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Wayne Snow & Darius

Wayne Snow & Darius with "Equilibrium" vinyl

Photo: Courtesy of artist

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Record Store Recs: Darius & Wayne Snow record-store-recs-darius-wayne-snow-take-us-paris-berlin-tokyo-beyond

Record Store Recs: Darius & Wayne Snow Take Us To Paris, Berlin, Tokyo & Beyond

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The powerhouse pair's latest release, "APOLOGY," is an emotive, thumping track and was just dropped on Paris' Roche Musique on Oct. 1
Ana Monroy Yglesias
GRAMMYs
Oct 7, 2020 - 2:40 pm

With the unprecedented global disruption of 2020, it's important to support the music community however we can. With our series Record Store Recs, GRAMMY.com checks in with vinyl-loving artists to learn more about their favorite record stores and the gems they've found there.

Berlin-based Nigerian future soul artist Wayne Snow and Paris-based French dreamscape producer Darius are quite the musical force, with Snow's rich, inviting vocals being the perfect fit for Darius' floating melodic house beats. They first joined forces in 2015 on "Helios," following with two collab tracks ("Night Birds" and "Lost in the Moment") on the producer's 2017 debut album, Utopia. 2017 was also the year Snow released his debut full-length, Freedom TV.

The powerhouse pair's latest release, "APOLOGY," is an emotive, thumping track where the singer's angelic voice is backed by a gospel-inspired chorus asking for forgiveness in a dark world. The powerful, poignant track is the follow-up and B-side to "EQUILIBRIUM," and was just dropped on Paris' Roche Musique on Oct. 1.

For the latest Record Store Recs, Snow and Darius invite us into their musical world, sharing some of the music that inspires them (including jazz, bossa nova and experimental electronic music artists). They also invite us to crate dig for vinyls with them in their hometowns of Berlin and Paris and while on in Seoul, Tokyo and Los Angeles.

The Last Record Store Recs: El Guajiro Of Ghetto Kumbé Shares The Music & Rhythms That Inspire Him

Pick three to five records stores you love.

Darius:

Bigwax in Paris 

Hi-Fi Record Store in Tokyo 

Music Library in Seoul

Amoeba Hollywood in Hollywood, Calif.

Snow:

Oye Records in Berlin

Sound Metaphors in Berlin 

Hard Wax in Berlin

Another Record Store Recs: Chulita Vinyl Club On The Best Music Stores In L.A., Oakland, Austin & Beyond

Why do you love these shops? what kind of goodies have you found there? 

Darius: I have to talk about Bigwax because they are both our partners for years on all our Roche Musique releases and one of my favorite Parisian record stores. The place is super nice, spacious, modern and if you like electronic music, it's the perfect place to find house, techno and experimental nuggets. If you want to dig a little bit more, there is also a very sharp selection in hip hop, jazz, funk, disco, soul, etc. This is my favorite part because I always find at least one or two nuggets on the spot. Moreover, for someone of my generation it's really the ideal place to have a drink with friends because the place also regularly organizes events with DJ sets and live bands.

During my first visits to Tokyo on an Asian tour, I had the chance to discover Hi-Fi Records, this exceptional little record store in Shibuya owned by a couple! A friend of mine had taken me there and I remember listening to a small selection of soul and funk music taken at random and coming across some incredible stuff.

The store also offers a repertoire of a large number of records that can be pre-listened on the site. Unfortunately, if you don't live in Japan no delivery is possible but the advantage is that you can still discover their selection and I admit that I keep looking from time to time to find new nuggets when I want to feed my Spotify playlist.

Music Library is a bit of a must-see in Seoul if you're a music lover. When I'm in Seoul, I usually stay a five-minute walk from the Music Library. The space is bright and the architecture is beautiful. It's really nice to see that there are places like this that highlight the world of vinyl as well as a work of art in a museum.

Amoeba Hollywood is a classic in Los Angeles. I try to go there as soon as possible when I have time when I'm there. I 'm not an expert in the field either but I've never seen any other place with such a concentration of artists/albums of all kinds available. I have the impression that you can always find what you want in this record store, or almost.

Snow: At Oye Records you can find tons of local stuff from Berlin-based producers and record labels. While you're digging, they always play dope music. There are two Oye record stores in Berlin. My favorite is the small one in KreuzKolln as we say it here (between Kreuzberg and Neukolln area).

Sound Metaphors is for the party crew, there's a lot of weird disco and obscure rarities from Africa, Asia, etc.

