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65th Annual GRAMMY Awards

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2020 GRAMMY Awards Premiere Ceremony | Photo Gallery

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2020 GRAMMY Awards Premiere Ceremony Photo Gallery

Esperanza Spalding

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65th GRAMMY Awards

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64th GRAMMY Awards

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60th Annual GRAMMY Awards

For any music lover, GRAMMY Sunday is very much like the Super Bowl or World Series to a sports fanatic.

The only difference being, while sports teams typically find out who will be the final competition within a week or two of the showdown, GRAMMY nominations arrive months prior to the big show. The ceremony is arguably a culmination of all of that energy and anticipation. The 60th GRAMMY Awards was no different, as James Corden returned to host the Music's Biggest Night.

Returning to Madison Square Garden for the first time in 15 years, the milestone telecast proved to be a celebration that broke down barriers — with the wins, performances, and acceptance speeches showing that the power of music can literally change the world.

Of course, the GRAMMYs' return to the Big Apple was cause enough for excitement. (Cut to [Tony Bennett](/artists/tony-bennett/1073) and [John Legend](/artists/john-legend/16994) singing "New York, New York" before presenting Best Rap/Sung Performance). And there was [Bruno Mars](/artists/bruno-mars/5082) netting six wins and nearly doubling his career output to 11 in one fell swoop. But there was plenty of excitement to go around.

Whether you were there, watching on TV or live streaming, here are 12 moments from the 60th GRAMMY Awards that made it a night to remember.

### 1. Kendrick Lamar, U2, Dave Chappelle Open With An Army

[Kendrick Lamar](/artists/kendrick-lamar/17949) has a steady track record of impactful performances on the GRAMMYs, and this time he opened the ceremony with a groundbreaking performance before winning the first award of the evening for Best Rap/Sung Performance ("LOYALTY." with Rihanna). Opening with "XXX" before an American flag backdrop and U.S. soldiers marching, the rapper was joined by [U2](/artists/u2/7858)'s Bono and The Edge. A war simulation followed before [Dave Chappelle](/artists/dave-chappelle/187041) hit the stage to punctuate segues in between heated musical vignettes performed by Lamar. It was history in the making, much like everything he touches.

### 2. Lady Gaga's Tearjerker Performance with Mark Ronson

"This is for love and compassion …even when you can't understand," [Lady Gaga](/artists/lady-gaga/3611) uttered before a white piano wrapped in lace as she opened her performance with "Joanne." Mark Ronson assisted on guitar as the acoustic set segued into another moving ballad, "Million Reasons." The emotional performance was poignant, but most importantly showed Gaga's unreal vocal range. It's OK if you shed a tear while watching. We were all cutting onions when it happened.

### 3. James Corden Rapping For Jay-Z

If you watch "The Late Late Show With James Corden" or are tuned into any episode of his "Carpool Karaoke" series, you'll know that Corden was the perfect return host for this year's telecast. On the eve of the show, [Jay-Z](/artists/jay-z/9815) was honored at the Pre-GRAMMY Gala and Corden informed the crowd, but began riddling off his knowledge of Jay-Z facts — including Jay’s former apartment address of 560 State Street in Brooklyn. Corden then launched into spitting a few bars for an amused Mr. Carter. "You call it the Big Apple, I call it the Concrete Jungle where dreams are made of …just something I made up," Corden joked.

### 4. Bruno Mars And Cardi B's #TBT Performance Of "Finesse (Remix)"

A few weeks back — when the video for Bruno Mars' remix to "Finesse" featuring [Cardi B](/artists/cardi-b/186981) hit the internet — we were all bit by the nostalgia bug. The video (directed by Mars himself) was not only a clear nod to the sketch comedy series "In Living Color," but it was also a Polaroid of a bygone era of ‘90s R&amp;B and hip-hop—complete with bright colors. Cardi B donned a legendary Cross Colours bucket hat with Mars dancing onstage like a New Jack Swing-era frontman before a dance-off to House Of Pain’s "Jump Around." It was #ThrowbackThursday on a Sunday night.

### 5. Alessia Cara Claims Best New Artist

"I've been pretend winning GRAMMYs since I was a kid in the shower," [Alessia Cara](/artists/alessia-cara/186976) said with a shaky voice before a towering microphone as she accepted her first GRAMMY. While the Canadian was already considered a strong candidate for the award, the competition was fierce — including [SZA](/artists/Solana-Rowe/32514) and newcomer [Julia Michaels](/artists/julia-michaels/188121). But as Cara continued into her speech, she acknowledged and showed support for her peers, which included her fellow nominees and indie acts. "Support real music and real artists," she said. Then she thanked her fans, because there will be no more pretend GRAMMYs in the shower from now on.

### 6. Luis Fonsi, Daddy Yankee Bring On More "Despacito"

Over the course of 2017, the infectious "Despacito" hasn't left our brains. [Luis Fonsi](/artists/luis-fonsi/3346) and [Daddy Yankee](/artists/daddy-yankee/9370) hit the stage to perform the diamond-certified single and brought former Miss Universe Zuleyka Rivera in two. Rivera also appeared in the music video, but took center stage to dance amid a mock club scene. "That is a catchy song. I've never heard that song before," Corden deadpanned after the performance.

### 7. "Subway Carpool Karaoke"

Corden's viral "Carpool Karaoke" series made a cameo during the evening. How could it not? This time, however, it was a special "Subway Carpool Karaoke," featuring Corden, [Sting](/artists/sting/10244) and [Shaggy](/artists/shaggy/10082). The former Police frontman couldn't even get through "Every Breath You Take" before being shushed by a construction worker on the train. And Shaggy barely sang "It Wasn't Me" before another passenger hushed even Corden. Then a fight broke out on the train and Corden got a bloody nose. It was a dangerous karaoke scene. You had to be there.

### 8. Janelle Monáe Says #TimesUp, Kesha Sings #MeToo

All one has to do is read the news in recent months to know that injustice to women is no longer an option across industries. As [Janelle Monáe](/artists/janelle-monae/4464) introduced [Kesha](/artists/kesha/187816)'s performance of "Praying," she delivered a powerful speech hooked to the sexual harassment initiative Time's Up. "We are also daughters, wives, mothers, sisters, humans," Monáe told the crowd. "We come in peace, but we mean business." When Kesha hit the stage, her performance was that much more intense, especially understanding all she's been through in the music industry. With [Cyndi Lauper](/artists/cyndi-lauper/4198), Camila Cabello, Bebe Rexha, Julia Michaels, and [Andra Day](/artists/andra-day/18980) joining on background vocals, the performance ended with the women hugging and in tears. They weren't alone.

### 9. Elton John, Miley Cyrus Transcend Generations Onstage

[Elton John](/artists/elton-john/12074)'s "Tiny Dancer" is one of those classic songs that can bring you immediately back to a moment or an era (or a movie scene, like that bus ride in Almost Famous). However, tonight a new moment was made with [Miley Cyrus](/artists/miley-cyrus/18384). With John seated at his piano, he opened the song and Cyrus joined to help carry the song home. While the "Wrecking Ball" singer is no stranger to classic music — especially given her godmother is [Dolly Parton](/artists/dolly-parton/17205) — this performance was particularly special. Call it onstage chemistry, or call it bridging the gap, but this "Tiny Dancer" performance was one for the ages.

### 10. Ben Platt, Patti LuPone Wow With Broadway Style

This special [Leonard Bernstein](/artists/leonard-bernstein/896)-[Andrew Lloyd Webber](/artists/andrew-lloyd-webber/4044) tribute kicked off properly, as [Ben Platt](/artists/ben-platt/188321) from "Dear Evan Hansen" gave the audience a rousing dose of "Somewhere" from the former's "West Side Story." But as James Corden could barely stand as he introduced [Patti LuPone](/artists/patti-lupone/5059), we soon found out why. LuPone delivered a riveting rendition of “Don't Cry For Me Argentina" from Evita. Posted at a podium, just as the musical/movie depicts, she belted like it was her first time singing the song and it was our first time hearing it.

### 11. Logic, Khalid, Alessia Cara Bring Hope 

There's a reason why "1-800-273-8255" was nominated for Song Of The Year. The powerful track comes with a real message of suicide prevention. When the trifecta of [Logic](/artists/Sir-Robert-Bryson-Hall-II/32370), [Khalid](/artists/khalid/187821), and Alessia Cara hit the stage to perform the monumental hit single, there was no denying the magic. Performing on opposite stages before an army of survivors in "You Are Not Alone" shirts, Logic addressed the crowd and closed the performance with a speech pointing out many societal injustices — from the treatment of women to neighbors from other countries. There are no weak individuals, per Logic, just people waiting to realize the power of their voice.

### 12. Bruno Mars' Magical Evening: 6 For 6

Bruno Mars emerged above the stiff competition in Album Of The Year, taking home the final GRAMMY of the evening for 24K Magic. The nod topped off a GRAMMY sweep for the Hawaii native, with Mars winning all six categories for which he was nominated. He also earned R&amp;B Album, Record Of The Year for "24K Magic," Best R&amp;B Performance, Best R&amp;B Song and Song Of The Year for "That's What I Like." As he explained in his Album Of The Year speech, Mars' mission was to spread love and he did just that — even shouting out previous greats like [Babyface](/artists/babyface/985) who paved the way for him.

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Find all the Winners of 2017 Grammys. For any music lover, GRAMMY Sunday is very much like the Super Bowl or World Series to a sports fanatic. The only difference being, while sports teams typically find out who will be the final competition within a week or two of the showdown, GRAMMY nominations arrive months prior to the big show. The ceremony is arguably a culmination of all of that energy and anticipation. The 60th GRAMMY Awards was no different, as James Corden returned to host the Music's Biggest Night.

During a period in our nation's history in which people are constantly reminded about the political and social issues that can divide us, the 59th GRAMMY Awards served as a convincing testament to the undeniable unifying power of music.

[Adele](/artists/adele/528), whose voice is a powerful force unto itself, emerged the top winner of the night, taking home five GRAMMYs: Best Pop Vocal Album and Album Of The Year for 25 and Record Of The Year, Song Of The Year and Best Pop Solo Performance for "Hello." The now-15-time winner also made GRAMMY history by becoming the first artist to sweep Record, Album and Song Of The Year twice in her career.

