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Miranda Lambert

Miranda Lambert

Photo: Ellen Von Unwerth

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Miranda Lambert On Her GRAMMY-Nominated 'Wildcard' miranda-lambert-talks-her-new-grammy-nominated-album-wildcard-pistol-annies-more

Miranda Lambert Talks Her New GRAMMY-Nominated Album 'Wildcard,' Pistol Annies & More

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The country superstar is up for two major awards for her solo work and for her latest album with her supergroup, Pistol Annies, at the 2020 GRAMMYs this month
Dan Weiss
GRAMMYs
Jan 10, 2020 - 2:44 pm

Maybe your favorite artist of the last decade is Taylor Swift or Beyoncé or Drake. For me, it's Miranda Lambert, who, 17 years ago, was a runner-up on singing competition TV show "Nashville Star" during its debut season in 2003. Two years later, she exploded onto the country charts with the Stones-y "Kerosene," the title track off her 2005 debut album, followed by 2007's extraordinary, and hard-rocking, Crazy Ex-Girlfriend, one of the best country albums of the 2000s.

As her encore, she hit pay dirt with the 2009 GRAMMY-winning ballad "The House That Built Me" and 2011's raucous, Kacey Musgraves-penned "Mama's Broken Heart." Over the last decade, she's unleashed a streak of solo albums, including 2014's Platinum, which won the Best Country Album GRAMMY, as well as three collaborative LPs as part of Pistol Annies, her astounding trio alongside Ashley Monroe and Angaleena Presley. 

Last November, Lambert released her seventh solo album, Wildcard. Her most pop-oriented project since Platinum, Wildcard features beautiful little ditties ("Bluebird"), surprising rockers ("Mess With My Head") and traditional honky-tonk fare ("Tequila Does"). 

This month, Lambert is pulling double duty at the GRAMMYs. She's nominated for Best Country Song for "It All Comes Out In The Wash," the lead single off Wildcard. She's also up for Best Country Album for 2018's Interstate Gospel, Pistol Annies' third studio album. 

Ahead of her big night at the 62nd GRAMMY Awards, which take place Sunday, Jan. 26, and will be broadcasted live on CBS at 8 p.m. ET/5 p.m. PT., Lambert spoke to The Recording Academy about her unprecedented winning streak and its myriad inspirations. 

Pistol Annies started out as this fun, breezy thing, but Interstate Gospel is darker than the group's first two albums. It feels like a switch where your new solo album, Wildcard, feels like a relief from the heaviness this time rather than the other way around. Was that a conscious decision?

It wasn't. Actually, I'd never thought about it until you just said it. But yeah, I guess you're right! That's the beauty of art, you know? Especially being in a girl band, where it's three different stories, so we kind of balance each other… meet each other all in the middle.

Did it feel like you all had more sad stories last time?

I honestly just think we were more grown-up, if that makes sense. I don't think we were actually sadder, we just lived a lot more life.

Is it harder for you to write more breezy, fun kind of songs than more reflective, mature ones?

I think it just depends on the time and the day and where you are in your personal life and who you're writing with. I mean, there are so many factors as to what mood you're gonna be in.

Read: Miranda Lambert's Connection With Elton John's "My Father's Gun" Song

Right. For me, the theme on Wildcard that stuck out is that line, "Life's pretty good if you live it." There's this upbeat feel to most of it. Did you set out to write that way?

I did. I wrote for this record in the way of wanting to have a little fun and letting myself off the hook. I wrote a pretty heavy singer-songwriter record with The Weight Of These Wings. And also, you really have to factor in playing live, what you're missing on the stage and what you want to give your fans.

Miranda Lambert Wins Best Country Album

Some of the songs on Wildcard, like "Mess With My Head," embrace this almost digital-sounding pop production. Maren Morris guests on the album, and she and Kacey Musgraves have done some very pop and electronic stuff recently. Are you flirting with going in that direction more?

I don't know, I'm open to new things. The way we put music down is all changing so quickly—literally day to day, it can change—and I'm not trying to be too old school. I mean, I'm old-school romantic about putting out country records; that's just what I do. But I know I want to stay in the game and go with whatever the changes are, so I'm trying to be flexible.

To me, "Holy Water" feels like a whole different other kind of experiment. It showcases your vocal abilities more than ever before. Did you do anything special to prep your voice for that one?