Hard Wax is the home of techno music in Berlin. [German record producer/engineer] Moritz von Oswald started the record store. What's interesting is that it's full of dub and reggae records from the '90s. It's a very small shop with endless discoveries.

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Kenny Burrell The Tender Gender vinyl | Photo: Darius

Read: Terence Blanchard On The Music Behind 'Da 5 Bloods,' Working With Spike Lee And The Lasting Impact Of Marvin Gaye

For at least one of your favorite shops, share a recent record or two (or three or four…) you bought there and what you love about the record/artist. 

Darius: I have to mention Arthur Verocai's self-titled album (1972) because it's one that I listened to over and over on Spotify and I absolutely needed the vinyl. Luckily, I stumbled upon it completely by chance at Amoeba. For me, it's a must listen bossa nova/funk/Latin jazz album.

Kenny Burrell's The Tender Gender (1966) is a nugget I found in a garage sale in a small village in Charente-Maritime, France. I didn't know the artist until I bought it and the seller explained to me that this guitarist was one of the leading guitarists in jazz/blues.

I am gradually trying to expand my collection of Marvin Gaye vinyl. He inspires me in so many ways, and his story has touched me a lot. I also stumbled upon his [soundtrack] album Trouble Man (1972) by chance and took it without hesitation. There are a lot of his titles that I love and will never get tired of, like "Please Stay (Once You Go Away)," "Distant Love," "Just To Keep You Satisfied," "I'd Give My Life For You" and others.

Snow: I found a gem from Austrian musician Giuseppe Leonardi at Oye Records. His Mente Mente EP (2020) is Balearic vibe—tropical, chilled ambient music.

All That Jazz: Hank Mobley's 'Soul Station' At 60: How The Tenor Saxophonist's Mellow Masterpiece Inspires Jazz Musicians In 2020

What's a record you have your eyes on picking up and why?

Darius: Charlie Rouse's Yeah! (1961). This is jazz the way I love it, this album is a pure delight, I have no words to describe it. It's my last nugget. I feel like I'm there [when I listen to it], the quality of the recording is incredible. You can feel every instrument, the breath of Rouse's saxophone playing, the harmonies on the piano that puts us on a cloud, and the round and all-encompassing double bass that warms the heart.

This album really transcends me every time I listen to it. [The vinyl is] quite rare, I dream to have it in my collection and listen to it in an optimal way. I especially love the track "When Sunny Gets Blue."

Snow: Allysha Joy's Light it Again EP, being released on First World Records in November. She is an amazing artist from Melbourne. 

When crate-digging, how do you pick out records?

Darius: I still have a lot to discover, so there is a first big phase where I make a selection only related to the cover, for sure. Sometimes I come across artists/labels I know and add them to the pile. For me, that's what the record store is all about, it's the opportunity to try out records that fall into my hands that I'll never have the chance to find by chance on the internet.

Wayne Snow: Sometimes it's just a feeling, or simply based on a recommendation. Generally, when you are in a great shop you just have to listen to the music blasting around you.

Unearthing A Lost Ella Fitzgerald Recording, 60 Years Later

Polo & Pan

Polo & Pan

Photo: Olivier Ortion

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Record Store Recs: Polo & Pan Take Us To Paris record-store-recs-polo-pan-take-us-paris-les-balades-sonores

Record Store Recs: Polo & Pan Take Us To Paris' Les Balades Sonores

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The funky French electro duo also serve up a great list of recommended albums, including reissues from Tokyo's experimental electronic innovator Yukihiro Takashi and Lagos' '70s psych rockers Ofege
Ana Monroy Yglesias
GRAMMYs
May 27, 2020 - 1:15 pm

With the unprecedented global disruption of 2020, it's important to support the music community however we can. With our series Record Store Recs, the Recording Academy checks in with vinyl-loving artists to learn more about their favorite record stores and the gems they've found there.

Parisian electro-pop duo Polo & Pan, consisting of Alexandre Grynszpan and Paul Armand-Delille, are a beloved festival fixture across the globe, thanks to their upbeat, vintage-inspired brand of electro funk. Last year, the pair toured their joyful music tirelessly around the world, with major shows at Coachella, Spain's Vida and Paraiso fests, Israel's Garden of Babylone and Belgium's Paradise City Fest, to name a few.

