Tyla has taken home the golden gramophone for Best African Music Performance — an all-new category — at the 2024 GRAMMYs, for "Water."

The South African starlet came ahead of ASAKE & Olamide ("Amapiano"); Burna Boy ("City BoysMiracle"); Davido Featuring Musa Keys ("UNAVAILABLE"); and Ayra Starr ("Rush"). 

The 22-year-old singer was taken aback upon winning the trophy, which was awarded by Jimmy Jam during the GRAMMYs Premiere Ceremony. 

"What the heck?!" she declared once on stage. "This is crazy, I never thought I’d say I won a GRAMMY at 22 years old."

Although coming up against stiff competition, including massive Afrobeats stars Burna Boy and Davido, the massive appeal of Tyla's hit song "Water" proved undeniable for GRAMMY voters. The amapiano-based pop song entered the Billboard Hot 100 last year, the first for an South African solo artist since Hugh Masekala in 1968. It later peaked at No. 7, making her the highest-charting African female solo musician in Billboard history. The song also went to No. 1 on the Billboard U.S. Afrobeats Songs and Hip-Hop/R&B charts. 

Tyla shouted out her family during her acceptance speech, saying "I know my mother’s crying somewhere in here." 

Tyla makes history as the first-ever Best African Music performance winner. The category was created in order for the Academy to honor music from the continent, according to Academy President Harvey Mason Jr. 

"I'd love to see us be able to honor even more music from Africa and other areas of the world," Mason said in an interview with GRAMMY.com. "The future of the Recording Academy is going to build on equity. We're not just honoring music breaking in our country — we're celebrating music from around the world." 

Keep checking this space for more updates from Music’s Biggest Night!

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One year ago, Tyla was still waiting for her big break. Now, she's the first South African artist to reach the Billboard Hot 100 in more than 50 years, and she's already won a GRAMMY — and it's all because of one song.

The tropical single "Water" instantly made waves, becoming an inescapable hit that topped multiple charts and garnered more than 10 million views on TikTok alone with the "Water" dance challenge. Now, the budding star is ready to prove she's more than her breakout smash.

With Tyla, out March 22, the singer proves the world is her oyster, boasting an unconventional fusion of amapiano, pop, and R&B — even dabbling in Latin with a Becky G collaboration. All of it is the center of her ethos: innovating while simultaneously carving a lane for more South Africans to make their global mark in music, too.

"The music will take [amapiano] to a new space. I feel like it's not only going to live in an African category," Tyla, whose GRAMMY win was in the inaugural Best African Music Performance Category at this year's awards, declares. "I really want African music and singers to sit alongside other artists in Album Of The Year, Song Of The Year."

Ahead of the release, Tyla sat down with GRAMMY.com to dive deeper into her goals for her African peers, the creative process behind Tyla, and how she's acclimated to her newfound pop stardom.

You won a GRAMMY before releasing your debut album. How does that feel? Do you have any other dream career milestones that you still hope to cross?

It feels really good. Really validating. Very humbling. I'm grateful to have achieved such success so early. All of this has been a lot but very, very exciting.

There are so many milestones I'm yet to achieve. I want a No. 1 album and song. I want sold-out performances and world tours. There are so many things. The opportunities are literally endless, so I'm looking forward to the journey.

How have you acclimated to this new life?

I'm just taking it day by day. I'm lucky to have a great team and people from home to keep me grounded in the real world and not overwhelmed with what's happening around me.

The focus has always been on being able to create more, share more, do bigger things, and have more opportunities. That's been my mindset.

With "Water" being such a successful single, did that add pressure for the release of Tyla?

Honestly, "Water" made me want to get in the studio and create again. I didn't have any doubts about the new music. I'm really confident about this album.

For most people, their self-titled album conveys a personal statement. What is the message you will ultimately reveal on Tyla?

I always wanted this album to be my introduction to the world. And I feel like this is the best introduction I could have made. It's me in music form, packaging into a 14-track project. Tyla was the only title that made sense for this one.

I only did my best. I'm sure that the people who receive it well are the people who are meant to hear it. I'm excited to see who loves it, what they have to say, and what comes from it.