I love blues and swampy music, soul music, so it just was my take on it. I think there's just a lot of influence from everything I listen to, and love came a little more through my own art. I got into a listening party with myself. I got on a Fleetwood Mac and Led Zeppelin and Rolling Stones kick and Bob Seger really hard the last year. Not that I didn't know those artists before, I just hear them differently for some reason. When you get older, you hear different things coming through.

More and more people are unafraid, and it's very necessary lately to be outspoken feminists in country and everywhere now. I wanted to know if you think it's finally starting to impact county radio.

I do think it's shifting. I'm getting a single played right now, and I'm thankful for that. I don't know how quickly it will shift and I don't know how balanced it will become, but I do feel like it's getting better. Someone asked me in an interview before this one if I needed radio, and I said yes, because I can see from the stage [that] country music is its own thing; it's not like any other genre. So if you've been an established country artist for a long time, we're not like grandfathered into the new system. We still need our old-school ways, to be honest. I can see in the towns that I play in, the people singing along, that they've heard the song, and it helps.

What do you think when you look back on your work from the 2010s? For example, can you hear a progression from your Pistol Annies debut album, Hell On Heels, from 2011 compared to Wildcard now?

I'm always trying to reinvent myself and find a new sound, but there's always such a common thread in my music. I think my life actually caught up with my writing. As a young writer, I didn't have a lot of life to write about, but I worked with other people. "Love Is Looking For You" [off 2005's Kerosene] was deep, and I didn't even get it until I actually lived through it my own self. But like I said, when I hear "Mess With My Head," which is my new "innovative" song, and then I hear "Kerosene," I think I'm pretty consistent with my statements and my sounds.

Is it easy to balance your solo career and schedule with Pistol Annies?

It is because we don't put too much pressure on the Annies. We all let our solo careers take first priority because that's the bread and butter. But I think that's what made it work because it's not too often; Annies is just whenever we have time and whenever the spirit moves us, if you will. That's what the magic about it is: It's not all the time and we don't have the pressure of an album cycle. That's what makes it fun and not so work-y.

Are you doing any wild arrangements for the Wildcard songs live? A backup choir on "Holy Water," perhaps?

I just have my band! I've got a huge band now because we've grown organically over time. I've got some guys who've been with me for 15-18 years and I've got some guys we just added just because some of them are getting old and can't play the whole show. [Laughs.] I have a keyboard player who sings great background vocals and my friend Gwen Sebastian who's an amazing singer. We're not like fancy on the road. We have a great production right now and a beautiful set, but we just go up there and play the songs. There are not a lot of tricks and craziness and pyro and all that. We rely on how good the band is, and that's what makes me comfortable.

Are there any secretly melancholy moments on Wildcard that all the fun and lightness distract from?

If there [were] a moment, it's "Dark Bars." I do "Tin Man" every night still. I tell the crowd I'm not sad right now, but I love sad songs. I'm not afraid to just go in a hole with, like, Gary Stewart and just get sad for hours on end on my porch, or John Moreland, someone who takes you to a place. That's what John Prine does, that's music. You don't have to live in it, but it's OK to go feel that for a minute. I feel like "Dark Bars" is that song for this record.

It's so funny that you mentioned Gary Stewart. I only just discovered him and so much of his stuff is out of print, and it's amazing.

It's a-mazing!

"She's Actin' Single (I'm Drinkin' Doubles)." "Brand New Whiskey." I was so blown away. I don't have a good sense of how big he was. I guess his heyday was country radio from before I was born, but people should really know those songs.

So now you understand the Gary Stewart hole. [Laughs.] It's one where if you don't drink, you want to start. 

Listening to something like "Tequila Does," I was thinking, "This is so Gary Stewart."

"Tequila Does" is my favorite song on the record.

That's hard for me to pick. Today I finally caught the lyrics in "Locomotive," and I was just laughing at the little jokes like, "I totaled his truck / But he loves me just the same."

There's a lot of humor on this one. And about six months ago, I did run into my husband's car with my car in the driveway, so… [Laughs.]

Was it actually totaled?

No, no. But you've gotta have poetic license.