Fittingly, it was Adele who ushered in Music's Biggest Night with a mesmerizing performance of her smash "Hello." A stark black backdrop provided a blank canvas over which the British singer/songwriter painted an aural masterpiece, her potent vocals reverberating throughout Los Angeles' Staples Center.

The mercurial [David Bowie](/artists/david-bowie/4819), who died just days before releasing his album Blackstar on Jan. 8, 2016, won four posthumous GRAMMYs, including Best Alternative Music Album. [Greg Kurstin](/artists/greg-kurstin/9943), Adele's producer and songwriting partner, also won four awards, including Producer Of The Year, Non-Classical.

[Chance The Rapper](/artists/chancelor-bennett/19614) earned three awards, including Best New Artist, making him the first streaming-exclusive artist to win a GRAMMY. "This is for every indie artist who's been doing this mixtape stuff for a long-a\*\* time," the Chicagoan said during his acceptance for Best Rap Album for Coloring Book. He punctuated his GRAMMY debut with a feel-good performance medley of "How Great" and "All We Got," with his cousin Nicole and 59th GRAMMY winners [Kirk Franklin](/artists/kirk-franklin/9067) and Tamela Mann adding soulful flourishes.

Engineer/mixer [Tom Elmhirst](/artists/tom-elmhirst/2228) also won three GRAMMYs; [Beyoncé](/artists/beyonce-knowles/12474), [Drake](/artists/drake/12370), [Sarah Jarosz](/artists/sarah-jarosz/13600), [John Scofield](/artists/john-scofield/13908), Franklin, and [Hillary Scott &amp; The Scott Family](/artists/hillary-scott-scott-family/20151) were among those winning two awards.

As presenter Celine Dion so eloquently quoted the legendary [Stevie Wonder](/artists/stevie-wonder/8257), "Music, at its essence, is what gives us memories." In addition to crowning recipients in 84 GRAMMY categories, the 59th GRAMMYs created many new memories in the form of signature GRAMMY Moments that spanned several genres.

Equal parts music, theater and spoken word poetry, a golden-clad Beyoncé radiated during her medley of "Love Drought" and "Sandcastles," two songs from her Best Urban Contemporary Album-winning opus, Lemonade. The trance-inducing performance, which was themed around the celebration of motherhood, featured her own mother, Tina Knowles, and daughter, [Blue Ivy Carter](/artists/blue-ivy/292460), and closed on a poignant note with the pregnant Beyoncé reciting a line from a Warsan Shire poem: "If we're going to heal, let it be glorious/1,000 girls raise their arms."

[Bruno Mars](/artists/bruno-mars/5082) dazzled with his seductive "That's What I Like." Commanding the stage with aplomb, showcasing graceful dance moves and flaunting his rich tenor, Mars once again proved the breadth of his 24-karat talent.

[Ed Sheeran](/artists/ed-sheeran/6178) turned in arguably the most energy-efficient performance of the evening. Armed with an acoustic guitar, synthesizer and a pedalboard that doubled as a looping device, Sheeran proved a veritable one-man band in multitasking his romantic ode "Shape Of You."

[The Weeknd](/artists/The-Weeknd/24884) teamed with fellow GRAMMY winners [Daft Punk](/artists/daft-punk/8207) for a medley of "Starboy" and "I Feel It Coming." The duo's trademark synthesizer soundscapes set the tone for a sci-fi inspired set, with The Weeknd's velvety voice drifting into space.

[Katy Perry](/artists/katy-perry/5726) returned to the GRAMMY stage to debut her brand-new single, "Chained To The Rhythm," with reggae artist Skip Marley. Perry — who wore an armband emblazoned with the word "Resist" — earnestly delivered her new socially conscious anthem, which she closed by declaring "No hate!"

Best New Artist nominee [Anderson .Paak](/artists/anderson-paak/19926) and rappers Busta Rhymes, Consequence and [A Tribe Called Quest](/artists/tribe-called-quest/10719) joined for a politically charged medley of "Award Tour," "Movin Backwards" and "We The People." The latter song, A Tribe Called Quest's anthem addressing topics such as racism, xenophobia, homophobia, and misogyny, proved timely given the recent political climate. A Tribe Called Quest's Q-Tip put an exclamation point on the performance by shouting, "Resist! Resist! Resist!"

[Metallica](/artists/metallica/10686) and [Lady Gaga](/artists/lady-gaga/3611) turned the volume up to 10 with a driving performance of the band's "Moth Into Flame." Despite a brief technical glitch with Metallica frontman James Hetfield's mic, the heat generated — stoked by pyrotechnics, headbanging and a stage dive from Gaga — set off a genre-bending explosion.

[Keith Urban](/artists/keith-urban/7015) and [Carrie Underwood](/artists/carrie-underwood/10381) went toe-to-toe for their love-affirming duet "The Fighter." GRAMMY-nominated newcomers [Kelsea Ballerini](/artists/kelsea-ballerini/19558) and [Lukas Graham](/artists/lukas-graham/20132) joined together for a seamless mashup of her "Peter Pan" and their "7 Years," which was up for Song Of The Year. R&amp;B/soul legend William Bell, who earlier won his first career GRAMMY, teamed with guitar slinger [Gary Clark Jr.](/artists/gary-clark-jr/17798) for a gritty "Born Under A Bad Sign."

First-time GRAMMY host James Corden got into the musical act as well. During his opening skit, Corden delivered a free-style rap that name-dropped everyone from President Donald Trump to Drake, Rihanna and Sturgill Simpson. "The Late Late Show" host also sped through a hilarious impromptu GRAMMY edition of Carpool Karaoke. Driving a cardboard cutout vehicle, Corden was flanked by [Jennifer Lopez](/artists/jennifer-lopez/14846), [Tim McGraw](/artists/tim-mcgraw/12018), [Faith Hill](/artists/faith-hill/10850), [Keith Urban](/artists/keith-urban/7015), [Ryan Tedder](/artists/ryan-tedder/16130), [John Legend](/artists/john-legend/16994), Blue Ivy, Jason Derulo, and [Neil Diamond](/artists/neil-diamond/2720) for a singalong of the latter's classic "Sweet Caroline."

In addition to Corden's bits, [Twenty One Pilots](/artists/twenty-one-pilots/20162) provided some unexpected comic relief when they accepted their first career GRAMMY for Best Pop Duo/Group Performance for "Stressed Out" in their underwear. Underneath the humor, the duo from Columbus, Ohio, conveyed an important message to musicians of all stripes. "Anyone from anywhere can do anything," said Pilots singer/songwriter Tyler Joseph.

It was also a night of firsts for breakout country star [Maren Morris](/artists/maren-morris/19894). Not only did she make her GRAMMY performance debut with "Once" alongside [Alicia Keys](/artists/alicia-keys/12104), she won her first GRAMMY for Best Country Solo Performance for "My Church," making her the first GRAMMY Camp alumnus to win a GRAMMY.

Music's Biggest Night also provided moments of reflection in the form of tributes.

An all-star troupe paid homage to five-time GRAMMY winners the Bee Gees, who will be celebrated this spring via the CBS TV special "Stayin' Alive: A GRAMMY Salute To The Music Of The Bee Gees." [Demi Lovato](/artists/demi-lovato/19851) glided through "Stayin' Alive" while [Tori Kelly](/artists/tori-kelly/19120) showcased her impressive singing and guitar chops on "Tragedy." [Little Big Town](/artists/little-big-town/10623) were in perfect harmony for "How Deep Is Your Love" and Andra Day bottled the essence of Studio 54 during "Night Fever." The group closed with a vibrant "Stayin' Alive" coda, with Barry Gibb looking on in delight.

[Sturgill Simpson](/artists/sturgill-simpson/18703) and the Dap-Kings convened for "All Around You," a song from Simpson's Best Country Album-winning A Sailor's Guide To Earth. During his introduction, Dwight Yoakam lauded the late singer [Sharon Jones](/artists/sharon-jones/18518), who worked with the Dap-Kings throughout her career.

In recognition of [George Michael](/artists/george-michael/12041), who died Dec. 25, 2016, Adele returned to the stage for a dramatic, orchestrated version of "Fastlove," the final Top 10 hit of Michael's career. The tribute paused abruptly as Adele stopped mid-song, feeling that her performance was not up to par. "I can't mess this up for him," she confided to the audience. Adele reset herself and delivered a moving memorial. The audience obliged with a standing ovation.

Morris Day and the Time did the honors in introducing a special GRAMMY tribute to the late [Prince](/artists/prince/5675). A true showman, Day bobbed and weaved the band through the Time's funky "Jungle Love" and "The Bird." Mars then returned to the stage for a regal reimagining of "Let's Go Crazy." Armed with a Purple Rain-inspired suit, makeup and white guitar, Mars channeled vintage '80s-era Prince, right down to his authentic take on the song's spectacular unaccompanied guitar cadenza.

The In Memoriam segment featured [John Legend](/artists/john-legend/16994) and GRAMMY-winning "The Color Purple" cast member [Cynthia Erivo](/artists/cynthia-erivo/19682) delivering a rendition of the Beach Boys' "God Only Knows," which served as a solemn musical prayer to many other individuals the music community lost during the past year.

The GRAMMY show was also marked by heartfelt, if unexpected, tributes to fellow nominees. In her final acceptance speech of the evening for Album Of The Year, a visibly moved Adele used her platform to acknowledge and thank fellow nominee Beyoncé.

"My artist of my life is Beyoncé," Adele said as a tearful Beyoncé looked on. "The Lemonade album was just so monumental and so well-thought out and so beautiful and soul-bearing. … All us artists here, we f\*\*\*ing adore you. You are our light.

Music's Biggest Night beamed into the homes of more than 26 million viewers, representing a 4 percent year-over-year increase and the highest viewership since 2014. The luster extended well after the Sunday telecast, with several winners, nominees and performers benefiting from the GRAMMY Effect.