**How do you think your approach to music shifted through the production of Tyla, compared to the songs you've made pre-"Water?"**

I'm always learning and trying new things. I may hate something today and love it tomorrow. I've always been that type of person. So, my mind has been up and down.

In terms of the project, "Water" was a confirmation that I was on the right path. This is really my sound, you know? I went again, and me, my team, and the people I work with went even deeper to bring something out that the world will feel is fresh and new. That excites me more than anything at this point.

What would you say are the core elements of amapiano? And how do you feel you're pushing the boundaries of the genre?

I have a pop, R&B approach, which sets it apart. I love adding chanting and bigness to songs, production-wise.

Amapiano and afrobeats always get people moving. It gets me moving. That's something that I love to incorporate in my music. If not in the production, it's in the way I sing, my ad-libs, or the slang I use. I always love to have a piece of home in each song.

You're kind of leading the genre, especially to Gen Z. What does it mean to have that impact as a South African native?

It's a blessing. It is a lot of pressure. Everyone's looking at you. You end up being the fact of a lot of things. I'm lucky to not be the only person there, though. There are a lot of African people dominating things. I'm happy to have that community.

I feel like Tyla is going to live with other genres. Even though having an African category is a huge milestone, I don't want it only to be a global or afrobeats album. I want to see our stuff in the bigger categories, too. I think all of us together are bringing us closer to it.

**For Tyla, you worked with artists from around the globe in Latin America, other parts of Africa, and a few American singers. How was your music-making enriched by this worldliness?**

I learned a lot. I enjoy sitting back and absorbing as much as I can all the time.

I love that my features aren't from one space, too. Like you said, they're from Latin America, Africa, the Caribbean. It's global! I see Tyla as a global album for everyone to appreciate. Everyone can find something.

You've been posting covers on social media since you were a kid. What is it like to look back at them? What would you tell the girl in those videos now?

It's very surreal because I know that little girl believed so hard in it. A lot of times, she was the only person who did. Now that I'm in a space where everyone can see it, it's a reminder that I made it happen. It's a really good feeling to know that I was able to show people that I could and did do it.

If I see little Tyla, I'll just tell her, "Keep whining that waist!"

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After South African singer Tyla won the inaugural golden gramophone for Best African Music Performance at the 2024 GRAMMYs award show, many likely wondered why her international breakout single "Water" garnered such global appeal. 

Beyond the R&B sensibilities that made its sound approachable to Western audiences, what really drew crowds to "Water" was the vitality of South African dance and elements of amapiano — a subgenre of house and a child of kwaito, South Africa’s post-Apartheid freedom sound. Punctuated by amapiano’s log drums and insistent shakers, brought to life through the frantic backside movements of bacardi  and Tyla’s aquatic theater, "Water" used genre fusion to carry South African sound across global airwaves.

What’s more, Tyla is part of a vast network of women propelling amapiano to the world. Zimbabwean singer Sha Sha’s breakout in 2019 created a monumental shift in a genre that was largely the terrain of boys and men, and since then the amapiano scene has seen many other women follow in her wake. The likes of Mawhoo, Ami Faku, Bontle Smith, and Nobantu Vilakazi consistently emphasize the genre's soulful heart through dreamlike vocal work, grounding the very hits that have made amapiano the widespread phenomenon that it is today.

Everything from the skillful improvisations of dancing schoolgirls, to lively performances from women DJs and vocalists has allowed amapiano’s essence to be communicated clearly to the world. A vast web of women are pushing the genre both within and beyond South African borders; read on for a list of 11 influential women who are key in elevating amapiano to global heights.

DBN Gogo 

It’s not that controversial: everybody loves Gogo. Born in the city from which she derived her name, Durban, DBN Gogo has steadily become one of amapiano’s most sought-after acts. From her 2021 smash hit "Khuza Gogo" featuring amapiano stars such as the late Mpura, to later hits like "Possible," "Bambelela," and "Bells," Gogo has made a name for herself as a highly-dependable hitmaker and an equally compelling performer. It was her, of course, who created the viral dakiwe dance challenge, inspiring countless dance variations and solidifying her position as amapiano’s queen of cool.

Even while she has offered the genre mass mainstream appeal, DBN Gogo's personal projects reveal her lasting dedication to preserving amapiano’s authenticity. Her 2022 debut album, What’s Real, is a warm, rich body of work, while her newest EP Click Bait is a genre-diverse wonder that transcends the boundaries of ‘piano itself. 