Here Are The Nominees For Best Country Song | 2020 GRAMMYs

Lizzo

Lizzo

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Lizzo, More To Perform At The 2020 GRAMMYs billie-eilish-lizzo-aerosmith-gwen-stefani-and-blake-shelton-perform-2020-grammys

Lizzo, Billie Eilish, Aerosmith, Gwen Stefani And Blake Shelton To Perform At The 2020 GRAMMYs

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Some of music's biggest stars will take the stage at the 62nd GRAMMY Awards, taking place Sunday, Jan. 26, 2020, and broadcasting live on CBS at 8 p.m. ET/5 p.m. PT
GRAMMYs
Jan 8, 2020 - 6:32 am

Get ready to #UnexpectEverything as the first wave of performers for the 62nd GRAMMY Awards has been announced. Artists taking the stage on Music's Biggest Night are first-time nominee breakout stars Billie Eilish and Lizzo, who will each make their GRAMMY stage debuts; powerhouse artists Blake Shelton and Gwen Stefani, who will take the GRAMMY stage together for the first time ever; and four-time GRAMMY winners and 2020 MusiCares Person of the Year Aerosmith, who will perform a medley of some of their legendary hits. It all goes down on Sunday, Jan. 26, 2020, live from STAPLES Center in Los Angeles and broadcasted live on the CBS Television Network at 8 p.m. ET/5 p.m. PT.

Rock icons Aerosmith make their triumphant return to the GRAMMY stage this month as performers, nearly 30 years after making their GRAMMY stage debut at the 33rd GRAMMY Awards in 1991. In addition to their career-spanning performance, the legendary band is also being honored as this year's MusiCares Person Of The Year, which will recognize their considerable philanthropic efforts over five decades as well as their undeniable impact on American music history. Through the years, Aerosmith have shown support for a number of charities around the world, including frontman Steven Tyler’s Janie’s Fund.

The 2020 GRAMMYs will also feature highly anticipated debut performances from two of the biggest breakout artists of the past two years: Billie Eilish and Lizzo. 

First-time GRAMMY nominee and performer Billie Eilish is in the running for some of the night's biggest awards, including: Best New Artist; Album Of The Year and Best Pop Vocal Album for her 2019 album, When We All Fall Asleep, Where Do We Go?; and Record Of The Year, Song Of The Year and Best Pop Solo Performance for album single "Bad Guy."

Lizzo, who received the most nominations at the 2020 GRAMMYs with a total of eight nods, is making her debut as both a GRAMMY nominee and performer this month. She's up for several major awards, including Best New Artist. Her 2019 album, Cuz I Love You [Deluxe], is also up for Album Of The Year and Best Urban Contemporary Album, while album track "Truth Hurts" is nominated for Record Of The Year, Song Of The Year and Best Pop Solo Performance. Album tracks "Exactly How I Feel" and "Jerome" are also nominated for Best R&B Performance and Best Traditional R&B Performance, respectively. 

Taking the GRAMMY stage together for the first time ever, three-time GRAMMY winner Gwen Stefani will perform alongside Blake Shelton, a current GRAMMY nominee who's up for Best Country Solo Performance for his 2019 track, "God’s Country."

Tune in to the 62nd GRAMMY Awards, which are once again hosted by Alicia Keys, on Sunday, Jan. 26, 2020, and broadcasting live on CBS at 8 p.m. ET/5 p.m. PT to catch all these amazing performances and to see who will take home the night's biggest awards. 

Camila Cabello, H.E.R., Jonas Brothers, Bonnie Raitt & More To Perform At The 2020 GRAMMY Awards

Entertainment Law Initiative 2020 Event

22nd Annual Entertainment Law Initiative (ELI) Event & Scholarship Presentation | GRAMMY Week 2020

Photo: Jesse Grant/Getty Images for The Recording Academy

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GRAMMY Week 2020: ELI Event Embraces Change grammy-week-2020-entertainment-law-initiative-event-celebrates-change-makers-and

GRAMMY Week 2020: Entertainment Law Initiative Event Celebrates Change-Makers And Discusses Today's Most Pressing Issues

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As the music industry continues to evolve, the Recording Academy recognizes those at the vanguard of entertainment law and the leaders pushing the profession forward
John Ochoa
Advocacy
Jan 31, 2020 - 7:47 am

They say change is the only constant in life. That's a mantra by which the music industry lives. And when it comes to entertainment law, change is what drives the business forward. 

