making," she says. "But I would rather people are saying good things than bad things. I notice that people are saying good things."

They certainly are. Read on for an interview with Grace about the process behind Hole in My Head, parenting, espresso, Slash versus Izzy Stradlin, and much more.

This interview has been edited for clarity.

I'm sure you've talked about these songs to death. I want to talk about the — let's say indignities — of releasing a record. Like, "Hey guys, it's three weeks old! Do… you still like it?" as it recedes into the rearview.

Yeah. I was thinking that to myself last night, because I'm a little burnt out on social media at the moment. But I feel that pressure of like, Alright, you put out a record, you've got to promote on social media — you'd better make a post or else people are going to forget that literally last week you put out a record that you've been waiting a year to put out!

And it can be a little disheartening at times, for sure.

Psychologically, what's it like to read the reviews? It seems like the doomsday clock for digital media is at 11:59. Reviews used to make or break careers; these days, they seem to comprise an irrelevant sideshow.

It's strange, because I still think of reviews ultimately in the context of how I thought about them with zines. Oftentimes, you would look through zines and you would see the reviews, and that would be your clue and context of what was happening — other bands to tour with if they had a record coming out, or whatever. People that you'd reach out to.

I do think that, ultimately, [you shouldn't] read the reviews, and that you shouldn't live and die by what people say about the art you're making. But I would rather people are saying good things than bad things. I notice that people are saying good things.

And then also, as you said, I'm aware of the layoffs [in music journalism and digital media as a whole], and I'm aware that you've almost got to be thankful for [any press], as a whole community.

Part of my job is promoting those media outlets in a way, too. And that's just through literally just moving your thumb a couple of inches or whatever and pressing repost or retweet or whatever.

You had a funny tweet recently about how the reviews focus on the relative brevity of the songs, even though that's conventional on pop radio. Is that kind of thing somewhat bemusing — or frustrating?

I get frustrated with it, because the record took two years to write, and then it takes however long to record. But then, it all comes down to the bio. The bio is what all the journalists use as their touch points or talking points.

So, if you say the wrong thing in the bio, then everyone is asking those wrong questions for every interview. It's like that the whole time. It's almost like the bio makes or breaks your record.

And then, you're also tasked with trying to understand something that you just made; with a bio, that's oftentimes really hard to do. You're like, "I don't know, I just wrote it. I don't know what it means. I don't want to have to explain it," but then you got to explain it for the bio.

Without naming any names — and you can obscure the language if you like — what's an example of a wrong question you get asked?

The song length thing is one thing, but then the whole thing where people being like, "Oh, the record has a real '50s influence." It's like, "Shut the f— up. It just says that in the bio. Did you even listen to the record? Have you heard it?"

It just sounds like an Against Me! record. It's literally the same process that I've been doing for the past 25 years. I'm not writing songs any differently or approaching them any differently. I read one review that said that it had "handclaps and whoas, which are decidedly not punk." I'm like, What?

Outside of the press, where are we catching you in life, with Hole in My Head out in the world? You're on the precipice of a completely new epoch of existence.

That's what it is. Huge, massive changes happening in life. And that's the thing you don't want to happen in a way, with a record — where a year in between completing it and putting it out because you've got to pull yourself back to that place to even talk about it for interviews then, which can be hard sometimes.

I'm excited about songs that we recorded back in December and then excited about writing new music and just now having a record released holds you in place in that way. So, having it out is a good thing, and [being] free to move forward.

This is a cliché, but whatever: Hole in My Head sounds like a snapshot of where you are in the moment. Some records feel like promotional noise and don't tell me anything about the artist. Have you written in that slice-of-life, "Tacos and Toast" way before?

I think I was building towards that. I am happy with the way that song came out, but it took a lot of work to get to that kind of flow. But I think a song like "Shelter In Place," off of Stay Alive, was a precursor to that style, maybe.

Are you talking about honing your focus on syllables and stresses and stuff? Or themes?

More just relaxing into it.

Tell me more about that.