Since her breakout years ago, she has not even remotely backed down, taking over multiple AfroNation stages yearly, performing at Coachella in 2022, and featuring twice on the GRAMMY-nominated Black Panther: Wakanda Forever soundtrack. Dropping the Shakes & Les-assisted "Funk 55" in 2023, a track that is still dominating South African nightlife as we speak, Gogo is on an unending mission to take the world by storm.

Nkosazana Daughter

With a spiritual sound and an angelic voice to match, it’s safe to say that Nkosazana Daughter is amapiano’s sweetheart. Breaking out via an Instagram Live with DJ Maphorisa and Mpura during lockdown, the 23-year-old has proved that her ethereal vocals can impart a distinct sense of purity to any song she features on. 

She has since voiced dreamy hit singles like "Dali Nguwe" and "Sofa Silahlane" with frequent collaborator Master KG, and worked with continental artists including Tanzania’s Harmonize and Nigerian Afropop stars Mr. Eazi, Omah Lay, and Young Jonn. Last year, she asserted herself in a big way, releasing her debut album Uthingo Le Nkosazana. 

"Uthingo," meaning "rainbow" in Zulu, communicated to the world the vast color and love she had to bring to the scene. Nkosazana Daughter called amapiano’s greats to her world, working with the likes of Kabza de Small, Maphorisa, and Sir Trill throughout the project as well as Master KG on the lead single, "Amaphutha." She has already started the year with a bang via her successful hit "Keneilwe," proving her determination to come into 2024 with an unrelenting force.

TXC

Tarynn Reid and Clair Hefke are the dj duo that have proved the importance of intentional performance while pushing ‘piano. The pair are known for mixing amapiano party hits while clad in matching sets; Clair often holds down the fort while Tarynn drives crowds wild with impassioned dance moves. 

The duo has become a symbol of amapiano’s global appeal, ruling the Piano People stage at AfroNation in Miami, closing Boiler Room’s Soulection stage in London, and taking on Qatar’s 2022 Fifa World Cup stage alongside acts like Lil Baby. What’s more, they have consistently shown dedication to growth, expanding their title from DJ duo to production duo, including producing their debut EP.

That release, 2022's A Fierce Piano is a rich collection of tracks featuring assists from some of the genre's smoothest vocalists: Daliwonga and Murumba Pitch. Following up with "Vuka Mawulele" and their latest single "Turn Off the Lights," TXC have shown that their future as creatives in amapiano is limitless. 

Babalwa M

While the amapiano scene is fraught with disagreements surrounding origins, dates, and pioneers, all unanimously agree that Babalwa M is the queen of private school amapiano. Known for its deeply jazzy, soulful approach to amapiano, "private school" is a distinct subgenre that Babalwa’s vocals have refined throughout the years alongside its king, producer Kelvin Momo.

Listening to the transcendental vocals laced through tracks like "Aluta Continua" from her debut album of the same name, it should come as no surprise that Soweto’s own Babalwa M found her voice through the church choir.

Babalwa M's most infamous contributions to the private school archive come in the form of collaborations with the aforementioned Momo. Her near-spiritual vocals on tracks like "Feza," "Sukakude" and, most recently, "Amalobolo" from his newest project, have made even the most surface level consumers invested in the beauty of private school. Coming off of the heels of her most recent track "Maye Maye," Babalwa M is determined to continue sharing the sublimity of private school with the world. 

Uncle Waffles

Nobody quite epitomizes amapiano’s globalization in the way that Uncle Waffles does. 

It all boils down to one fateful day: a DJ booked for a 2021 club night in Soweto was unable to make their set, so Uncle Waffles was called in. She played Young Stunna’s "Adiwele," gyrating with incomparable cool as she responded to the crowd’s impassioned cries. A video of her dancing at this set went viral, generating a dance challenge that can still be seen at club nights today and converting her into an overnight sensation. Suddenly, Swaziland’s own Uncle Waffles was juggling bookings from all over the world. 