Change is the theme that defined the 22nd Annual Entertainment Law Initiative (ELI) Event & Scholarship Presentation, the most prominent gathering for entertainment attorneys and other music business professionals during GRAMMY Week. Every year, the ELI event unites the music business community and addresses some of the most compelling issues facing the music industry today. The 2020 ELI event—held last week (Friday, Jan. 24) as an official GRAMMY Week event at the Fairmont Miramar Hotel in Santa Monica, Calif.—honored an industry luminary initiating change today while also recognizing some future leaders in law. 

For over two decades, ELI has addressed the shifting landscape of entertainment law head on, providing a forum for legal thought leaders and honoring its own practitioners who are ensuring the industry adapts to the ever-changing music and entertainment industry. 

It's no wonder, then, that this year's ELI Service Award honored Jeff Harleston, a music industry veteran who has faced virtually every sea change to directly challenge the entertainment law field. 

"Over the last 25 years or so, no industry has experienced more change than the music industry," Sir Lucian Grainge, chairman and CEO of Universal Music Group, said in his opening remarks at the gathering. "But throughout this period of turmoil and transformation, there've been two constants. First, amazing artists making great music. And secondly, as if you didn't know by now, Jeff Harleston's extraordinary sound judgment."

Harleston, who currently serves as the general counsel and executive vice president of business and legal affairs at Universal Music Group, has been a champion for artists and creators throughout his decades-long career. Across his days as the head of the business and legal affairs department at MCA Records in the late '90s to his time as general manager of Geffen Records, Harleston has worked with iconic artists like Mary J. Blige, Nelly Furtado and Snoop Dogg, among many others. 

"There's no bigger friend to artists than Jeff," three-time GRAMMY winner Common said of Harleston in a personalized tribute video. "So you can call Jeff a general counsel or a board member or a role model. They all fit. But I'll continue to call him a friend. He's a true advocate for artists. And I couldn't be prouder of the recognition he's receiving today."

ELI 2020 - Jeff Harleston - Sir Lucian Grainge

Making his way to the stage, the crowd offering a well-deserved standing ovation, Harleston addressed the room with pride and jubilation in his voice and optimism in his sight. 

"This is to the lawyers in the room," he said. "At times, we know being a lawyer in the music business can be an entirely thankless task, but we love it because we love music… But most importantly, we have learned to work together. And what we've been able to do when we work together is move it forward really well. We move things forward legislatively, we've empowered new services that are finding ways to bring our music and the artists' music to places they've never been before. And it's all because we've allowed ourselves to respect each other and trust each other. I really am happy to see that happen and I really hope that we can continue that spirit." 

As he remembered his extensive career and all that he and his colleagues have together accomplished for the industry and the wider artist community, he took a moment to acknowledge the road ahead for entertainment law and the challenges to come. 

"As I reflect on my almost-27 years in this business," he said, "there's one thing that's clear about the music business: the constant is change. Change happens all the time... But what we have to do and what we've learned to do... we've learned to deal with the change. And change is hard. It can be abrupt. It can be unexpected. It can be painful. But it's important, and it has to happen.

"We are in the midst of a change as we speak. But I know that we are strong and resilient, and we will get through it. And when we come out the other side, we will be better, we'll be stronger and the world will be great. In the words of Bob Dylan, 'The times, they are a-changin’."

Fittingly, Dylan's eternal lyrics and Harleston's remarks nod to the ever-evolving music industry and the modern issues it faces, many of which were addressed by the entrants of the 2020 ELI Writing Competition. 

As one of its core elements, ELI has supported promising law students and has fostered future careers in entertainment law, having provided more than 800 students with scholarships to date. The event's popular yearly student writing competition and scholarship presentation acknowledge the outstanding law students who are seeking to push entertainment law into the future.

This year's writing competition entrants, who each addressed a compelling legal issue confronting the music industry and proposed a solution in their essays, tackled some of today's most timely and pressing matters in the field.

