Photo courtesy of the artist
2022 Latin GRAMMYs Premiere Performers Announced: Elsa y Elmar, Fonseca, Carla Morrison, Bruses & More Confirmed
Hosted by singer/songwriter Debi Nova and actor Miguel Ángel Muñoz, the Biggest Night In Latin Music will kick off with performances from Elsa y Elmar, Fonsesca, Luis Figueroa, and more.
The 2022 Latin GRAMMYs will see some massive names take the stage — but just before the main show, the Latin GRAMMY Premiere will boast astonishing talent all its own.
The Latin Recording Academy has announced performers and presenters for its Latin GRAMMY Premiere. This thrilling ceremony will take place on Thursday, Nov. 17, 2022, at the Mandalay Bay North Convention Center and broadcast live across all of The Latin Academy platforms beginning at 4:00 p.m. ET/1:00 p.m. PT.
During this event full of unforgettable performances, heartfelt acceptance speeches and unique moments, winners in 44 of 53 Latin GRAMMY categories will be awarded.
Hosted by Debi Nova and Miguel Ángel Muñoz — a Latin GRAMMY and GRAMMY-nominated singer/songwriter, and actor, respectively — The Biggest Night in Latin Music will kick off with performances from a diverse array of luminaries from across the Latin music world.
Best Pop/Rock Album and Best Pop/Rock Song Latin GRAMMY nominee Bruses will team up with Elsa y Elmar, who is nominated for three Latin GRAMMYs — for Album Of The Year, Best Pop Vocal Album and Best Pop/Rock Song.
Luis Figueroa (Best Tropical Song and Best Salsa Album), Fonseca (Album Of The Year, Song of the Year, Best Pop Song and Best Traditional Pop Vocal Album), and Jão (Best Portuguese Language Contemporary Pop Album and Best Portuguese Language Song) will take the stage as well.
Carin León, with Matisse (Best Regional Song), and Carla Morrison (Song Of The Year, Best Pop Vocal Album) will also perform.
"Once again, we celebrate another year of excellence in Spanish and Portuguese language recordings during the Latin GRAMMY Premiere," Manuel Abud, CEO of The Latin Recording Academy, said in a statement. "This time we will take a tour through several musical genres with performances of works nominated in various categories, including Song Of The Year, Album Of The Year and Best Salsa Album."
Greg Fera, Ayleen Figueras and Macarena Moreno will serve as executive producers, with David Cabrera as musical director.
The Latin GRAMMY Premiere is followed by the 23rd Annual Latin GRAMMY Awards®, airing live on Univision at 8 p.m. ET/PT (7 p.m. CT); on cable channel TNT at 19.00 (MEX) / 20.00 (PAN-COL) / 21.00 (VEN) / 22.00 (ARG/CHI/BRAZIL), and on Televisa Channel 5. The show will also be available on HBO Max in Spanish only.
For more information and latest news, visit the official Latin Recording Academy site at LatinGRAMMY.com. You can also follow them on Facebook (LatinGRAMMYs), Twitter (@LatinGRAMMYs) or Instagram (@LatinGRAMMYs), and use #LatinGRAMMY on all popular social media platforms.
We'll see you not only at the 2022 Latin GRAMMYs — but the exciting Latin GRAMMY Premiere that will kick off the historic ceremony!
Photo: Hector Vivas/Getty Images for The Latin Recording Academy
Matisse Performed At The Latin Recording Academy’s Latest Best New Artist Showcase: See Images
The exclusive event, held in partnership with Mastercard, welcomed Latin Recording Academy members, artists and entertainment industry figures.
The event took place last night at Priceless with Estoril restaurant in Mexico City, which is also launching its second season inspired by music.
“The Best New Artist category is fundamental for us because it gives us the opportunity to recognize artists who are just beginning their careers,” Latin Recording Academy CEO Manuel Abud said. “Today we celebrate the Latin GRAMMY journey with Matisse — who were nominated in this category in 2015 and winners last year — providing inspiration to the next generation of music creators.”
The Best New Artist Showcase tour of Latin America kicked off last November during Latin GRAMMY Week in Las Vegas, and the series is the centerpiece of the partnership between Mastercard and the Latin Recording Academy.