Since then, the cosmos has become the limit  — she has shut down Coachella, sold out US and UK headlines shows, and received cosigns from Drake, Kelly Rowland, and Ciara. Waffles' hit single "Tanzania" was even featured in an amapiano-influenced set during multiple stops of Beyoncé’s Renaissance Tour. What’s more, she has proved that her talents transcend the stage with three projects in her catalog: Red Dragon, and 2023’s Asylum and Solace. 

With global hit singles "Yahyuppiyah" and "Peacock Revisit" from 2023, and her constant re-definition as a style icon, dancer, and creative director, Uncle Waffles continues to show the world that she cannot be confined to any one creative medium.

Chley

Slick-tongued Chley is widely understood as a secret weapon for any producer looking to cook up an amapiano anthem. Taking on music as recently as 2021, she’d already collaborated with prominent amapiano producers Mellow & Sleazy, Konke, and Musa Keys a year into her music career - voicing hits like "Kancane" and "M’nike." Chley was catapulted to a new level of fame once featured on Uncle Waffles’ "Yahyuppiyah," offering a rapid-fire verse that netizens all over the world fought hard to replicate.

Since then, she has featured on bangers such as "Vuma" with Felo Le Tee and Mellow & Sleazy, "Shu!" with Tanzania’s Diamond Platnumz, Gogo’s "Funk 55," and Ggoldie’s "Asambe." With a discography bound to make even the most conservative of listeners get up and dance, Chley is certainly one to watch in the midst of amapiano’s ever-evolving scene.

Kamo Mphela

Kamo Mphela burst onto the scene after one too many videos of her dancing went viral — an expected outcome for a girl who consistently danced and MCed at block parties on the streets of Joburg. Her rise to fame fatefully coincided with amapiano’s nationwide popularization, allowing the multi-talented dancer to latch on to the township sound and never let it go. 

She soon jumped on tracks like "Sandton" alongside Kabza and Maphorisa in 2019 and "Amanikiniki" with Major League DJz in 2021, then released her own tracks "Percy Tau" and "Nkulunkulu" on her debut EP the same year. She’s since released smash hits, featured on the Wakanda Forever soundtrack, and offered a thrilling performance ahead of Davido at London’s O2 arena.

Throughout her career, Kamo Mphela has redefined the role of the dancer in amapiano’s landscape, not confining herself to the sidelines but instead positioning dance as a central component of any amapiano performance worth its salt. This radical ethic has allowed her to become widely regarded as one of amapino’s most notable performers, and she consistently ensures that her music embodies this weighty title. Her 2023 singles "HANNAH MONTANA" and "Dalie" came with expert dances — the latter with a viral dance challenge that has kept the song at a steady position on South African charts. 

Boohle

Hailing from the Vosloorus township of Johannesburg, Buhle Manyathi is all about soul. Kicking off her career as part of a gospel troupe in 2016, she later transitioned to Afro house and amapiano, releasing a multi-genre debut album, Izibongo, in 2020 and EP Sfikile in 2021. It was only a matter of time before she became the vocalist behind some of ‘piano’s biggest hits, voicing "Mama" with Josiah de Disciple (and its gorgeous Afro house remix from De Capo), "Siyathandana" alongside rapper Cassper Nyovest, and the glorious "Ngixolele," produced by Busta 929. 

Several top charting positions and awards later, she came out with arguably her most global single, "Hamba Wena" alongside Deep London. Igniting a global dance challenge created by South African steppers Hope Ramafalo and Hlongi Mash, "Hamba Wena" captivated the globe  and reasserted Boohle’s seemingly endless ability to produce ‘piano anthems.

Lady Du

Music was always in the cards for Lady Du, but it was amapiano in particular that changed the scope of her career. Reared in a family of influential DJs and producers, she kicked off her career as a Hip-Hop DJ before pivoting completely into ‘piano. 

Dropping both "Catalia" and "Woza" in 2021 — both with production from ‘piano pioneer Mr JazziQ — Lady Du suddenly had 2 gigantic hits under her belt, the latter becoming one of the biggest songs in the early days of amapiano’s globalization.

She has since offered roaring vocals on Busta and Mpura’s "Umsebenzi Wethu," hard-hitting rap on 9numba and TOSS’ "uMlando," and Mzansi flare on international features such as "I Did It" with Nigeria’s Niniola. 