Digital sales of songs performed on the show saw a 140 percent increase in download sales, with Urban and Underwood's "The Fighter" experiencing a 574 percent gain. On-demand streams (audio and video combined) of songs performed rose 30 percent, including Mars' "That's What I Like" spiking 99 percent. Adele's 25 returned to the Top 10, rising to No. 6 with a 137 percent sales increase. Combined with the other Album Of The Year nominees (Beyoncé's Lemonade, [Justin Bieber](/artists/justin-bieber/10220)'s Purpose, Drake's Views, and Sturgill Simpson's A Sailor's Guide To Earth), all five albums saw a collective 91 percent increase in equivalent album sales. Following his GRAMMY performance with Perry, Skip Marley became the first member of the Marley family to score a Top 10 hit on the Billboard Hot 100.

More than just impressive statistics, these sizable GRAMMY Effect gains give additional credence to the 59th GRAMMY Awards telecast remarks of Recording Academy President/CEO Neil Portnow, who during his impassioned speech delivered to the new administration an important unified message on behalf of the music community.\\

\\

"The Recording Academy, together with America's music makers, call on the president and Congress to help keep the music playing by updating music laws, protecting music education and renewing America's commitment to the arts," said Portnow. "It's our collective responsibility to preserve what binds us and to ensure that the whole world continues to benefit from one of our most unique \[and\] economically and spiritually important assets — and exports: American music."

Eligibility Period: Oct. 1, 2015, through Sept. 30, 2016

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58th Annual GRAMMY Awards

In an era when much of the prevailing cultural dialogue revolves around race relations and personal empowerment, the big winners at the 58th GRAMMY Awards reflected the currency of the times.

With 11 nominations, Compton, Calif., rapper [Kendrick Lamar](/artists/kendrick-lamar/17949) went into Music's Biggest Night as the most nominated artist since [Michael Jackson](/artists/michael-jackson/13202) and [Babyface](/artists/babyface/985) each scored 12 for 1983 and 1996, respectively. He took five GRAMMYs, including Best Rap Album for To Pimp A Butterfly, and Best Rap Performance and Best Rap Song for "Alright."

Lamar's performance of "The Blacker The Berry" and "Alright," songs that became unofficial soundtracks for the Black Lives Matter movement, infused the GRAMMYs with the kind of social immediacy at which it excels, whether it's championing marriage equality or honoring late musical icons such as Whitney Houston.

[Alabama Shakes](/artists/alabama-shakes/14656), perhaps fittingly a multiracial band with a multiracial frontwoman, [Brittany Howard](/artists/brittany-howard/3375), won three awards — Best Rock Performance, Best Rock Song and Best Alternative Music Album — all based around their acclaimed sophomore album, Sound &amp; Color. Their performance of "Don't Wanna Fight," introduced with an otherworldly scream by Howard, who looked like a high priestess of rock in a flowing white cape, was a captivating moment from a band that has helped bring back a sense of urgency to rock.

[Taylor Swift](/artists/taylor-swift/15450) took Album Of The Year for 1989 among her three awards. Pointing out she was the first woman to win that award twice, Swift was passionate about giving due credit to the contributions of women during her acceptance speech. Her show-opening performance of "Out Of The Woods" proved she's a powerful, self-assured woman.

Other multiple winners included [D'Angelo](/artists/dangelo/1902), [Diplo](/artists/diplo/8548), [Jason Isbell](/artists/jason-isbell/19091), [Maria Schneider](/artists/maria-schneider/6153), [Ed Sheeran](/artists/ed-sheeran/6178), [Skrillex](/artists/skrillex/6363), [Chris Stapleton](/artists/chris-stapleton/15418), and [The Weeknd](/artists/The-Weeknd/24884).

Rising up, to paraphrase GRAMMY nominee and performer [Andra Day](/artists/andra-day/18980), was the theme of the night. In addition to Lamar's wins and triumphant performance, there were other noteworthy moments.

"Glory," Common and [John Legend](/artists/john-legend/16994)'s defiant song from Selma, the film about the 1965 Montgomery, Ala., voting rights marches, won for Best Song Written For Visual Media. [Lalah Hathaway](/artists/lalah-hathaway/3123) won in the Best Traditional R&amp;B Performance category for "Little Ghetto Boy," a song about overcoming the consequences of growing up in inner-city poverty that was originally recorded by her father, [Donny Hathaway](/artists/donny-hathaway/2656).   

Mexican drummer/composer [Antonio Sanchez](/artists/antonio-sanchez/6087), who won Best Score Soundtrack For Visual Media for Birdman, thanked GRAMMY voters specifically because he had been "eliminated by another awards show that starts with an 'O' and ends with 'scars.'" And songwriter [Kendra Foster](/artists/kendra-foster/19024) literally raised a fist and proclaimed "we're trying to rise up" when accepting the Best R&amp;B Song award for her, D'Angelo and [Gina Figueroa](/artists/gina-figueroa/19500)'s "Really Love."

It was also a night of official goodbyes to musical giants, some of whom died within weeks of the GRAMMY telecast.

[Lady Gaga](/artists/lady-gaga/3611)'s tribute to [David Bowie](/artists/david-bowie/4819) was an electrifying appreciation of one of the most influential artists of our time. Bowie — who died Jan. 10 — received a Lifetime Achievement Award from The Recording Academy in 2006, and an appropriate celebration on the GRAMMY telecast with a 10-song medley wrapped by a triumphant version of "Heroes."

The band synonymous with '70s California rock came together to salute their fallen founding member, [Glenn Frey](/artists/glenn-frey/2410), who died Jan. 18. The Eagles strummed through their first hit, the classic "Take It Easy," teaming with the song's co-writer Jackson Browne (who penned the tune with Frey in the early '70s when they lived in the same Los Angeles apartment building). The ode to letting troubles run off your shoulders and grabbing life while you can was a fitting tribute to a singer, guitarist and man who did just that.

Things revved up a few decibels when the Hollywood Vampires (Alice Cooper, Johnny Depp and Joe Perry joined by Guns N' Roses bassist Duff McKagan and drummer Matt Sorum) lit the funeral pyre for Lemmy Kilmister — hard rock's No. 1 anarchist who died Dec. 28, 2015 — with a short blast of Motörhead's "Ace Of Spades."

At the other end of the genre and attitude spectrum, [Earth, Wind &amp; Fire](/artists/earth-wind-fire/14550)'s deeply optimistic pan-spiritual leader [Maurice White](/artists/maurice-white/6905), who died Feb. 4, was feted by [Stevie Wonder](/artists/stevie-wonder/8257) and vocal group [Pentatonix](/artists/pentatonix/20140), who performed an a cappella version of the classic "That's The Way Of The World."

Finally, Stapleton, [Gary Clark Jr.](/artists/gary-clark-jr/17798) and Bonnie Raitt paid tribute to one of the most noteworthy bluesmen of all time, B.B. King, who died May 14, 2015. The three artists — performing King's biggest hit, "The Thrill Is Gone" — reflected disparate generations and genres, but demonstrated that roots music is a single language often spoken with six strings.

Wrapped around these special GRAMMY Moments were additional performances that delivered musical breadth as only the GRAMMYs can.

New country star and former college footballer [Sam Hunt](/artists/sam-hunt/19085)'s "Take Your Time" got an audible via a duet with [Carrie Underwood](/artists/carrie-underwood/10381) and her "Heartbeat."

R&amp;B sensation [The Weeknd](/artists/The-Weeknd/24884) sensitively performed his ballad "In The Night," backed by piano and cello, after teasing his hit "Can't Feel My Face." The vocal triumph scored a standing ovation.

Day was joined by [Ellie Goulding](/artists/ellie-goulding/19043) for one of the night's sweetest melding of voices as they seamlessly brought their respective ballads "Rise Up" and "Love Me Like You Do" together.

[Lionel Richie](/artists/lionel-richie/17291), the 2016 MusiCares Person of the Year honoree and a true hits king of the '80s, rightly received the royal treatment as Luke Bryan, John Legend, Demi Lovato, [Meghan Trainor](/artists/meghan-trainor/18740), and [Tyrese](/artists/tyrese/17506) came together for a mega-salute capped by the man himself singing his signature "All Night Long (All Night)."

Richie collaborator, the late Michael Jackson, was remembered by nominee [Miguel](/artists/miguel/4571), who delivered a smooth version of "She's Out Of My Life" backed by the song's original keyboardist Greg Phillinganes.

[Little Big Town](/artists/little-big-town/10623) turned in a contemplative version of "Girl Crush" rich in the harmonizing of their four collective voices.

Two Best New Artist nominees, James Bay and Tori Kelly, joined forces to show off some fresh multiweapon talent as the pair of singer/songwriter/instrumentalists ran emotively through his "Let It Go" and her "Hollow."

The GRAMMYs aired its first-ever live performance from a Broadway stage by bringing the acclaimed musical "Hamilton" to a nationwide TV audience. Star/writer Lin-Manuel Miranda and his cast ran through the opening number "Alexander Hamilton" before an ecstatic audience at the Richard Rodgers Theatre in New York, providing a taste of its groundbreaking melding of hip-hop and traditional musical theater.

Despite some well-documented technical glitches, Adele's performance became a triumph over adversity, a testament to the fact that great talent will always shine despite the sometimes unexpected travails of live TV. To paraphrase her song "All I Ask," Adele left her heart on the stage to a standing ovation.

[Justin Bieber](/artists/justin-bieber/10220) teamed with EDM stars Skrillex and Diplo — under their Jack Ü moniker — for a rousing take on "Where Are Ü Now," which followed an acoustic solo turn by Bieber, who played his "Love Yourself." As Billboard noted, "While some previous dance performances have fallen flat in televised awards shows, there was nothing stilted about the energetic ensemble's stage show."

And on a similarly energetic note, the GRAMMYs concluded with a party thrown by one of the night's winners, Pitbull, who was joined by Travis Barker, Joe Perry, Robin Thicke, and actress Sofia Vergara, who showed off some of her best dance moves.

Between honoring our musical legacy and recognizing music's power to reflect and impact our cultural legacy, fans truly had a chance to Witness Greatness on the 58th GRAMMYs.

Eligibility Period: Oct. 1, 2014, through Sept. 30, 2015

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57th Annual GRAMMY Awards

Even for the GRAMMY Awards, which takes pride in each unique performance on its world-renowned stage — performances that have collectively come to be known as GRAMMY Moments — the 57th telecast topped expectations. The show featured an impressive 23 performances, many offering teamings that were not only inspired, but resulted in illuminating versions of deeply powerful songs.