They are currently working on their sophomore album, the follow up to 2017's vibrant Caravelle. Earlier this month, they dropped a teaser of what's to come, the Home Sweet Home mixtape, which you can enjoy below. As the hour-long project's intro explains, it includes "edits that we love and cherish, snippets of the upcoming album and other exclusive surprises."

We caught up with Grynszpan and Armand-Delille in a rare break from their productive quarantine studio time for the latest edition of our Record Store Recs series. Read on to learn more about the duo's favorite hometown record store and the epic list of records on their wish list.

Polo & Pan · Home Sweet Home (the mixtape)

More Record Store Recs: Chulita Vinyl Club On The Best Music Stores In L.A., Oakland, Austin & Beyond

Please pick a few record stores you love.

Les Balades Sonores in Paris, located at 1-3 Avenue Trudaine and currently offering shipping to Europe, North America, Brazil, Israel and Japan.

What do you love about this shop? What kind of goodies have you've found there?

One of the nicest record shops in Paris, Les Balades Sonores is located not too far from our label [Ekleroshock and Hamburger Records] offices. Great spirit, lots and lots of different genres of music. The record shop owners Toma and Esther are a charming and passionate couple. They have all the good stuff in-store: Brazilian and Japanese exotica rarities, classic electronic music LPs, the last trendy indie bands, a few old-school hip-hop classics, and of course all the '60s and '70s legendary jewels we love from the psych/pop/rock golden age. We just picked up a bunch of cool records there, with a new Italian favorite.

BeauMonde · Béliz - Mémoires | BeauMonde BM1908

More Record Store Recs: Jean Pierre Takes Us To Chicago, Brooklyn, Frankfurt, Amsterdam & London

What's a recent record or two you bought there and love?

Béliz's album Mémoires.

GRAMMYs

Polo & Pan vinyl selects | Photo: Courtesy of artist

What are some other recent releases you've recently picked up on vinyl?

[Fellow Ekleroshock artist] Andrea Laszlo de Simone's Immensità EP

[U.K. spoken-word artist and saxophonist] Alabaster dePlume's Corner Of A sphere

[New Dehli band] Peter Cat Recording Co.'s Portrait of a Time: 2010 - 2016

[French hip-hop group] NTM's Paris sous les Bombes [Originally released in 1995.]

Yukihiro Takashi's Saravah! [This funky solo album by Yellow Magic Orchestra's Takashi was originally released in 1978, the same year he co-founded the pivotal Tokyo electro band. It was rereleased last fall, for the first time outside of Japan by Paris' WEWANTSOUNDS imprint.]

[Lagos '70s psych rock group] Ofege's Higher Plane Breeze [This album, the band's third, was originally released in 1977 in Nigeria, getting its first reissue via Tidal Waves Music.]

What was the first CD or record you remember purchasing when you were younger? 

Grynszpan: X-Files: The Album [The 1998 soundtrack]

Armand-Delille: Fugees' [GRAMMY-winning 1996 album] The Score

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Learning In Quarantine: 5 Virtual Music Industry Conferences To Enhance Your Career

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Photo credit: GABRIEL BOUYS/AFP via Getty Images

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2021 GRAMMYs Nominations To Be Announced Nov. 24 harvey-mason-jr-announce-2021-grammys-nominations-special-guests-nov-24

Harvey Mason Jr. To Announce 2021 GRAMMYs Nominations With Special Guests On Nov. 24

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The 63rd GRAMMY Award nominees in all 84 categories will be revealed during a star-studded livestream at 9:00 a.m. PT / 12:00 p.m. ET
GRAMMYs
Oct 21, 2020 - 10:16 am

The wait is—almost over! On Nov. 24, we will finally know who the 63rd GRAMMY Award nominees are. The big announcement will happen during an hour-long livestream beginning at approximately 9:00 a.m. PT / 12:00 p.m. ET.

Chair and Interim Recording Academy President/CEO Harvey Mason Jr. will be joined by past GRAMMY winners, nominees and hopefuls from remote locations across the country as he reveals the nominees for all 84 categories. The virtual party will stream live on GRAMMY.com. Immediately following, all nominees for the 84 categories will be released via press release, on GRAMMY.com and the Recording Academy's social media platforms.

Related: Looking Ahead To The 2021 GRAMMY Awards

The 63rd GRAMMY Awards will be broadcast on CBS, Sun., Jan. 31 at 8:00 p.m. ET / 5:00 p.m. PT.