Lady Du reaffirmed her centrality in the scene in 2023, dropping her debut album Song is Queen and later, the Megadrumz-produced single "Tjina." The percussion-heavy tune quickly turned global club nights upside down, secured high positions on South Africa’s streaming charts, and emphasized Lady Du’s centrality in amapiano’s sprawling ecosystem.

Pabi Cooper

or Pritori princess Pabi Cooper, winning is easy. Hailing from South Africa’s administrative capital Pretoria, Pabi broke out as a 21-year-old with the party-starting "Isphithiphithi," a hit produced by Busta 929 in 2021.

2022's "Banyana Ke Bafana" was a widely popular hit, propelled by irresistible verses from the Pritori trifecta of Pabi, vocalist Ch’cco, and rapper Focalistic. Her debut EP, Cooperville, introduced audiences to a vast world of her making, with soulful numbers like "MAMA," alongside more street-centric jams like "Waga Bietjie" and "Angeke." 

Today, Cooper has solidified herself as a symbol of youth power, mesmerizing South African crowds through her concert series Cooper FC and snagging a BET nomination in 2023 for Best New International Act. She also carries her hometown on her back wherever she goes; last year saw her release "Jukulyn" alongside Pretoria’s Jelly Babie, a track dedicated to a township of the same name and rooted in the city’s bouncy, infectious sound bacardi. 

Khanyisa

Khanyisa may have started off her career as a social media influencer, but she has seamlessly evolved into an amapiano star. Performing covers and skits to the millions of followers she amassed on TikTok, Khanyisa wielded relatability and humor as her social media superpowers. 

It wasn’t until her irresistible breakout "Bheka Mina Ngedwa" with Lady Du and her official debut "Ungangi Bambi" in 2021, both delivered with the same vitality that offered her acclaim online, that Khanyisa formally secured popularity within the amapiano space.

Since, Khanyisa has featured on popular tracks such as "Vuka Mawulele" with TxC and the  danceable "Zula Zula" with Villosoul. In 2023, she proved her role as an undeniable hitmaker, releasing the log drum heavy "SUKA" and "NGIMOJA" with producer of the year Tyler ICU. With her successful pivot to musical fame, it is clear that Khanyisa’s future as a player in amapiano is incredibly bright. 

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March is Women’s History Month, and women in music are more powerful than ever. 

The month begins with the comeback of several queens, starting with Kim Gordon’s The Collective and Ariana Grande’s Eternal Sunshine. Later, country darling Kacey Musgraves will unveil Deeper Well, and Shakira will drop the empowering Las Mujeres Ya No Lloran. Long-awaited debuts by GRAMMY-winning singer Tyla and singer/bassist Blu DeTiger will also join the lineup, with their respective Tyla and All I Ever Want Is Everything. Wrapping up March on a high note, Beyoncé will drop her highly-anticipated Act II on the 29th.

Men will release music in March as well: Expect new releases by Justin Timberlake, Bleachers, the last record from pop-punk band Sum 41, and (allegedly) Kanye West and Ty Dolla $ign’s Vultures 2.

To make the most of this prolific time, GRAMMY.com compiled all the must-hear albums dropping March 2024.

Schoolboy Q - Blue Lips

Release date: March 1

On Feb. 1, Schoolboy Q’s website was updated with a mysterious countdown and a 37-second video. In it, the rapper finally unveiled the setlist and title of his much-awaited sixth studio album, Blue Lips, as well as its release date — March 1.

Blue Lips is Q’s first full record since 2019’s Crash Talk, although he had been teasing the album since 2020. Hopefully, it was worth the wait: Blue Lips holds 18 tracks and participations by Rico Nasty, Freddie Gibbs, and more. Q has also started a new vlog series on social media called "wHy not?," where he takes the viewers behind the scenes of making the album and previews snippets of the songs.

So far, the rapper shared tracks "Blueslides," "Back n Love" with Devin Malik, "Cooties" and "Love Birds" with Devin Malik and Lance Skiiwalker, as well as lead single "Yeern 101."

Bleachers - Bleachers

Release date: March 8

Fronted by 10-time GRAMMY winner and 2024 Producer Of The Year Jack Antonoff, rock band Bleachers will release its eponymous fourth studio album on March 8.