If you thought <a href="/artists/sam-smith/18713">Sam Smith</a>'s multiple GRAMMY-winning "Stay With Me (Darkchild Version)" was an aching heartbreak of a song, you may have been emotionally drained after <a href="/artists/mary-j-blige/779">Mary J. Blige</a> joined Smith to add tent-revival urgency. 
 
<a href="/artists/katy-perry/5726">Katy Perry</a>'s "By The Grace Of God" already defies many of the California gurl's best-known pop hits, but following a personal plea from President Barack Obama to stop domestic violence and the real-life tale of abuse from survivor and activist Brooke Axtell, its unexpected impact brought the house to its feet. 
 
And so went this year's telecast, performance after performance proving that GRAMMY Moments live well beyond the moment of their creation. 
 
First-time GRAMMY performers AC/DC opened the show with fireworks and firepower, with singer Brian Johnson and guitarist Angus Young igniting the stage — and the playfully devil-horned audience ­— with "Rock Or Bust" and the classic "Highway To Hell." 
 
But it was the next performance of "Just A Little Bit Of Your Heart" by <a href="/artists/ariana-grande/18441">Ariana Grande</a> that arguably served as the true tone setter of the night, a poignant moment of soul-stirring singing that was as moving as it was entertaining. 
 
Brits <a href="/artists/jessie-j/18501">Jessie J</a> and the ever-vibrant Tom Jones followed with a similarly breathtaking "You've Lost That Loving Feelin'" in tribute to the iconic song's co-writers, 2015 Recording Academy Trustees Award recipients Barry Mann and Cynthia Weil. 
 
<a href="/artists/miranda-lambert/4851">Miranda Lambert</a> then interjected a touch of rock-inflected hoedown energy, wheeling out her upbeat "Little Red Wagon" with attitude and energy to spare, tapping into her firecracker charisma. 
 
<a href="/artists/kanye-west/6900">Kanye West</a> returned to the show's tacit theme of emotional message music with "Only One." Shadowy under a single spotlight, West bared it all with his ode to daughter North West, sung from the perspective of his late mother, and aimed at healing and happiness. 
 
An ageless <a href="/artists/madonna/5068">Madonna</a>, still enviably contorting through Pilates-required dance numbers, debuted her new "Living For Love" with a bullfighting theme and a matador's determination and finesse. 
 
Pulling out all the stops, <a href="/artists/ed-sheeran/6178">Ed Sheeran</a>, <a href="/artists/john-mayer/14891">John Mayer</a>, <a href="/artists/herbie-hancock/9477">Herbie Hancock</a>, and Questlove teamed for Sheeran's "Thinking Out Loud." Despite such a group of heavyweights, they retained the song’s graceful rumination on enduring love. 
 
The quartet then gave way to Jeff Lynne's ELO. GRAMMY winner Lynne led the band through an ELO signature, "Evil Woman," before joining with Sheeran for a rousing "Mr. Blue Sky." 
 
Adam Levine reunited with former "The Voice" judge Gwen Stefani for <a href="/artists/maroon-5/13090">Maroon 5</a>'s ballad "My Heart Is Open," with each bringing their formidable chops to the plea for love. 
 
Last year, the GRAMMYs brought 33 couples to the stage for a mass musical marriage ceremony. This year, Irish singer/songwriter <a href="/grammys/artists/hozier">Hozier</a> took the crowd to church with his GRAMMY-nominated hit. As "Take Me To Church" built to its climax, singer <a href="/grammys/artists/annie-lennox">Annie Lennox</a> joined to add an exclamation point, then segued into her cover of Screamin' Jay Hawkins' "I Put A Spell On You," as she did just that to the GRAMMY audience. 
 
By now, <a href="/artists/pharrell-williams/7310">Pharrell Williams</a> has built a cottage industry around his inescapable hit "Happy." For his GRAMMY performance, joined by composer Hans Zimmer on guitar and pianist <a href="/artists/lang-lang/14460">Lang Lang</a>'s otherworldly finger play, Williams' turned in a dark and satisfying take on the song. 
 
After Perry's stirring "By The Grace Of God," <a href="/artists/tony-bennett/1073">Tony Bennett</a> and <a href="/artists/lady-gaga/3611">Lady Gaga</a> hit the stage like the second coming of ultimate lounge-act couple Louis Prima and Keely Smith. The pair was clearly having authentic fun onstage, at times truly "Cheek To Cheek." 
 
Backed only by teen harpist Melody Tai, <a href="/artists/usher/16167">Usher</a> performed a sweet version of <a href="/artists/stevie-wonder/8257">Stevie Wonder</a>'s "Magic" in anticipation of "Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute," a two-hour special that aired on CBS Feb. 16. Truly whetting appetites for that show, Wonder emerged from the shadows at the end of the song for an excitedly received harmonica solo. 
 
The GRAMMYs took a trip to Nashville, Tenn., next for <a href="/artists/eric-church/10938">Eric Church</a>'s "Give Me Back My Hometown." Then it was just left of Nashville for Best New Artist nominee <a href="/artists/brandy-clark/17797">Brandy Clark</a>'s teaming with Dwight Yoakam for her "Hold My Hand," to which Yoakam contributed haunting background vocals. 
 
The camera then shifted quietly to three silhouetted figures, in what is quickly becoming an iconic pose, for a debut performance of "FourFiveSeconds," <a href="/artists/rihanna/5943">Rihanna</a>'s new single with <a href="/artists/paul-mccartney/4678">Paul McCartney</a> and West. The trio represented almost unprecedented star power and the song was captivatingly striking in its stark presentation. 
 
After Smith (who emerged as the night's top winner with four GRAMMYs) and Blige's roof-raising performance of "Stay With Me," Colombian singer/songwriter <a href="/artists/juanes/9195">Juanes</a> hit the stage for a performance of his reggae-tinged "Juntos," en español. 
 
Actress Kristen Wiig served as the face of<a href="/artists/sia/15372"> Sia</a> for the latter's performance of "Chandelier," miming a comic version of the song's GRAMMY-nominated music video with young dancer Maddie Ziegler, while Sia earnestly sang from a corner of the set, in her customary back-to-the-audience stance. 
 
Album Of The Year winner <a href="/artists/beck/292">Beck</a> teamed with <a href="/artists/coldplay/10952">Coldplay</a>'s Chris Martin for a Crosby, Stills, Nash &amp; Young-inspired version of his acoustic gem "Heart Is A Drum." Though backed only by acoustic instruments, the song's tale of heartbreak and acceptance had an electric impact. 
 
"We live in complicated times," said Gwyneth Paltrow in introducing <a href="/artists/beyonce-knowles/12474">Beyoncé</a>'s take on the gospel standard "Take My Hand, Precious Lord," "and now more than ever we need understanding and to acknowledge the feelings of others.” 
 
Looking angelic in a white dress that gave the appearance of wings, Bey took the crowd to church literally, as Hozier had done metaphorically earlier. 
 
The 57th GRAMMY Awards closed poignantly with <a href="/artists/john-legend/16994">John Legend</a> and <a href="/artists/common/1332">Common</a>'s stunning Selma theme, "Glory." The performance not only came two weeks prior to their Oscar turn, but taken together with Beyoncé’s preceding tour de force vocal performance, the finale drew a connection in the battle for equal rights from the '60s to the present — capping the night's powerful message about music's ability to stir people to greater awareness and action. 
 
&nbsp;

Eligibility Period: Oct. 1, 2013, through Sept. 30, 2014

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See all GRAMMY award winners and nominees for the 57th GRAMMY Awards, presented in 2014.

56th Annual GRAMMY Awards

Reuniting legends, creating unparalleled GRAMMY Moments and giving new artists a global platform are all part of what makes the GRAMMYs a truly unique celebration of music. But this year the GRAMMY stage served as an opportunity to display music's power to unleash "whoever we are and whoever we dream about being," as host [LL Cool J](/artists/ll-cool-j/4008) said in his opening remarks.

Following a steamy performance of "Drunk In Love" by power couple Beyoncé and Jay Z, Macklemore &amp; Ryan Lewis made their first appearance on the GRAMMY stage to accept the first award of the night for Best New Artist. After catching their collective breath, Macklemore thanked their fans, "the people that got us on this stage," while acknowledging their independent roots.\

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"We made this album without a record label," said Macklemore. "And we appreciate all the support."

The Seattle rap duo ended their GRAMMY debut on top, garnering a total of four trophies. The duo were later joined by singer/songwriter Mary Lambert and Trombone Shorty for a performance of their GRAMMY-nominated anthem of equality, "Same Love." The performance marked a historic moment for the GRAMMY Awards as Queen Latifah took the stage mid-set to officiate a live marriage ceremony for 33 diverse couples, which was capped with an appearance by Madonna. Madge gave new meaning to the chorus to her "Open Your Heart," proving that while music unleashes independence, it also promotes harmony.

"When we say music has the power to bring people together at the GRAMMYs, we mean it," said Latifah.

Fellow GRAMMY newcomer Lorde performed her hit "Royals," which took Song Of The Year and Best Pop Solo Performance. The 17-year-old singer/songwriter was clearly shocked: "This is the one thing that I did not expect the most about tonight," she said while accepting the latter award.

Further demonstrating music's power to unleash individuality, Hunter Hayes debuted his new single "Invisible." The inspirational piano-driven ballad was colored with several onscreen quotes, including one by John Lennon: "You don't need anybody to tell you who you are or what you are. You are what you are."

Country singer/songwriter Kacey Musgraves nabbed the first two GRAMMYs of her career for Best Country Song for "Merry Go 'Round" with Shane McAnally and Josh Osborne, and Best Country Album for Same Trailer Different Park. Musgraves made her individual mark on the GRAMMYs when she brightened the stage for a performance of "Follow Your Arrow," a song about doing "whatever you want."

One of the most talked about — and tweeted — performances of the night was the teaming of Imagine Dragons, who won their first GRAMMY for Best Rock Performance for "Radioactive," with rising rapper Kendrick Lamar. On a smoke-filled stage, the collective delivered a colorful mashup of "Radioactive" and Lamar's "m.A.A.d city" — an appropriate welcome to a new generation of GRAMMY performers.