Like I said, the song "Shelter In Place" was a precursor to that song, because they both mention espresso. So, you're singing about your morning coffee, which to an 18-year-old punk kid probably seems really uninteresting. But when you're in your forties, you're like, Hell yeah. My morning cup of espresso — looking forward to that. I want to sing about that. I'm excited about that.

But I think it takes a nuance to be able to work that into a song. And I admire songwriters like John Prine or Dan Reeder, who were able to sing about their morning breakfast steaks and s— like that and make it good.

**I'm a huge John Prine fan. I don't sense he sat down and overworked anything. It all seemed as natural as breathing. So, it's almost like unlearning.**

Totally. That is what it is: natural as breathing, if you're writing about eggs, you're not trying, and it's coming off way better. And there we are with a Jonathan Richman reference: "They're not tryin' on the dance floor."

I'm not going to make you explain this song, because it's a song. But "I'm Not a Cop" touched a nerve in me, as per how we police each other day-to-day.

There's that, and then I think also it even relates to being a parent and realizing you don't have the authoritarian bone in your body and that that's not you, but I don't know. There might not be many things I'm confident about in life, but I'm definitely confident about that statement.

And, also the observation of seeing a cop at Superdawg eating a hot dog. It makes me smile every time I sing it.

Tell me more.

Literally, I drove by the Superdawg, which is a famous hot dog place in Chicago, and there was a cop in there eating a hot dog. It's f—ing hilarious.

Has parenting been a mind-bending, acid-like experience for you? Or did it all come naturally?

Yeah, mind-bending for sure. Last night, I got in a pseudo-argument with my kid, because they were criticizing me for only playing rhythm guitar that I never played solos. [Note: Grace's child uses they/them pronouns.]

They were specifically saying this because they're just a better guitar player than me already. And they really have focused on solos and doing really intricate guitar playing parts. I'm like, Goddamn, this is just surreal to have your kid digging into you about your guitar playing style. 

Basically, they're saying they're Slash, and you're Izzy Stradlin — suck it.

Are they hitting ultimate-guitar.com? What's going on?

They're rad. They're really, really, really good. I feel like they're seconds away from starting their own band.

What are their influences?

I gave them a Fleas and Lice record yesterday to listen to. They're really into punk, and really into odd stuff. At this point, I'm looking to them to see what's going on and what I should be listening to.

You mentioned that this is the process you've always abided by. But, can you talk about any special production flourishes here, or anything like that?

I was working with what I had. If I had had a drummer with me at the time, it would've been a  different record. But I didn't, so the drums came out the way they did.

I think the biggest addition and blessing with the record is Matt Patton. Him raising his hand and going to drive up to St. Louis — having never met me before — and spending a week in the studio. The parts he came up with are so rad; they make those songs. If it weren't for him, it would've been an entirely different record.

One thing I don't like to do when finishing a record, is listen to it comparatively to the record before it. Even sonically, I want to be surprised by it down the road.

Is making a record almost an uncomfortable experience, where you don't want to look at it too long? Is it like staring into the sun?

Yeah. That's ill-advised. I was actually thinking about that earlier. We were driving down and the sun was coming up and I was staring at it and I was like, Don't look into the sun you fucking idiot."

I think the uncomfortable part of the experience is the necessary part of the experience, and you have to push through the uncomfortable to get to the comfortable part — to know that you've got a good record.

Decoration Day At 20: How Drive-By Truckers Dialed Back The Satire And Opened Their Hearts

Glitz, glamor, and great performances from legendary musicians are only part of what make the GRAMMYs Music’s Biggest Night. It’s also an occasion to honor the music industry’s best and brightest, highlight their greatest achievements from the past year, and watch them soak up the glory. 

Some of the night’s biggest moments came when artists accepted their GRAMMY trophies, from Taylor Swift announcing her next album to teary-eyed moments from SZA and Best New Artist Victoria Monét. Here are a few of our favorite acceptance speeches from the 2024 GRAMMYs. 