In a press release, Bleachers is described as Antonoff’s "distinctly New Jersey take on the bizarre sensory contradictions of modern life." The self-titled record will blend sadness and joy into "music for driving on the highway to, for crying to and for dancing to at weddings."

The band shared four singles so far: lead track "Modern Girl," "Alma Mater" featuring Lana del Rey, "Tiny Moves" and "Me Before You." Through serendipitous melodies and soulful writing, Bleachers commit to "exist in crazy times but remember what counts." 

Bleachers will tour the U.K. in March and the U.S. in May and June.

Kim Gordon - The Collective

Release date: March 8

Former Sonic Youth vocalist Kim Gordon will release her sophomore LP, The Collective, on March 8. The album is a follow-up to her 2019 debut No Home Record, and furthers her collaboration with producer Justin Raisen, as well as additional producing from Anthony Paul Lopez.

"On this record, I wanted to express the absolute craziness I feel around me right now," said Gordon in a press statement. "This is a moment when nobody really knows what truth is, when facts don’t necessarily sway people, when everyone has their own side, creating a general sense of paranoia. To soothe, to dream, escape with drugs, TV shows, shopping, the internet, everything is easy, smooth, convenient, branded. It made me want to disrupt, to follow something unknown, maybe even to fail."

Back in January, the singer unveiled the album’s moody first single, "Bye Bye," and a music video starring her daughter, Coco Gordon Moore. The second single, "I’m A Man," came out in February. Gordon will play six concerts in support of The Collective, starting March 21 in Burlington, Vermont.

Ariana Grande - Eternal Sunshine

Release date: March 8

It’s been almost four years since Ariana Grande’s last studio album, 2020’s Positions. The starlet spent the past few years filming Wicked, an adaptation of the Broadway musical of the same name, and declared that she wouldn’t be releasing any new records until it was done.

The wait is finally over, as Grande announced her seventh studio album, Eternal Sunshine. The album’s first and only single, "Yes, And?," dropped in January, followed by an Instagram video of the soprano singer explaining the concept of the album to her Republic Records team. 

"It’s kind of a concept album ’cause it’s all different heightened pieces of the same story, of the same experience," she said. "Some of [the songs] are really vulnerable, some of them are like playing the part of what people kind of expect me to be sometimes and having fun with it."

"I think this one may be your favorite," Grande wrote of Eternal Sunshine on her Instagram Story. "It is mine." The 13-song collection will reportedly explore house and R&B, and will have only one feature: Grande’s grandmother, who appears on the last track, "Ordinary Things."

Kanye West and Ty Dolla $ign -Vultures 2

Release date: March 8

After a series of delays, Kanye West and Ty Dolla $ign’s first collaborative album, Vultures 1, ultimately dropped on Feb. 10, 2024. Set to be the first installment of a trilogy, the album was released independently through West’s YZY label, and debuted at No. 1 on the Billboard 200 chart, with all of its 16 tracks also charting on Billboard’s Hot 100.

Billed as ¥$, the duo plans to release Vultures 2 on March 8, and follow up with Vultures 3 on April 5. Although any other info about the upcoming volumes is still unclear, Timbaland recently shared on X (formerly Twitter) that Vultures 2 is "OTW." (Timbaland produced Vultures 1’s "Keys to My Life" and "Fuk Sumn" with Playboi Carti and Travis Scott.)

In the past month, West and $ign held a few listening parties for the album in the U.S. and Europe, but additional schedules are yet to be revealed.

The Jesus and Mary Chain - Glasgow Eyes

Release date: March 8

To celebrate their 40th anniversary, alt-rock band the Jesus and Mary Chain will release their eighth studio album, Glasgow Eyes, on March 8.

As it can be seen on lead single "Jamcod," the Scottish group still runs strong on the distorted synths and electrifying guitars that shaped their sound. "People should expect a Jesus and Mary Chain record, and that’s certainly what Glasgow Eyes is," vocalist Jim Reid said in a statement. "Our creative approach is remarkably the same as it was in 1984, just hit the studio and see what happens. We went in with a bunch of songs and let it take its course. There are no rules, you just do whatever it takes."

Glasgow Eyes also mends a six-year gap since the Jesus and Mary Chain’s latest album, 2017’s Damage and Joy. To further commemorate, the band will also release an autobiography and embark on a European tour throughout March and April.