Follow the Recording Academy / GRAMMYs on Twitter, Instagram and Facebook and use #GRAMMYs to join the conversation as it begins to unfold on Nov. 24.

Participating Talent For 2021 GRAMMY Nominations Announced: Dua Lipa, Sharon Osbourne, Imogen Heap And More

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Lin-Manuel Miranda (L) and host/creator Hrishikesh Hirway (R) in "Song Exploder"

Lin-Manuel Miranda (L) and host/creator Hrishikesh Hirway (R) in "Song Exploder"

Photo: Eric Veras/Netflix

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How "Song Exploder" Unlocks The Intimacy Of Music song-exploder-netflix-hrishikesh-hirway-interview

Beat By Beat: How "Song Exploder" Unlocks The Intimacy Of Music And Creativity

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Based on the popular podcast, the newly launched Netflix series dissects classics and current hits one layer at a time, while host and creator Hrishikesh Hirway finds the human connection behind it all
John Ochoa
GRAMMYs
Oct 20, 2020 - 4:54 pm

Most people know "Song Exploder" as the popular podcast giving die-hard music fans a deep, inside look into the sonic mechanics behind their favorite tracks. A whole new class of music-heads now knows "Song Exploder" as the new Netflix series bringing the creativity behind music to the digital screen.

Originally launched as a podcast in 2014, "Song Exploder" dissects classic and current fan-favorite songs, with guest artists breaking down each individual track and element in detail to paint an intimate audio portrait of their art. The podcast, which has accumulated more than 60 million streams and downloads over the years and has hosted guests like U2, Selena Gomez, Björk, Fleetwood Mac, Solange and many others, now breathes new life as a Netflix docuseries. 

Introduced on the streaming platform at the beginning of October, "Song Exploder" adds an even deeper layer of storytelling and personal insight to the songs being deconstructed beat by beat. The show's inaugural four-episode run features Alicia Keys ("3 Hour Drive"), Lin-Manuel Miranda ("Wait For It" from "Hamilton"), R.E.M. ("Losing My Religion") and Ty Dolla $ign ("LA"). (Last week [Oct. 15], Netflix unveiled its next slate of guests for the show's second season, set to debut Dec. 15: Dua Lipa, The Killers, Nine Inch Nails and Natalia Lafourcade.

Whether in visual or podcast format, the core of "Song Exploder" remains the same: "an intimate portrait of an artist telling the story of how their artistic mind worked through creating one of their songs," host and creator Hrishikesh Hirway tells GRAMMY.com.

GRAMMY.com chatted with Hrishikesh Hirway about the human connection behind his new "Song Exploder" Netflix series and how he hopes the show will inspire others to create their own art.

You have an endless supply of songs from which to choose for any given "Song Exploder" episode, podcast and show. What needs to stand out in a song in order for you to develop it for "Song Exploder"?

The first step in the process is really identifying the artists before even getting to the song, because, frankly, I don't know necessarily which songs might have the best stories. The most famous songs don't necessarily have the most interesting stories, and the people who know that better than anyone are the people who made the songs.

But what I can try and determine is which artists seem really interesting and thoughtful, good storytellers, and who are also beloved by a lot of people. That's kind of where I start. And once I can get an artist onboard to talk about a song in this way, then I start the process of trying to narrow down which song it's going to be with them.

I feel like I don't know what the story [of the song] is all the time. There are a lot of songs that haven't necessarily been delved into, and frankly, I'm always interested in something like that ... where the backstory [of a song] hasn't been canonized and "Song Exploder" can be a place to tell it for the first time. So I really am relying on input from the artists ... The question that I ask them, frankly, is: Which of your songs do you feel the most emotional attachment to?

Ultimately, the most interesting stories, I think, when it comes to making songs or really making any kind of art, are about people and their feelings and the things that inspire them to make something at all. Even though the show is about music, it's also a portrait of each of these artists. In order to tell you something insightful, especially for it to be something that could be interesting to people who aren't people who make music themselves and also aren't necessarily even familiar with the artist or the song, it has to be something that connects to something in the human experience that feels significant.

I always try to make "Song Exploder" a show that reflected a broad range of genres and artists and backgrounds. So there's kind of almost a guarantee that you couldn't just get people hooked on the show based on who the artists were and what the songs were; I want everybody to watch every episode and listen to every episode of the podcast because I think that it's a worthwhile conversation to have. I think the creative process is something that's really fascinating in and of itself. It's an example of how people react to their own experience, to actually decide to make something based on their ideas, what they lived through, what they love ... The thing that I'm actually most interested in is that kind of emotional experience: the emotional attachment to the act of creating a piece of music.