Christopher Chiang, a student at University of California, Los Angeles (UCLA) School of Law, won the writing competition with an essay proposing a sliding scale framework for copyright protection in music. Chiang was presented his award, which came along with a $10,000 scholarship and tickets to various GRAMMY Week events, onstage by Ken Abdo, a partner at Fox Rothschild who has been involved with the ELI Writing Competition since its beginnings. Runner-ups included John Gilbertson, a student at Drake University School of Law in Des Moines, Iowa, and Graham Fenton from UCLA Law. 

ELI 2020 - Christopher Chiang - Ken Abdo

Perhaps the most urgent issue and forthcoming change to affect the music industry today comes via California Assembly Bill 5, more commonly known as AB5. The newly passed state statute aims to protect workers in the "gig economy," namely Uber drivers. However, its impact on the music industry could prove detrimental. (Music creators, particularly those who work as independent contracts, such as studio musicians or session/backing players, would potentially need to be recognized as employees and/or employers in order to secure work, which in turn entails a more complicated hiring process and higher fees for one-time gigs and short-term projects and performances.) Having gone into effect at the beginning of 2020, AB5 today stands as one of the most timely and important issues for music creators' rights in 2020.

In a panel that followed remarks by ELI Executive Committee Chair Michael Kushner, who is executive vice president, business & legal affairs and general counsel at Atlantic Records, some of the brightest and most active voices in the battle over AB5 spoke of the well-intended law and its potentially damaging effect on the music industry.

"AB5 is the definition of the 'law of unintended consequences,'" said Jordan Bromley, a partner at Manatt Entertainment Transactions & Finance. "It was meant to hit a certain sector of California industry, and it [was] painted with such a wide brush that everyone is affected, unless there's a specific exemption in the bill. I would say the one way to look at it is if somebody is providing you or your company or your artists or your producer or your songwriter a service that is 'core to the business,' they are now your employee."

Since its passing, the music biz and artist community have largely banded together to address AB5, with many from both sides of the industry launching online petitions and meeting with California lawmakers directly in an attempt to secure exemption from the law on behalf of the wider music industry. 

Ari Herstand, an independent musician, author and music industry blogger, has been at the forefront of the AB5 debate since it went into law. He's since gathered 50,000 petitions from California music professionals who are against the law. 

"We're 20-something days into this thing right now, and I'm literally gathering stories every single day from musicians who are losing work," he said. "I've hundreds of documented cases of musicians in California that are losing work."

Daryl Friedman, Ari Herstand, Morgan Kibby and Jordan Bromley at 2020 Entertainment Law Initiative event

But much like any other major change to impact the business, the music industry is already making headway into addressing and alleviating the issues of AB5.

Both Bromley and Herstand agree education is a key component in pushing things forward.

"The unions ran the bill," Bromley said. "The unions will run the next bill, most likely. So we need the unions on board. They're all conceptually there... It's frankly a lot of education on our business because it's weird and wacky and nuanced. And even some of the unions that exist in our business don't really understand how it's evolved in the last 10 years. So it's just a lot of patience and education, but everyone's at the table and everyone is focused on a solution."

"There needs to be education," Herstand added. "Right now, because of all of the hysteria around this—that's why so many musicians are literally losing work every day. So as soon as this—hopefully it's an urgency bill—passes, everybody needs to write about it. Every lawyer needs to know this to be able to educate. So I encourage everybody here to follow this process along and, once this thing gets passed, to educate your clients on what is actually happening and that we have found a fix, hopefully."

Panel moderator Daryl Friedman, Chief Industry, Government and Member Relations Officer for the Recording Academy, concluded the chat on a high note of optimism regarding the road ahead with AB5.

"It's going to be a lot of hard work by a lot of people," he said. "Hopefully a year from now, we will realize that this has been fixed. But I think there's also another lesson that is more enduring: the lesson of when creators get involved [and] when creators speak. They make the difference here. When creators speak, policymakers listen."

It's the exact kind of dialogue that has come to define the ethos and vision of ELI throughout the decades: When change comes a-knockin', we will be there to adapt, listen, learn and educate. 

The Entertainment Law Initiative maintains its support for the music industry as a whole, from its creators to its executives to its attorneys, and will continue to foster the next generation of change-makers within the music business and legal community for decades to come.

What's Ahead In 2020 For Music Creators' Rights?