The next Best New Artist Showcase will take place in São Paulo, Brazil, in July, and the Latin Recording Academy will share more details soon.
Photo: Warner Music Latina, Emmanuel Castañeda, Camila Noriega, Coral Silva, Raphael De L’Orme, Paulus Music
Meet The Latest Wave Of Rising Latin LGBTQIA+ Stars: Ana Macho, Nicole Zignago, Bruses & More
LGBTQIA+ musicians across Latin America and the U.S. are rising to the top of the charts while expanding representation for their communities. In celebration of LGBTQIA+ Pride Month this year, GRAMMY.com is putting the spotlight on six queer Latinx acts.
Latinx artists who are also a part of the LGBTQIA+ community are making waves and inspiring positive change within the Latin music scene. Following Puerto Rican icon Ricky Martin coming out as gay in 2010, a new wave of LGBTQIA+ Latinx musicians are proud to express who they are through their songs.
The past decade has seen LGBTQIA+ musicians across Latin America and the U.S. rising to the top of the charts while expanding representation for the community. Brazilian superstar Anitta, who is openly bisexual, scored one of the biggest hits of last year with the sensual "Envolver." At the 2023 GRAMMY Awards, she was also nominated for Best New Artist alongside Mexican American singer Omar Apollo. On his debut album Ivory, the musician embraced his gay identity. His breakthrough single "Evergreen (You Didn't Deserve Me at All)" became his first song to appear on the Billboard Hot 100 chart.
Musicians with queer identities and varied gender expressions are continuing to gain streams and supporters. As an openly bisexual artist, Dominican rapper Tokischa is globalizing dembow music with help from artists like Madonna, Rosalía, and Marshmello. Mexican singer Bruses is bringing an alternative spin to Latin music while singing about her experiences as an openly lesbian woman. Conexión Divina is proudly queering the Regional Mexican music scene with their confessional songs.
In celebration of LGBTQIA+ Pride Month this year, GRAMMY.com is putting the spotlight on six queer Latinx acts on the rise.
Tokischa is not afraid to push Latin music to daring places with songs that often celebrate sex-positivity. At the same time, the Dominican rapper is also bringing dembow, the music of her country, to the forefront.
Last year, DJ Marshmello enlisted Tokischa for the LGBTQIA+ anthem "Estilazo." His EDM edge met Tokischa's dembow flow as she sang in Spanish, "Long live homosexuality." Madonna also tapped Tokischa for a dembow remix of her classic song "Hung Up." Spanish pop star Rosalía worked with Tokischa twice, including on "La Combi Versace" from her award-winning Motomami album.
"I feel like I connect with the [LGBTQIA+] community by being who I am," Tokischa told Latina Magazine last year. "I’m this type of person that’s not so welcomed when it comes to society, or moral things, or behavior, or when it comes to what you do, so this rejection of my persona in society is just like what everyone else in the community experiences."
She is hard at work on her highly-anticipated debut album, which could drop in 2024.
In the Regional Mexican music space which has historically excluded women and LGBTQIA+ artists, Conexión Divina are fast-rising. The Mexican American trio of lead singer Liz Trujillo, who is openly gay, and Ashlee Valenzuela, who identifies as bisexual, are supported by bandmate Sandra Calixto, who is an ally to the community.
Since the release of their debut single "Odio" last year, Conexión Divina have proudly expressed who they are through confessional songs. The "Odio" music video features the trio caught up in a love triangle that includes men and women. The "La Receta" video also features Trujillo with a female love interest. The band tackle the topic of people talking behind their backs in the fiery sierreño song "Se Rumora."
"We're showing a different side to women," Valenzuela told Teen Vogue last year. "That women are just not like this or that, so that everyone can connect." Trujillo added, "We definitely wanted to have some sort of representation of ourselves."
Last year, Ana Macho made a splash with their breakthrough EP Realismo Mágico. The nonbinary artist put a colorful Latin pop twist on the music from their native Puerto Rico.
Ana Macho emerged in 2021 with Puerto Rican rapper Villano Antillano, teaming up on "Muñeca" — an empowering anthem about the experience of trans women. Macho has since released songs like the stunning "Amiga," their ode to femme camaraderie, and the explosive "Exclusivo" where they playfully critique consumerism in the Latin urban music scene.