But being in with the new does not mean out with the old — or in this case, legendary. Newly minted Lifetime Achievement Award recipient Kris Kristofferson, Willie Nelson and Merle Haggard were accompanied by Blake Shelton for a medley of classics such as "Okie From Muskogee" and "Mamas Don't Let Your Babies Grow Up To Be Cowboys" that had everyone from Musgraves to Jay Z and Beyoncé swaying in the audience. Daft Punk  and Pharrell Williams — both of whom also topped the winners list with four each, including Album Of The Year for Random Access Memories and a Producer Of The Year, Non-Classical win for Williams — teamed with Nile Rodgers and Stevie Wonder for a mashup of the Chic classic "Le Freak" and "Get Lucky." The latter earned Rodgers two of his first three career GRAMMYs for Best Pop Duo/Group Performance and Record Of The Year.

Additionally, Jay Z and Justin Timberlake won Best Rap/Sung Collaboration for "Holy Grail," which Jay Z accepted on their behalf and dedicated to his daughter Blue Ivy. Bruno Mars took home Best Pop Vocal Album honors for Unorthodox Jukebox, which he dedicated to his late mother Bernadette, who died in June 2013.

On a satellite stage, 2014 MusiCares Person of the Year honoree Carole King and Sara Bareilles went head-to-head on piano for a performance of Bareilles' "Brave" and King's "Beautiful." More all-star collaborations ensued. Robin Thicke joined Chicago to perform the latter's "Beginnings," "Does Anybody Really Know What Time It Is?" and "Saturday In The Park" and his "Blurred Lines," which earned Thicke his first nominations as an artist. GRAMMY winner Keith Urban and first-time winner Gary Clark Jr. joined for a performance of Urban's "Cop Car" that showed off each individual's guitar prowess. Pink made sure no one forgot her high-flying acrobatic skills as she took to the air to perform "Try" before Fun.'s Nate Ruess joined to deliver their GRAMMY-nominated hit "Just Give Me A Reason."

The spotlight was on John Legend as he took a seat behind the piano for a soulful performance of his romantic ballad "All Of Me," which appeared to be dedicated to his new bride, Chrissy Teigen. Taylor Swift went for a no-frills performance, looking glamorous at the piano for her "All Too Well." Meanwhile, fellow singer/songwriter Katy Perry proved she has a dark side, opening encased in a crystal ball for an enchanting performance of her hit single about playing with magic, "Dark Horse," featuring Juicy J.

Though the evening was highlighted by new artists taking home their first GRAMMY gold, as David Grohl remarked while accepting the award for Best Rock Song for "Cut Me Some Slack" with Paul McCartney and former Nirvana bandmates Krist Novoselic and Pat Smear, "If it wasn't for the Beatles, we wouldn't be here." Celebrating the 50th anniversary of their U.S. debut on "The Ed Sullivan Show" this year, remaining Beatles McCartney and Ringo Starr took the stage, likely reminding some of the younger artists in the audience why they chose their individual paths. After a solo performance by Starr of his chestnut "Photograph," the drummer joined McCartney for the latter's new "Queenie Eye." (Two weeks later, the pair would team again for the successful tribute "The Beatles: The Night That Changed America — A GRAMMY Salute," which celebrated their historic performance on "The Ed Sullivan Show" 50 years ago.)

From one surprise teaming to another, Metallica took the stage with the GRAMMY Cultural Ambassador to China, pianist Lang Lang. Following an introduction from Oscar winner Jared Leto, who cited Metallica as a "great rock band who have stayed true to themselves," the group delivered a unique performance of their past GRAMMY winner "One" that had frontman James Hetfield going guitar-to-piano with Lang Lang. The pianist returned shortly after to pay tribute to the late Van Cliburn during the In Memoriam segment, which also featured Miranda Lambert and Billie Joe Armstrong teaming for a tribute to the late Phil Everly with the Everly Brothers' "When Will I Be Loved."

The 56th telecast took its final bow with one last memorable GRAMMY Moment that literally rocked. Fleetwood Mac guitar master Lindsey Buckingham and Grohl joined Nine Inch Nails and Queens Of The Stone Age for NIN's "Copy Of A" and QOTSA's "My God Is The Sun."

Eligibility Period: Oct. 1, 2012, through Sept. 30, 2013

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55th Annual GRAMMY Awards

While many past GRAMMY telecasts have turned into colorful coronations of artists who enjoyed larger-than-life years (<a href="/artists/michael-jackson/13202" target="_blank">Michael Jackson</a>'s eight GRAMMYs in 1983, Santana's eight in 1999, <a href="/artists/beyonce-knowles/12474" target="_blank">Beyoncé</a>'s six in 2009, and <a href="/artists/adele/528" target="_blank">Adele</a>'s six in 2011), the 55th Annual GRAMMY Awards spread the wealth among a crop of younger artists who set the stage for the century's second decade in music.

Roots-influenced rockers the <a href="/artists/black-keys/8120" target="_blank">Black Keys</a> won three awards in the Rock Field (and guitarist/singer Dan Auerbach added one more for Producer Of The Year, Non-Classical.

Rap stalwarts <a href="/artists/jay-z/9815" target="_blank">Jay-Z</a> and <a href="/artists/kanye-west/6900" target="_blank">Kanye West</a> won three GRAMMYs each, all for their collaborations on Best Rap Performance and Best Rap Songwinner "N****s In Paris" and Best Rap/Sung Collaboration winner "No Church In The Wild" (featuring Frank Ocean and The-Dream).

Then came more relative newcomers: Skrillex added three GRAMMYs to his three from last year; <a href="/artists/gotye/2402" target="_blank">Gotye</a> rode "Somebody That I Used To Know" (featuring <a href="/artists/kimbra/3581" target="_blank">Kimbra</a>), which became the most idiosyncratic radio hit of 2012, to three awards, including Record Of The Year; <a href="/artists/fun/15812" target="_blank">Fun.</a> won their first two GRAMMYs for Song Of The Year for "We Are Young" (featuring <a href="/artists/janelle-monae/4464" target="_blank">Janelle Monáe</a>) and Best New Artist; and Mumford &amp; Sons, one of the trailblazers for the new wave of acoustic roots artists, won Album Of The Year for Babel.

Some of the winning artists were so new, they took other winners by surprise.

"Miguel, I don't know who the hell you are, but we need to sing together," shouted <a href="/artists/kelly-clarkson/11249" target="_blank">Kelly Clarkson</a> while collecting her Best Pop Vocal Album GRAMMY for Stronger, referring to <a href="/artists/miguel/4571" target="_blank">Miguel</a>'s brief slow jam of his Best R&amp;B Song winner "Adorn" (on which he teamed with Wiz Khalifa). "That was the sexiest damn thing I've ever seen."

It was more than a fresh breeze that blew over the 55th GRAMMYs, it was arguably a wind of change.

Still, the telecast remained music's biggest melting pot, with performances that brought innumerous ingredients to the stew, starting with one that was a virtual stew all on its own. With nose-thumbing clowns, a wheelchair-bound Mephisto and scary puppeteers, <a href="/artists/taylor-swift/15450" target="_blank">Taylor Swift</a> turned in the most threatening "We Are Never Ever Getting Back Together" ever.

British singer/songwriter <a href="/artists/ed-sheeran/6178" target="_blank">Ed Sheeran</a> teamed with the head of his management company, <a href="/artists/elton-john/12074" target="_blank">Elton John</a>, for a strong reading of the former's Song Of The Year-nominated "The A Team," the tale of a homeless addict.

Fun. brought drama to "Carry On," their song of perseverance, in the form of both their anthemic ambition and a rainstorm of real water that drenched their set.

<a href="/artists/miranda-lambert/4851" target="_blank">Miranda Lambert</a> and Dierks Bentley, met under a large blue tree for intimate duets of her "Over You" and his "Home."

Mumford &amp; Sons gave a jolt to the crowd with their endlessly energetic "I Will Wait." The way they attacked their acoustic guitars would have made Pete Townshend proud.

Breaking a seven-year hiatus from live music performance, Justin Timberlake hit a sepia-toned stage for a suave medley of his new "Suit &amp; Tie" (on which he was joined by Jay-Z) and "Pusher Love Girl" from his 2013 album, The 20/20 Experience.

In another unique pairing, <a href="/artists/maroon-5/13090" target="_blank">Maroon 5</a> and <a href="/artists/alicia-keys/12104" target="_self">Alicia Keys</a> teamed for the former's "Daylight" and the latter's "Girl On Fire," both songs that kindle with power and emotion.

<a href="/artists/rihanna/5943" target="_blank">Rihanna</a> was joined by Mikky Ekko for "Stay," a song he co-wrote and on which he is a featured vocalist. With Rihanna in a simple black dress on a no-frills stage, the song's message of passion over logic bore through.

The Black Keys wasted no time revving up "Lonely Boy." The rocker, which owes a debt to rockabilly, swamp rock and electric blues, was punctuated by the New Orleans piano of Best Blues Album GRAMMY winner Dr. John and a pinch of Dixieland from the Preservation Hall Jazz Band.

Clarkson returned for a vocal salute to two giant female artists, both of whom received Recording Academy Lifetime Achievement Awards in 2013. First up was "Tennessee Waltz" in honor of Patti Page, followed by "A Natural Woman (You Make Me Feel Like)," co-written by Carole King.

The tributes continued with a nod to Bob Marley, who was the subject of the Best Compilation Soundtrack For Visual Media-nominated Marley. Two of the performers, like Marley, hail from tropical islands: <a href="/artists/bruno-mars/5082" target="_blank">Bruno Mars</a> from Hawaii and Rihanna from Barbados. Also joining was Sting, whose music with the Police owed a debt to reggae and ska. Mars began with his own "Locked Out Of Heaven" followed by the similar-sounding Police chestnut "Walking On The Moon." Rihanna emerged with Ziggy and Damian Marley for their father's "Could You Be Loved."

<a href="/artists/lumineers/14762" target="_blank">The Lumineers </a>played a shortened version of their inescapable hit "Ho Hey" before introducing <a href="/artists/jack-white/15627" target="_blank">Jack White</a>. The latter played "Love Interruption" with his all-female band the Peacocks. He then segued into the harder "Freedom At 21" with male backers the Buzzards. By the time he finished the tumult, he had thrown and stepped on his guitar, leaving a sonic residue of decaying feedback.