Killer Mike Sweeps With Three GRAMMYs In A Row

Atlanta rapper Killer Mike had already given a moving speech upon winning Best Rap Performance for “Scientists & Engineers,” saying “I want to thank everyone who dares to believe that art can change the world.” But his third and final win, Best Rap Album for Michael, sent him into another dimension: “It’s a sweep! Atlanta, it’s a sweep!” 

Tyla Was Shocked To Win Best African Performance

Although her hit song “Water” has dominated the charts, even Tyla was caught off guard by her Best African Music Performance win – the first ever awarded in this category – exclaiming “What the heck?!” The South African star continued "This is crazy, I never thought I’d say I won a GRAMMY at 22 years old."

Boygenius Sweep The Rock Categories

Boygenius already had something to celebrate when Phoebe Bridgers won a GRAMMY for her collab with SZA. They went on to win three categories during the Premiere Ceremony – Best Rock Song, Best Rock Performance, and Best Rock Album – enabling each member of the trio to give a separate speech. “We were all delusional enough as kids to think this might happen someday,” Lucy Dacus said. 

Miley Cyrus Was A Class Act

Accepting the prize for Best Pop Solo Performance for “Flowers,” Miley Cyrus took to the stage to strike a pose with presenter Mariah Carey – “This M.C. is gonna stand by this M.C.” — before launching into a story about a boy who tries desperately to catch a butterfly, before nabbing one when they least expect it. “This song ‘Flowers’ is my butterfly,” she concluded. 

SZA Runs From Backstage To Accept Award

Changing backstage after her GRAMMYs performance, SZA was caught off guard when “Snooze” won Best R&B Song. She embraced friend and presenter Lizzo before giving an emotional, funny speech. “I can’t believe this is happening, and it feels very fake,” she said. “I love you, I’m not an attractive cryer, have a good evening.” 

Taylor Swift Announces New Album

When the pop mega-star took to the stage to accept her lucky 13th overall GRAMMY for Best Pop Vocal Album (Midnights), she decided to use the moment to give her fans the ultimate gift, announcing her 11th studio album, The Tortured Poets Department, will release on April 19. “I want to say thank you by telling you a secret that I've been keeping from you for the past two years,” she said. 

Billie Eilish Didn’t Know What To Say

After delivering a lovely performance of her Barbie movie ballad “What Was I Made For?,” Billie Eilish wasn’t exactly at a loss for words when the track won Song of the Year. The words that came out of her mouth were a bit less than rehearsed, however: “Whoa, whoops, yikes, whoa my goodness! Damn, that’s stupid guys!” she said. “I don’t even know what to say, I’m shocked out of my balls.” 

Victoria Monét Delivers Tearful, Eloquent Speech

Through tears of joy, Best New Artist winner Victoria Monét gave a speech worthy of an artist who spent years writing for others before striking out on her own. “This award was a 15-year pursuit,” she said, going on to compare herself to a plant growing in the soil of the music industry. “My roots have been growing underneath ground, unseen, for so long, and I feel like today I’m sprouting, finally above ground.” 

Miley Cyrus Makes An Even Wilder Record of the Year Speech

Cyrus returned to the stage twice after her first GRAMMY win, first to perform her award-winning song, and then once more to accept a second golden gramophone for Record of the Year. “This award is amazing, but I really hope it doesn’t change anything, because my life was beautiful yesterday,” she said. Then she ended the speech by saying “I don’t think I’ve forgotten anyone, but I might’ve forgotten underwear!”

Taylor Swift’s Record-Shattering Album of the Year

Lightning struck twice for Taylor Swift, as the evening ended with her taking home a record-breaking fourth GRAMMY for Album of the Year (Midnights), more than any other artist in GRAMMY history. Flanked by producer Jack Antonoff and friend and collaborator Lana Del Rey, she gave a speech that highlighted her passion for music-making, saying  “For me the award is the work. All I wanna do is keep being able to do this. I love it so much, it makes me so happy." As happy as Swift was, her fans probably left even happier. 

9 Ways Women Dominated The 2024 GRAMMYs