Michael Stipe of R.E.M. in "Song Exploder"

Michael Stipe of R.E.M. in "Song Exploder" | Photo: Courtesy of Netflix/Netflix

There's a moment in the R.E.M. episode where frontman Michael Stipe gets almost emotional listening to his own voice on the band's classic, "Losing My Religion," and hearing the song elements broken down and presented to him in such an intimate manner, even after so many years since the song's release. How do you go about getting artists to open up to you and dive into their art so deeply?

I think one thing that helps is that I'm not really approaching [the interview process] head-on, certainly not right away. The questions don't start off front and center in like an emotionally investigative way. I think I have to earn their trust first, and part of that is from talking about the mechanics of the process first. That's the entry point in all these conversations. One of the reasons why having the [song's] stems is important, not just in terms of letting the listeners know what's going on in the song, but in terms of being able to facilitate that conversation with the artist.

Of all of the questions, the hardest one to answer is probably, "Why?" "Why did you decide to make the song this way? Why did you write this lyric? Why did you choose this chord progression?" That's the hardest [question], but it's also the one that I'm most interested in. But it's a little easier to start off with, first of all, "What?" "What are we listening to?" And then to ask them, "OK, how did you make it? And when did you make it?" All those basic factual questions are a way to just let them and me submerge ourselves into the memories of making that song.

Once they're there and able to relive some of the experience of it by hearing the actual evidence of the stuff that they did on that day—hearing their voice, hearing the instrument, hearing the actual track that they recorded around that time—it's a lot easier to ask them to then dig a few layers deeper and ask what was going on in their lives and how that might've fed into some of those creative decisions.

Read: Rhyme & Punishment: How NPR's "Louder Than A Riot" Podcast Traces The Interconnected Rise Of Hip-Hop And Mass Incarceration

You're now juggling the show and the podcast. How do you decide what songs go on the podcast format and what goes in video format?

Well, the podcast is a lot of work for a podcast, but that means that I'm still able to turn around an episode in a few weeks, whereas the TV show takes a much longer time to put together. There are just so many more components to it, and it's so much more work.

Part of the pitch for doing the television show is that I was trying to ask these artists to take a leap of faith, [like,] "This is something that's going to take a while to make, so you can't tie it to your promotional calendar, necessarily. I can't guarantee that it'll come out on such and such date to coincide with your single release or something like that." It was really more like, "Would you like to participate in this thing where there'll be this really meticulously crafted mini-documentary about this work that you did, and it's sort of evergreen."

That's a different pitch than with the podcast. Although with the podcast, I say all those things, too. I say it's evergreen and it's always better when it's not necessarily tied to your release schedule and more like when people have had a chance to live with the song a little bit. But one of the advantages of the podcast is it can be a little more nimble because it's a little easier to put together.

So this is a long way of saying that a lot of times that question is answered by the artists themselves or their publicists or managers, who are looking for a very specific outcome or timing, or they have something in mind, and that could be a matter of scale. It really depends on the circumstances of the artist and what works for them.

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Fans who've been following the podcast for a while will find a totally different experience when they come to the show. There are two types of storytelling when I hear "Song Exploder," the podcast, and when I watch "Song Exploder," the docuseries. The podcast is very audio-heavy: You get to really hear all of the isolated bits and pieces of the song. The show has a lot more historical and cultural context, sort of like a mini-documentary for a song, and you also hear from a lot more voices beyond just the recording artist. Beyond the visual element, what do you gain in terms of storytelling through the show?

I think one of the things that you mentioned is absolutely key to the TV show, which is that often on the podcast, it's just a single voice or maybe two voices together … But with the TV show, because the timeline was so different, there was a chance to stop and say, "OK, who do we really want? Who are all the voices that are involved in the creation of the song?" Maybe not just the artist, but also the collaborators that were essential to making the song. 

Having that kind of breadth and depth, it isn't always afforded to the shorter turnaround time and the scale of the podcast. But here, to really immerse the audience and give a really full picture of what the song was, having those other voices in there was really important. For [the] Alicia Keys episode [about the song "3 Hour Drive,"] we traveled to London to film with [the song's guest vocalist and co-writer/co-producer] Sampha and the [song's] co-writer/co-producer Jimmy Napes because we knew that they were going to only expand and flesh out the story.