<a href="/artists/hunter-hayes/9010" target="_blank">Hunter Hayes</a> played a portion of his hit "Wanted" solo on piano before bringing out fellow country star <a href="/artists/carrie-underwood/10381" target="_blank">Carrie Underwood</a> for a stripped-down version of her Best Country Solo Performance winner "Blown Away." Underwood's awe-inspiring vocals were matched by her billowy dress, which doubled as a projection screen to depict the heartbreak of the song.

The 2013 In Memoriam segment was bookended by two memorable tributes. The first featured pianist Chick Corea, bassist Stanley Clarke and sax player Kenny Garrett honoring the late Dave Brubeck with the timeless, and time-challenging, "Take Five" along with "Blue Rondo À La Turk."

Following the segment, an all-star cast including Zac Brown, T Bone Burnett, <a href="/artists/alabama-shakes/14656" target="_blank">Alabama Shakes</a>' Brittany Howard, Elton John, Mumford &amp; Sons, and Mavis Staples sang a gritty "The Weight" in honor of Levon Helm, who sang the original with the Band.

Juanes added a verse of español to the proceedings with a loving acoustic Spanglish rendition of Elton John's "Your Song," before introducing <a href="/artists/frank-ocean/15669" target="_blank">Frank Ocean</a>. The first Best Urban Contemporary Album winner sang his elegiac "Forrest Gump" backed by running-sequence footage similar to the film of the same name.

After the show's most somber performance, the 55th GRAMMYs rode out on a burst of old-school rap energy, with GRAMMY host LL Cool J teaming with Chuck D, Travis Barker, Tom Morello, and DJ Z-Trip for his own "Whaddup" and a brief tribute to fallen Beastie Boy Adam Yauch with "No Sleep Till Brooklyn."

Eligibility Year: Oct. 1, 2011, through Sept. 30, 2012

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54th Annual GRAMMY Awards

The 54th Annual GRAMMY Awards was a night of exhilarating performances, inspired tributes and emotional acceptance speeches. It was a night that saw the return of an injured heroine, and one steeped in the sadness of loss. Ultimately, it was an evening for the ages as nearly 40 million viewers tuned in to the telecast and more than 13 million GRAMMY-related comments reverberated through online social networks. In the end, it was Music's Biggest Night in nearly 30 years, and a show that lived up to that lofty title.

<a href="/artists/adele/528">Adele</a> emerged the big winner, not just because she reeled in a record-tying six GRAMMYs (matching Beyoncé for the most awards won by a female artist in one night), but her performance of "Rolling In The Deep" marked her first live performance since vocal-cord surgery forced her to cancel her tour in late 2011.

Meanwhile, 180 degrees away from Adele's triumph, the 54th GRAMMYs became the world’s first public opportunity to mourn the loss of the great Whitney Houston. "We've had a death in the family," said host LL Cool J of Houston, who died the day prior to the GRAMMY telecast, before offering a prayer to "our fallen sister." Before the night was through, Jennifer Hudson would step in on one-day's notice to pay tribute with a towering rendition of Houston's signature hit from The Bodyguard, "I Will Always Love You." The performance stirred the crowd at Staples Center and no doubt the millions watching at home.

Adele earned trophies for Album Of The Year and Best Pop Vocal Album for 21; Record Of The Year, Song Of The Year and Best Short Form Music Video for "Rolling In The Deep"; and Best Pop Solo Performance for “Someone Like You.”

<a href="/artists/foo-fighters/14694">Foo Fighters</a> won five of the six GRAMMYs for which they were nominated, including Best Rock Album for Wasting Light and Best Rock Performance for "Walk." In receiving the latter award, frontman <a href="/artists/david-grohl/11637">Dave Grohl</a> noted the "human element of making music is what’s most important … it's not about being perfect … it's about what goes on in here," he said, pointing to his heart.

<a href="/artists/kanye-west/6900">Kanye West</a> won four awards, including Best Rap Album for My Beautiful Dark Twisted Fantasy and Best Rap Performance with <a href="/artists/jay-z/9815">Jay-Z</a> for "Otis."

Electronica artist <a href="/artists/skrillex/6363">Skrillex</a> also had a big night, winning three awards, including Best Dance Recording for "Scary Monsters And Nice Sprites" and Best Dance/Electronica Album for the album of the same name. "This is the most surreal moment of my life," he said of his new status as a GRAMMY winner. "It means a lot, not just for me, but for the whole electronic community."

Best New Artist went to <a href="/artists/bon-iver/8342">Bon Iver</a>. The collective led by Justin Vernon also picked up Best Alternative Music Album for Bon Iver.

Adele's producer Paul Epworth earned awards for Record Of The Year for "Rolling In The Deep" and Album Of The Year for 21, as well as Producer Of The Year, Non-Classical.

Meanwhile, the GRAMMYs continued its recent theme of combining charismatic solo and band performances with opportunities for unusual and sometimes unlikely pairings.

Bruce Springsteen And The E Street Band elevated the show from the start, opening with the rousing new "We Take Care Of Our Own." Bruno Mars' exciting James Brown-inspired R&amp;B performance also helped lift everyone's spirits. <a href="/artists/taylor-swift/15450">Taylor Swift</a> managed to bring a fun flair to her anti-bullying song "Mean."

This year's show also added a touch of history. In their first live appearance together in more than 20 years, the Beach Boys' original lineup (minus late brothers Carl and Dennis Wilson) was accompanied by Foster The People and Maroon 5 for a trio of songs, including "Good Vibrations."

Another powerful moment came via a tribute to Recording Academy Lifetime Achievement Award recipient Glen Campbell, who last year announced he is battling Alzheimer's disease. Blake Shelton and the Band Perry joined the tribute, which closed with Campbell himself singing his gem "Rhinestone Cowboy."

<a href="/artists/paul-mccartney/4678">Sir Paul McCartney</a> performed his elegant new ballad, "My Valentine," joined by Diana Krall on piano and guitarist Joe Walsh. Later, he would close the show with the Beatles medley "Golden Slumbers"/"Carry That Weight"/"The End," finishing with an explosive electric guitar solo battle with Grohl, Springsteen, Walsh, and Rusty Anderson, ending an electrifying evening.

In the end, to quote McCartney, it was a night worthy of being called music's biggest.

Eligibility Year: Oct. 1, 2010, through Sept. 30, 2011 

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Key Dates For The 2024 GRAMMYs Announced: Product Eligibility Period, Voting, Nominees Announcement, Show Date & More

The Recording Academy has announced its key dates and deadlines for the 2024 GRAMMYs, taking place on Sunday, Feb. 4, at Crypto.com Arena in Los Angeles.

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It’s officially GRAMMY season! [The Recording Academy](https://www.recordingacademy.com/) today announced the air date for the [2024 GRAMMYs](https://www.grammy.com/news/2024-grammys-4-things-to-know-about-new-categories-and-changes), which will take place **Sunday, Feb. 4,** at Crypto.com Arena in Los Angeles. This year's GRAMMY Awards nominees will be announced on **Friday, Nov. 10, 2023**. See the full list of key dates and deadlines for the 2024 GRAMMYs below.

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, will air live (8:00-11:30 PM, LIVE ET/5:00-8:30 PM, LIVE PT) on the CBS Television Network and will stream on [Paramount+](https://www.paramountplus.com/) (live and on demand for Paramount+ with SHOWTIME subscribers, or on demand for Paramount+ Essential subscribers the day after the special airs)^.

[Three new GRAMMY categories](https://www.grammy.com/news/three-new-categories-added-for-the-2024-grammys) will debut at the 2024 GRAMMYs: Best African Music Performance, Best Alternative Jazz Album and Best Pop Dance Recording. These history-making category additions are part of a larger set of updates and amendments, which go into effect immediately at the 2024 GRAMMYs, aimed at making the GRAMMY Awards process “more fair, transparent and accurate”, according to Recording Academy CEO [Harvey Mason jr.](https://www.grammy.com/artists/harvey-mason-jr/4668)

“Each and every amendment was created exactly with this in mind: openness, transparency, fairness,” Mason jr. [told GRAMMY.com in an interview](https://www.grammy.com/news/recording-academy-ceo-harvey-mason-jr-discusses-2024-grammys-new-rules-guidelines) earlier this month. “Every process that we undertake — every amendment or change to our Awards process that gets initiated — is done to make the process more fair, transparent and accurate. And when we find things that can be improved, we're in the position now to be able to make those changes, thankfully. Everything you're seeing now is with the goal of being better and more accurate, honoring more music fairly and in relevant fashion, and making sure the process is transparent, fair and working.”

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**Key dates for the 2024 GRAMMY Awards season are as follows:**

**Oct. 1, 2022 – Sept. 15, 2023**\
Product Eligibility Period 

**July 17, 2023 – Aug. 31, 2023**\
Online Entry Period 

**Oct. 11, 2023 – Oct. 20, 2023**\
First Round Voting 

**Nov. 10, 2023**\
Nominees Announced for the 66th Annual GRAMMY Awards 

**Dec. 14, 2023 – Jan. 4, 2024**\
Final Round Voting 

**Feb. 4, 2024**\
2024 GRAMMY Awards

Learn more about the upcoming [2024 GRAMMY Awards season](https://www.recordingacademy.com/awards/faq). View the official [Rules and Guidelines for the 2024 GRAMMY Awards](https://www.recordingacademy.com/awards/rules-guidelines). Visit the [GRAMMY Award Update Center](https://www.recordingacademy.com/awards/awards-updates) for a list of real-time changes to the GRAMMY Awards process.

Keep watching this space for more information about Music’s Biggest Night! 