Macho is currently working on their debut album that's due out later this year. "I am on a path to total world domination, honestly," they tell GRAMMY.com. "Now I want to keep growing and evolving in the career I've built. I'm so lucky to be able to make music for a living and travel the world being a popstar."
Yadam is bringing emotional vulnerability to Latin pop music with his songs. The openly gay singer/songwriter was born in Venezuela and later moved to Paris. His music reflects that unique mix of Latin and European sounds.
Yadam launched his music career in 2022 with the single "Otras Mujeres," working on the flamenco-infused song with Sia and Christina Aguilera's close collaborator Samuel Dixon. From the get-go, Yadam was singing about the experience of having to be discreet about his crush on another man. In his newly released single "Beso," Yadam sings about the joy of getting to kiss the man of his dreams.
"It's the month of LGBTQIA+ Pride and I wanted to give you the song that makes me want to make me dance the most from this project because we are celebrating," Yadam shared in a statement. Both songs will be included on his debut album Belamor, which is due in September.
After writing for artists like Sofía Reyes and Kenia Os, Nicole Zignago made her debut as an artist with last year's EP Así Me Siento Hoy. The openly queer singer/songwriter from Peru was nominated for Best New Artist at last year's Latin GRAMMY Awards.
Throughout the EP, Zignago explores a relationship from the giddy beginnings in the R&B-infused "Me Gusta Que Me Gustes" to the heartbreaking end. Backed by flamenco beats in "Feelings," she sang about getting played by another woman. She reunited with Reyes for the icy "Corazón Frío" where she exacted her revenge on an ex.
"Being Latina and queer and having a voice humbles me," Zignago told Rolling Stone last year. "It empowers me and makes me realize how much more space is needed. I really hope people feel represented by who I am."
Bruses gave Latin music an alternative makeover last year with her debut album Monstruos. In her Twitter bio, the Mexican singer-songwriter refers to herself as an "emo lesbian queen." The unapologetic LP about celebrating being different earned Bruses a Latin GRAMMY nomination for Best Pop/Rock Album.
Monstruos includes Bruses' rock anthem "I Like 2 Be" where she celebrated being queer. "I like to be who I am / Don't care about your words / I don't give a f— about your opinion," she sang. Now Bruses is teasing her upcoming EP Cuando Ella Me Besó, Probé A Dios with the synth-pop song "Más Que Amigas." She sings about falling for a female companion.
"I don't want to be a linear artist," Bruses told IndieRocks last year. "I don't want to do the same thing for the rest of my career. I have to be constantly changing, even in my personal life. I enjoy that, I like it, [and] it's part of who I am."
Photo: Rachel Kupfer
A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea
James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.
It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.
Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.
Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.
In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.
Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.
There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.
Say She She
Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.
While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."
Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.
Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.
Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.
Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.
L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.
During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.
Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.
Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.
Photo: Steven Sebring
Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage
"One foot in the past and one foot into the future," Billy Idol says, describing his decade-spanning career in rock. "We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol."
Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP, Cage, and continuing to rock through decades of changing tastes.
Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.
Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face."
But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life.
His latest release is Cage, the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves.
Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself, details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside, reflects on surviving the accident.)
Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") — their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of "VH1 Storytellers" and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.
While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens.
Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.
Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [Laughs]. We did always mix things up.
Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically.
"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?
We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds.
We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside. We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick.
I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?
Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol.
You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way.
Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore?
I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier.
I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff.
So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.
[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.
I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.
Did you watch Danny Boyle's recent Sex Pistols mini-series?
I did, yes.
You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?
I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.
It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.
But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go. If ["Pistol" is] informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.
Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.
We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.
It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].
We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.
You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.
It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.
When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.
You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?
Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."
We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.
You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.
With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.
Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.
You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?
I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts, and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.
But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.
I remember when you went on "Viva La Bam" back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?
I think it was his car.
Did he get over it later on?
He loved it. [Laughs] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.
Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?
In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.
We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.
The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [Laughs] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.
There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.
It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.
It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.
Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?
Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.
The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.
The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?
Yeah. Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].