Justin Timberlake - Everything I Thought It Was

Release date: March 15

Justin Timberlake is back with his first studio album since 2018’s Man of the Woods. The new record, Everything I Thought It Was,  is spearheaded by singles "Selfish" and "Drown."

"I worked for a long time on this album, and I ended up with 100 songs. So, narrowing them down to 18 was a thing," said Timberlake in an interview with Zane Lowe on Apple Music 1. "I’m really excited about this album. I think every artist probably says this, but it is my best work." The Memphis singer also shared that there are "incredibly honest" moments in the album, but also "a lot of f—ng fun."

To celebrate his return, Timberlake announced his Forget Tomorrow World Tour. Set to kick off on April 29 in Vancouver, the tour will cross through North America and Europe until its final date on Dec. 16 in Indianapolis.

Kacey Musgraves - Deeper Well

Release date: March 15

Fresh off winning Best Country Duo/Group Performance at the 2024 GRAMMYs for the Zach Bryan duet "I Remember Everything," Kacey Musgraves announced her fifth studio album, Deeper Well..

"My Saturn has returned/ When I turned 27/ Everything started to change," she sings in the contemplative title track, exploring how she changed over the last few years. The single sets the tone for the rest of the record, which was co-produced by longtime collaborators Ian Fitchuk and Daniel Tashian. 

Featuring 14 tracks, Deeper Well was mostly recorded at the legendary Electric Lady studios in New York City. "I was seeking some different environmental energy, and Electric Lady has the best mojo. Great ghosts," the country star noted in a press release.

On social media, Musgraves wrote: "it’s a collection of songs I hold very dear to my heart. I hope it makes a home in all of your hearts, too." Deeper Well follows 2021’s star-crossed. 

Tierra Whack - World Wide Whack

Release date: March 15

When rapper Tierra Whack released her first album, 2018’s Whack World, she quickly garnered the admiration of both critics and fans. Comprising 15 one-minute tracks and music videos for each, the release was a refreshing introduction to a groundbreaking artist.

In 2024, the Philadelphia-born star is preparing to release World Wide Whack, labeled her official debut album in a press release. The cover artwork, created by Alex Da Corte, was inspired by theater character Pierrot, fashion designer Elsa Schiaparelli and Donna Summer, and represents "the first reveal of the World Wide Whack character, an alter ego both untouchable and vulnerable, superhuman and painfully human, whose surprising story will unfold in images and video over the course of the album’s visual rollout."

The album follows Whack’s 2021 EP trilogy — Rap?, Pop? and R&B? — and is foreshadowed by the poignant "27 Club" and the eccentric "Shower Song."

Tyla - Tyla

Release date: March 22

After a glowing 2023 with viral hit "Water," South African newcomer Tyla started 2024 with a blast. Last month, she became the first person to win a GRAMMY for Best African Music Performance, and the youngest-ever African singer to win a GRAMMY Award at 22 years old.

Next month is poised to be even better: Tyla’s eponymous debut LP drops on March 22, featuring "Water" and other hits like  "Truth or Dare," "Butterflies" and "On and On," as well as a guest appearance by labelmate Travis Scott.

"African music is going global and I’m so blessed to be one of the artists pushing the culture," Tyla shared on Instagram. Her unique blend of amapiano, pop and R&B is making waves around the world, and the star will rightfully celebrate by touring Europe and North America throughout this spring.

Shakira - Las Mujeres Ya No Lloran

Release date: March 22

The title of Shakira’s new album, Las Mujeres Ya No Lloran, is a nod to her 2023 hit "Shakira: Bzrp Music Sessions, Vol. 53" with Argentine DJ Bizarrap. In the lyrics, she states that "las mujeres ya no lloran, las mujeres facturan" — "women don’t cry anymore, they make money."

The single is a diss to Shakira’s ex-partner, footballer Gerard Piqué, and, like the rest of the record, served as a healing experience after their separation. "Making this body of work has been an alchemical process," the Colombian star said in a statement. "While writing each song I was rebuilding myself. While singing them, my tears transformed into diamonds, and my vulnerability into strength."