*^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. Paramount+ Essential subscribers will not have the option to stream live, but will have access to on-demand the day after the special airs.*

[Recording Academy CEO Harvey Mason Jr. On How The New Awards Rules And Guidelines Will Make The 2024 GRAMMYs More Fair, Transparent &amp; Accurate](https://www.grammy.com/news/recording-academy-ceo-harvey-mason-jr-discusses-2024-grammys-new-rules-guidelines)

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2024 GRAMMYs Air Date & Nominations Date Announced

Air Date For 2024 GRAMMYs Announced: Sunday, Feb. 4, Live In Los Angeles; GRAMMY Awards Nominations To Be Announced Friday, Nov. 10, 2023

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## 66th ANNUAL GRAMMY AWARDS: KEY DATES

| Oct. 1, 2022 – Sept. 15, 2023 | Product Eligibility Period For Entries |
|----------|----------|
| July 10, 2023 – Aug. 24, 2023 | Media Company Registration |
| July 17, 2023 – Aug. 31, 2023 | Online Entry Process (OEP) Access Period |
| Oct. 11, 2023 – Oct. 20, 2023 | First Round Voting |
| Nov. 10, 2023 | Nominees Announced for the 66th Annual GRAMMY Awards |
| Dec. 14, 2023 – Jan. 4, 2024 | Final Round Voting |
| Feb. 4, 2024 | 66th Annual GRAMMY Awards Show Date/Telecast |

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10 Ways Britney Spears' "...Baby One More Time" Changed Pop Music Forever

Released 25 years ago on Sept. 29, 1998, Britney Spears' iconic pop confection was a musical thunderbolt. GRAMMY.com revisits "...Baby One More Time," and 10 ways Spears' debut single changed the musical landscape forever.

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The song announces itself with a now-iconic two note keyboard riff. Then, the track's introductory words, so simple yet sultry: "Oh, baby baby." An electronic drumbeat clicks in and once the groove gets going, we're well on your way to music infamy.

Released 25 years ago on Sept. 29, 1998, [Britney Spears](https://www.grammy.com/artists/britney-spears/15406)' debut single, "...Baby One More Time," was a perfect pop confection. The title track of Spears' 1999 debut album,  "...Baby" made an instant superstar out of the Louisiana native and earned her a GRAMMY nomination for Best Female Pop Vocal Performance. 

The momentous track also helped usher in a new era of pop music culture, sound and production. Aside from making a household name out Spears and inspiring countless pop songstresses in her wake, it kicked off a historic streak of smashes for its enigmatic producer [Max Martin](https://www.grammy.com/artists/max-martin/15284), became one of the MTV generation's most iconic music videos and, for a time, shifted the center of pop from Los Angeles to Stockholm, Sweden.

In honor of its milestone anniversary, from its earworm sound, infamous video and commercial success, read on for 10 ways "...Baby One More Time" changed pop music and American culture forever.

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### It Marked Britney Spears' Big Break

Long before Spears turned into one of music's most recognizable stars, she was just another fledgling young singer searching for her way in the ruthless industry. 

After stints as part of "The New Mickey Mouse Club" and a turn on "[Star Search](https://www.youtube.com/watch?v=wWuK5EnXaWU&pp=ygUac3RhciBzZWFyY2ggYnJpdG5leSBzcGVhcnM%3D)," the young singer dodged two life paths that could have changed everything. First thinking that she'd develop a sound similar to [Sheryl Crow](https://www.grammy.com/artists/sheryl-crow/1553), Spears then nearly joined the R&amp;B girl group Innocence. But once the Kentwood, Louisiana native signed with Jive Records — which  had a working relationship with a group of buzzy producers in Sweden — the teen singer's future was sealed. 

### The Song's Success Recentered Pop Production In Sweden

Jive executives had early success with the visionary Swedish producer Denniz Pop, who had a dream that his Nordic country would become the center of popular music. First producing hits for Ace of Base such as ["All That She Wants,"](https://www.youtube.com/watch?v=d73tiBBzvFM&pp=ygUeYWxsIHRoYXQgc2hlIHdhbnRzIGFjZSBvZiBiYXNl) the mastermind subsequently crafted the [Backstreet Boys](https://www.grammy.com/artists/backstreet-boys/12933)' iconic sound (including ["As Long as You Love Me"](https://www.youtube.com/watch?v=0Gl2QnHNpkA&pp=ygUWQXMgbG9uZyBhcyB5b3UgbG92ZSBtZQ%3D%3D)). His Cheiron Studios in Stockholm was named after the wise centaur who played a Lyre in Greek mythology. 

Just as his dream was coming true however, the producer was diagnosed with stomach cancer and died one month before the release of "...Baby One More Time" in August 1998. But while sick, he passed on his techniques and vision to a range of mentees including Max Martin, a former rocker turned pop-producer. "(The Cheiron sound is) direct, effective, (and) we don't show off," Martin [said in 2001.](https://www.theguardian.com/music/2018/aug/11/britney-spears-making-baby-one-more-time) 

### It Launched Max Martin's Historic Career…

The melody of "...Baby" came to Martin as he was falling asleep. Not wanting it to escape him, he recorded it. "I remember listening back to (the tape) after (the song) blew up and you can hear me sort of go: 'Hit me baby one more time,' he recalled in a [1998 interview](https://www.theguardian.com/music/2018/aug/11/britney-spears-making-baby-one-more-time) of the song he'd later write and producer. "Then I hear myself say, 'Yeah, it's pretty good.'" 

"...Baby" later became his first No. 1 *Billboard* Hot 100 hit of his ongoing career, a feat he reached a whopping 25 times with songs ranging from Taylor Swift's "Shake it Off" and "Blank Space" and The Weeknd's "Can't Feel My Face" to name a few. In fact, Martin is second-only to Paul McCartney and John Lennon as the songwriter with the most No. 1 hits in the history of the charts. 

### …And Changed The Trajectory Of TLC's

[TLC](https://www.grammy.com/artists/tlc/15935) almost recorded the future smash. However, the R&amp;B group were turned off by its lyrics, thinking that "Hit me" was meant to be taken literally. 

[Said](https://www.theguardian.com/music/2018/aug/11/britney-spears-making-baby-one-more-time) TLC member T-Boz of the decision: "I was like: 'I like the song but do I think it's a hit? Do I think it's TLC?' … Was I going to say 'Hit me baby one more time'? Hell no!" TLC would go onto record "No Scrubs" and "Cool" and "Unpretty," both of which marked the end of their hit-making era. 

### It Established Spears' Signature Sound

Spears understood the melodic power of "... Baby One More Time" immediately. 

"The whole song is about that stress that we all go through as teens," Spears told *[the Guardian](https://www.theguardian.com/music/2018/aug/11/britney-spears-making-baby-one-more-time)* in 2018. "I knew it was a great song. It was different and I loved it, (but) I don't think you can anticipate how a song is going to be received." 

Martin was a big part of that. "I think Max is a genius. It all just came together and felt right. In my opinion Max is the greatest songwriter of all time." For their efforts, *[Rolling Stone](https://www.rollingstone.com/music/music-lists/greatest-debut-songs-singles-990470/?list_page=2#list-item-10)* later called "...Baby One More Time" the greatest debut single of all time. 

### It Ushered In A New Pop Era

The first time Spears heard her song, she just hopped off an airplane. "It was so weird because we'd just got in the car, I'd just shut the door, and it came on," she recalled to *[Variety](https://variety.com/2018/music/news/britney-spears-interview-baby-one-more-time-1202992541/)*. "It was so overwhelming, I just started screaming. It was really cool, though." 

In the fall of 1998, it debuted at No. 17 and hit No. 1 on the Billboard Hot 100 for two consecutive weeks, later spending 32 weeks on the Hot 100 and earned platinum status. Speaking to its influence, the radio programmer Clark Ingraham later told *[the Guardian](https://www.theguardian.com/music/2018/aug/11/britney-spears-making-baby-one-more-time)*, "We'd been through an alternative cycle in the early to mid-'90s, and something of an R&amp;B cycle after that. Britney was among the first big artists in a pop cycle that began in the late 1990s and continued into the early 2000s." 

### The Music Video Is Iconic

One month before the song was released, Spears and director Nigel Dick descended on Venice High School in Los Angeles. Originally conceived as a cartoon, it was Spears who pushed for the now-infamous schoolgirl concept that exploded onto television screens. 

"The beauty of the video on some level is there's nothing fancy about it," Dick told *[Billboard](https://www.billboard.com/music/pop/britney-spears-baby-one-more-time-video-nigel-dick-interview-8481537/)* in 2018. "It's very… ho-hum isn't quite the word, but it's very ordinary on some level, which is, I think, one of the reasons (why) Britney shines is because it's all about Britney." 

Nominated for four MTV Video Music Awards, the channel's "Total Request Live" called the video the [Most Iconic of All Time.](https://www.legacyrecordings.com/2018/10/19/global-pop-icon-britney-spears-debut-single-baby-one-more-time-celebrates-20th-anniversary/#:\~:text=The%20companion%20music%20video%20released,long%2Drunning%20Total%20Request%20Live.)

### The Video Turned Britney Spears Into A Sex Symbol

For better or worse, Spears's image was solidified with the video, which showed her scantily clad and landed her on magazine covers the world over.  

When it comes to her schoolgirl look in the video, Dick told *[Billboard](https://www.billboard.com/music/pop/britney-spears-baby-one-more-time-video-nigel-dick-interview-8481537/)*: "My producer and the executive producer from the label — who are both women — go, 'No, I think that's a really good idea,'" he says of dressing the young star. "Music magazines said this artist was conceived by a bunch of dirty old men in a conference room wearing raincoats. Which, in my experience, was not how it occurred at all."

### It Earned Spears Her First GRAMMY Nomination

Aside from its immense commercial success, "...Baby One More Time" helped Spears earn nominations for Best New Artist and Best Female Pop Vocal Performance at the 42nd GRAMMY Awards. She'd later win Best Dance Recording for "Toxic," among eight career nominations. 

### "...Baby One More Time" Influenced Future Pop Songstresses

Britney Spears's debut and subsequent success influenced generations of young performers who were inspired by her voice, talent and image, altering an industry in her wake. 