Gloria Gaynor

Gloria Gaynor

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2020 GRAMMY Celebration: Gloria Gaynor To Headline gloria-gaynor-and-cheap-trick-headline-2020-grammy-celebration

Gloria Gaynor And Cheap Trick To Headline The 2020 GRAMMY Celebration

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One of the year's most anticipated industry events, the night will also feature a live performance from current GRAMMY nominee Sara Gazarek
GRAMMYs
Jan 16, 2020 - 7:03 am

Today (Jan. 16), the Recording Academy announced rock legends Cheap Trick and GRAMMY winner Gloria Gaynor as headliners of the exclusive 2020 GRAMMY Celebration, the official after-party honoring this year's winners and nominees of Music's Biggest Night. One of the most anticipated industry events of the year, the 2020 GRAMMY Celebration will take place at the Los Angeles Convention Center immediately following the 62nd GRAMMY Awards on Sunday, Jan. 26. (The 2020 GRAMMY Celebration is a private, ticketed event.)

The 2020 GRAMMY Celebration will also feature a live performance from GRAMMY nominee Sara Gazarek, who's nominated for Best Jazz Vocal Album this year. Michelle Pesce will serve as the evening's DJ.

Read: 2020 GRAMMY Awards: The Complete Nominees List

The Recording Academy will produce the post-telecast 2020 GRAMMY Celebration, overseeing the entertainment, décor and logistics involved in bringing the annual event to life. More than 5,000 after-party guests, including GRAMMY winners, nominees, industry executives and celebrities, will be taken on an exotic trip through North Africa with influences of Casablanca. The event will feature Moorish architectural details and décor, a Moroccan-themed menu and unforgettable live performances.

Guests will indulge in the masterful culinary skills of "Top Chef" winner Joe Flamm, former Executive Chef of Chicago's Michelin-starred Spiaggia and Café Spiaggia, primed to open his debut restaurant in Chicago's Fulton Market District this summer. Flamm, in partnership with Levy Restaurants, has curated an innovative menu to complement the unique theme of this year's GRAMMY Celebration. The menu will feature four North African-inspired food stations inclusive of appetizers, entrees and desserts, all with a modern twist.

Live from STAPLES Center, and hosted by Alicia Keys, the 62nd GRAMMY Awards will be broadcast live in HDTV and 5.1 surround sound on the CBS Television Network Sunday, Jan. 26, 2020, at 8:00 p.m. ET/5:00 p.m. PT.

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Lizzo performs at 2020 GRAMMYs

Lizzo performs at 2020 GRAMMYs

 

Photo: Kevork Djansezian/Getty Images

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Poll: Who Was Your Favorite Performer At The 2020 GRAMMYs?

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From Lil Nas X's trippy multiverse to Lizzo's flute-tastic show opening, what was your favorite performance at this year's GRAMMYs?
John Ochoa
GRAMMYs
Jan 30, 2020 - 5:01 pm

The 62nd GRAMMY Awards may have passed, but we're still buzzing from this year's epic show. The 2020 GRAMMYs offered up another blockbuster showcase of powerhouse performances, exclusive collaborations and touching tributes during Music's Biggest Night. 

This year, the GRAMMYs hosted some of the biggest artists in music who delivered truly jaw-dropping performances all night long. With more than 20 genre-crossing performances, the 2020 GRAMMYs offered a taste of everything for music-hungry fans. 

Things kicked off in overdrive with an energetic, flute-tastic show opener from genre-bending superstar Lizzo, who delivered a stunning performance of her hit tracks "Cuz I Love You" and the GRAMMY-winning "Truth Hurts." Lil Nas X took us into the "Old Town Road" multiverse, with help from BTS, Billy Ray Cyrus, Diplo, Nas and Mason Ramsey, while Tyler, The Creator caused a literal earthquake with his performance of "New Magic Wand" and "Earfquake," alongside Charlie Wilson and Boyz II Men. 

The night also included memorable performances from Ariana Grande, Best New Artist winner Billie Eilish, alongside her brother and Producer Of The Year, Non-Classical winner FINNEAS, Rosalía, Jonas Brothers and many, many others. 

Polls

Poll: Who Was Your Favorite Performer At The 2020 GRAMMYs?

With so much music and so many performances packed into one awesome night, we wanted to know: Who was your favorite performer at the 2020 GRAMMYs?

Let us know by voting above!

2020 GRAMMY Awards: Complete Winners List

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