Las Mujeres will feature 16 songs, including her Bizarrap collaboration and singles "Te Felicito" with Rauw Alejandro, "Copa Vacía" with Manuel Turizo, "Acróstico," "Monotonía" with Ozuna, "El Jefe" with Mexican band Fuerza Regida, and "TQG" with fellow Colombian Karol G.

Sheryl Crow - Evolution

Release date: March 29

Back in 2018, Sheryl Crow said that the LP Threads would be her last — fortunately, she changed her mind. "I said I’d never make another record, though there was no point to it," the singer shared in a statement about her upcoming album, Evolution. "This music comes from my soul. And I hope whoever hears this record can feel that."

According to the same statement, "Evolution is Sheryl Crow at her most authentically human self," and its music and lyrics "came from sitting in the quiet and writing from a deep soul place." 

The entire album was written in a month, starting with the title track, which expresses Crow’s anxieties about artificial intelligence and the future of humans. From then on, Crow and producer Mike Elizondo found bliss. "The songs just kept flowing out of me, four songs turned into nine and it was pretty obvious this was an album," she said.

In addition to the album's title track, Crow also shared singles "Do It Again" and "Alarm Clock."

Sum 41 - Heaven :x: Hell

Release date: March 29

After nearly three decades together, punk-metal mavericks Sum 41 are parting ways. Their final release will be a double album. Heaven :x: Hell, set to drop on March 29.

Heaven is composed of 10 pop-punk tracks reminiscent of the band’s early years, while Hell is 10 tracks of pure heavy metal, reflecting the direction they took more recently. "Once I heard the music, I was confident enough to say, ‘This is the record I’d like to go out on,'" frontman Deryck Whibley said in a statement. "We’ve made a double album of pop punk and metal, and it makes sense. It took a long time for us to pave this lane for ourselves, but we did, and it’s unique to us."

The band shared singles "Landmines," "Rise Up" and "Waiting on a Twist of Fate," and proved that they’re leaving on top of their game. "I love Sum 41, what we’ve achieved, endured, and stuck together through, which is why I want to call it quits," Whibley added. "It’s the right time to walk away from it. I’m putting all of my energy into what’s ahead."

But before embarking on new ventures, Sum 41 will spend the rest of the year touring throughout Asia, North America, and Europe.

Blu DeTiger - All I Ever Want Is Everything

Release date: March 29

At only 26 years old, Blu DeTiger has already toured with Caroline Polachek, played bass for Jack Antonoff’s band Bleachers, partnered with Fender, and appeared on the 2023 Forbes 30 Under 30’s music list.

Now, she prepares to release her debut studio album, All I Ever Want Is Everything. "This album is about growing and becoming, settling into yourself and learning to love where you’re at through it all. It’s about learning how to be your own best friend," the bassist and singer wrote on Instagram.

"Dangerous Game," the lead single off the album, showcases DeTiger’s effervescent energy and potential for pop stardom. Starting April, she will also headline a U.S. tour across Boston, Washington D.C., New York, Toronto, Chicago, San Francisco, Los Angeles and San Diego.

Beyoncé - Act II

Release date: March 29

What better event to announce a new album than the most-watched TV program ever? That’s what Beyoncé did during Super Bowl LVIII, on Feb. 11. At the end of a Verizon commercial, the singer declared "Okay, they ready. Drop the new music," while simultaneously releasing Act II’s lead singles, "16 Carriages" and "Texas Hold 'Em," on social media and streaming platforms.

Coming out March 29, Act II is the second part of Beyoncé’s ongoing trilogy, which was written and recorded during the COVID-19 pandemic. The album is preceded by 2022’s acclaimed Act I: Renaissance, but instead of house and disco, the singer will reportedly take a deep dive into country music.

This isn’t Queen Bey’s first foray into the genre — in 2016, she released Lemonade’s "Daddy Lessons," and her 2021 IVY PARK Rodeo collection was inspired by "the overlooked history of the American Black cowboy," as she told Harper’s Bazaar. It was just a question of time for Beyoncé to enter her country era, and it is finally upon us.

17 Love Songs That Have Won GRAMMYs: "I Will Always Love You," "Drunk In Love" & More

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

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

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

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

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

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

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

This interview has been edited for clarity.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What do you think is the next step here?

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

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

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

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

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

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

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