Contemporaries including [Christina Aguilera](https://www.grammy.com/artists/christina-aguilera/1097), later superstars including [Miley Cyrus ](https://www.grammy.com/artists/miley-cyrus/18384)and [Katy Perry](https://www.grammy.com/artists/katy-perry/5726), and modern names ranging from [Dua Lipa](https://www.grammy.com/artists/dua-lipa/243376) to [Billie Eilish](https://www.grammy.com/artists/billie-eilish/251741) have all pointed to Spears as major influences. "I have loved Britney Spears her whole career," Lady Gaga [wrote](https://twitter.com/ladygaga/status/1459549706304974850?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1459549706304974850%7Ctwgr%5E7ab79abb0efb6afbe5e9fc8393162c7f97ba3a7e%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.harpersbazaar.com%2Fcelebrity%2Flatest%2Fa38311679%2Fbritney-spears-lady-gaga-had-the-sweetest-instagram-exchange%2F) in 2021. "I looked up to her and admired her strength. She empowered so many people, and still does."  

It's a stunning legacy, and it all started with a certain, unmistakable keyboard riff. *"Oh, baby baby!"*

[5 Ways Lorde's 'Pure Heroine' Helped Pave The Way For The Unconventional Modern Superstar](https://www.grammy.com/news/lorde-pure-heroine-10th-anniversary-royals-team-tennis-court)

10 Ways "...Baby One More Time" Changed Pop Music

Watch Coolio Call For A United "Hip-Hop Nation" After "Gangsta's Paradise" Wins In 1996 | GRAMMY Rewind

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The gangsta rap pioneer claimed his win "for the whole hip-hop nation," telling the audience at the Shrine Auditorium in Los Angeles, "West Coast, East Coast, worldwide — united we stand, divided we fall." For more new episodes of GRAMMY Rewind, visit GRAMMY.com/videos.

Watch Coolio Win A GRAMMY In 1996

Coolio took home the GRAMMY for Best Rap Solo Performance in 1996 for his No. 1 hit "Gangsta's Paradise."

Say She She's Big Year: How The NYC Disco Funk Group Made Sure The World Wouldn't Forget Them

Ahead of the release of their sophomore album, 'Silver,' the trio of operatic disco singers from Say She She revisit some of their favorite moments from the past year — from performing at Glastonbury to working with their favorite couture brand.

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The three members of[ Say She She](https://www.saysheshe.com/) are only home for what feels like "two seconds" — a much-needed but all too brief respite from a whirlwind year that included two records, nearly 100 performances and almost twice as many flights.

The Brooklyn-based trio of Piya Malik, Nya Gazelle Brown and Sabrina Mileo Cunningham perform a dizzyingly funky, operatic take on dance music — an entrancing and ever-danceable vein they dub "discodelic soul." For their groovy efforts, Say She She have garnered fans across multiple continents, topped radio charts and performed at some of the globe’s biggest festivals.   

And somehow, in the midst of international touring, Say She She managed to record their sophomore album, *Silver*. An expanded and sonically evolved take on their 2022 debut, *Prism*, the group’s latest drops on Sept. 29 with 16 tracks of earwormy disco ("Forget Me Not"), Bollywood-inflected vibes ("Find A Way") and politically-laced funk ("Norma").

"We’re all just doing the thing that we love. It is a lot of work, no one's denying that," Malik tells GRAMMY.com. "It's a lot of love and work and sacrifice and community helping us."

On *Silver*, the trio’s impeccable voices are front and center. All are classically trained vocalists, and their harmonic and personal bonds apparent. The ladies of Say She She first met in 2018 when Cunningham and Malik, who were neighbors in Manhattan’s Lower East Side, began casually writing songs. Each were involved with other groups — Malik performed with El Michels Affair and [Chicano Batman](https://www.grammy.com/news/chicano-batman-talk-creating-visibility-invisible-people-representation-latinos-media); she and Brown were both members of Brooklyn group 79.5 — and eventually became a trio. 

The rest, as they say, *c’est si bon*.  

In the brief interlude between tour stops, Malik, Brown and Cunningham reminisce about their favorite moments from the past year, creating *Silver* and their hopes for a more empowered future.

*This interview has been edited for clarity.*

## On Writing Their New Album, *Silver*

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**Sabrina Mileo Cunningham:** We planned the writing of the second album and did a nice writing camp in L.A. with our band. It was a labor of love. When we were planning when to do these writing sessions, we knew we wanted it to be a good chunk of time, but we definitely consulted the stars for a creative period of the year.

**Piya Malik:** If you ask any person who grew up as a Hindu, we consult the stars for everything.

**Cunningham:** That was definitely the most creative that I've ever personally felt. That was like channeling all sorts of different things. And yeah, it was just a really kind of wonderful and big, magical experience to write all those songs.

**Malik:** *Prism* was made in this kind of context of the fact that we were in a lockdown. And we had these old tape stems that we'd made with our friend Joey Crispiano that were originally meant to be demos and Sab and I had gone in and cut those. When we first started the band, it was really just a very quick thing.

And then, of course, we had COVID, and a lot of it was done remotely with all the production and the mixing and all that stuff, which is extremely difficult. Now, fast forward to *Silver*, we're all physically in the room during the process of the recording and the writing, just feeding each other's energy. And that absolutely changes things. Most of the lyrics were written on the spot — I think it's to do with capturing this excitement and this energy and this moment. 

**Nya Gazelle Brown:**  After we wrote "Questions," I think we all had to take a moment. I don't know if all the listeners would feel the same way, but there's a certain drive in that song — what the bassline is doing and what the drums are doing together — that creates this tension that physically works your body up. We had to have a moment of silence after we wrote it because we just couldn't believe that that came out of us.

## Championing Progressive Causes Through Their Music

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**Malik:** We are all political just by being who we are, not just because of the jobs and the experiences that we've had. Just by being women from diverse backgrounds with something to say, who have gone through some life experience. So why not allow our truest expressions to come out in our music?

In ["Reeling,"](https://www.youtube.com/watch?v=5wQrg2IYrRU&pp=ygULc2F5IHNoZSBzaGU%3D) there's a lyric, "Kick the door down, smash the ceiling, leave them reeling."So I think, again, you can see here, there's passion and rage, but also trying to be constructed and move forward. And we launched that single with a piece of evovinyl with Frank Moody and the [money goes towards climate change activism](https://earthpercent.bandcamp.com/album/franc-moody-say-she-she-evovinyl-earth05).

**Cunningham:** For "Norma," there were so many emotions that we were experiencing. Because we woke up and read in the *Times* that *Roe v. Wade* might be overturned, and we just came into the studio. I think half of us were crying, half of us were just pissed. And it was just a very visceral expression of exactly what we were feeling and there was just not really anything else we could write that day.

**Brown:** To be able to use our voices in such a forward way, standing for the things that we really truly believe in, was really important for me. It's really special when we see the audience relate to it and sing along and do the choreography. It just feels like we're united and that we're going to be okay.

**Malik:** \[Our tour had some\] all-ages shows, and you could see teenagers. And they were screaming the lyrics, and I got such *chills* on that stage watching them. I felt like they felt supported. *Okay, there are older women fighting for us*. Even if the government isn't, we're here fighting to try and make sure that things don't go so far to the right.

["Echo In The Chamber"](https://www.youtube.com/watch?v=cL7baBPawNk&pp=ygULc2F5IHNoZSBzaGU%3D) is about gun control and we've actually launched a [postcard writing campaign](https://www.instagram.com/reel/Cxik8iFOdup/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==); it's a [letter to senators](https://colemine.lnk.to/writealetter) that we're going to be including this on the mailouts with all of the vinyl …a campaign to help support the [Background Check Expansion Act](https://www.murphy.senate.gov/newsroom/press-releases/murphy-leads-47-senators-to-reintroduce-background-check-expansion-act#:\~:text=introduced%20the%20companion%20legislation%20in,or%20out%20of%20their%20home.). We need to do something to use our voice in a constructive way. We start every writing session and well, "What is it that we want to say and what are we mad about right now? What are we feeling and what's going on out there in the public?"  

Our live set and a lot of our music is there to uplift, and we believe the medium is the message. And so the way in which you present messages is important for how people receive them. So I love that our protest song, "Norma," is actually a space to dance and to make people get up. To protest, to fight for your rights, to defend that doesn't have to be violent. It can be a celebration too.

## Playing Glastonbury Four Times In 48 Hours…And Almost Getting Crushed

Say She She's Big Year - reeling

Say She She's Big Year body 5

**Brown: **There was so much drama getting our equipment to the recording \[of the BBC's live from Glastonbury coverage with Lauren Laverne\]. [Fatboy Slim](https://www.grammy.com/artists/fatboy-slim/2531) and [Lana Del Rey](https://www.grammy.com/artists/lana-del-rey/17822) were performing and their crowds were massive! So we had to get our gear from one place to the other and go through that crowd. It was just impossible. I don't know how many hours we waited to be able to get the stuff through the people.

**Malik:** Nya and I nearly got crowd crushed trying to run to the van and come back! They're waiting for our backline and there's an hour to go before we're meant to go tape. So we turn around and we look at each other and we're like, "Okay, get your boots on. There's no way we're letting this not happen." We managed to just lug the gear across the field and get it to the BBC in time and use some of their backline. 

Lauren Laverne \[is\] a childhood hero of mine. You never think of an Indian girl in the UK that Lauren Laverne's going to put you on the radio one day. Everyone in England watches this. My family are crying, tears of joy for once, instead of telling me, "What are you doing? This is not a proper job. Come home."

## Performing Sold-Out Shows At Iconic Venues

Say She She's Big Year - Astral Plane

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**Cunningham: **Opening for [Thee Sacred Souls](https://www.grammy.com/news/thee-sacred-souls-self-titled-debut-is-a-sweet-soul-love-story-penrose-records-daptone) at Brooklyn Steel was a real highlight. It was a sold-out show. We're all from New York, so the family was there and it just was such an incredible night.

**Brown:** Just the air was right, the sound was right. The energy was just so perfect. Everybody was waiting to experience the night and the magic was just so thick.

**Malik: **\[Playing\] the Hollywood Bowl was really special. [Portugal. The Man](https://www.grammy.com/artists/portugal-man/189186) are just the nicest people on earth; we'd met them some years back and stayed in touch. And so, it was crazy that they invited us to open for them for the Hollywood Bowl. Who could have thought? We were practically an unheard of band — people wait their whole lives to play the Hollywood Bowl. And it's special for the boys \[in the backing band\] because they're from LA. \[The venue holds\] 17,000 people and it's a sold-out show and we didn't know that until afterwards. 

## Making Their National TV Debut On "CBS Sunday Morning"

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