I think a part of it is also a matter of craft, too. When you're working in audio, you're kind of only working in one dimension, which is time. You're just relying on one sense, hearing, and you're just basing everything on how long things take; the rhythm comes from just that one sense. But with TV, you have to also give a rhythm and complexity visually, too. You can't just transliterate the podcast into a TV format, where it's just one person talking, mixed with the isolated stems, because it wouldn't work; it would get very boring very quickly. So in order to have that kind of texture and nuance, we wanted to involve all those different people and try and give a little bit bigger of a picture than maybe what comes out in the podcast.

Do you see the podcast and the show as separate entities or related in the same family? Do you need to engage with both formats to fully appreciate or understand what "Song Exploder" is trying to do?

Oh, I don't think you have to engage with both. Of course, I would love it if people did, just because they're both things that I've put a lot of work into, and you want people to enjoy the stuff that you've worked on. This is not a great analogy, but I think it's sort of like reading a book or watching a movie that's been adapted of that book. I don't think you need to read the book to enjoy the movie, and vice versa, you don't need to have seen the movie to have full enjoyment of the book. But maybe you'll get something out of the experience of taking both in. Maybe it changes the way you feel about both.

This is, of course, a little bit different, because it's not even the same story that's being told. It's really just taking the core concept, which is an intimate portrait of an artist telling the story of how their artistic mind worked through creating one of their songs, and taking that concept and expressing it in these two different media. So it's much looser even than something like an adaptation of a book to a movie.

What artist or what song is your holy grail for the podcast or the show or both?

I don't have one holy grail—I think I probably have about a thousand. Anytime I start listening to music, I start wondering about it. That's not new since I started "Song Exploder"; it's the other way around. That's always been the way I listen to music. When I fall in love with a song, I want to hear it from the inside out. I want to hear what the individual tracks, what the individual stems sound like. I want to know what the ideas were that inspired all of these things that I'm falling in love with. "Song Exploder" was just a way of me being able to actually make that happen for myself. So anytime I'm listening to music and I hear something great, you could put it on the list.

Ty Dolla $ign in "Song Exploder"

Ty Dolla $ign in "Song Exploder" | Photo: Courtesy of Netflix/Netflix

What is your ultimate goal with "Song Exploder"?

I wish people would either watch the show or listen to the podcast and come away with a feeling that they want to make something themselves. Part of my aim with the show is to democratize the act of creation a little bit. I think it's easy to look at very successful artists or very successful songs or any kind of art in any format, where it has reached a certain level of success, and think that there's some uncrossable boundary for everyday people that keeps them from making something as great as those songs …

I think the best feeling that I always get from finishing working on an episode is something akin to that. That like, I just want to go make something, and it doesn't just have to be music. I think that anybody who is interested in making anything at all, to get something from the show, just the idea of going from nothing but an idea and following that all the way through to a finished piece of art, I hope that might be inspiring to everyone.

Glen Ballard On How His Netflix Show "The Eddy" Puts Music, Jazz And Performance First

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Bonnaroo 2018

Bonnaroo 2018

Photo: Douglas Mason/Getty Images

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Bonnaroo 2021 Is Rescheduled To September bonnaroo-music-festival-has-been-rescheduled-september-2021

Bonnaroo Music Festival Has Been Rescheduled To September 2021

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The beloved Tennessee music festival was originally set to celebrate its 20th anniversary in June 2020, and after two prior date changes, will now be happening September 2–5, 2021
Ana Monroy Yglesias
GRAMMYs
Sep 30, 2020 - 11:45 am

Bonnaroo Music and Arts Festival will now be taking place September 2–5, 2021.

The eclectic Tennessee music festival was originally set to celebrate its 20th anniversary this year on its annual second weekend of June dates, but was rescheduled to September 2020 due to COVID-19. The date was then pushed to June 2021 and is now set for next September.

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Bonnaroo is offering refunds for ticket holders who cannot attend the new dates, although they are encouraging fans to hold on to their tickets for the new dates. Those who can attend the new dates do not need to take any action to rollover their tickets. You can find more information on refunds and rollovers here—the period to request a refund is Sept. 30–Oct. 31.

The 2021 lineup, as well as info on purchasing tickets for those who hadn't yet, will be announced at a later date. Tool, Lizzo, Tame Impala, Miley Cyrus, Flume, Lana Del Rey and others were slated to headline Bonnaroo 2020.

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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy.