Burna Boy, Luke Combs and Travis Scott have been added to the performer lineup for the 2024 GRAMMYs. Unveiled earlier today on CBS, these newly announced performing artists join previously announced 2024 GRAMMYs performers Billie Eilish, Dua Lipa and Olivia Rodrigo. Additional performers will be announced in the coming days and weeks. See the full list of performers and host at the 2024 GRAMMYs to date. 

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, will broadcast live from Crypto.com Arena in Los Angeles on Sunday, Feb. 4, at 8 p.m. ET/5 p.m. PT on the CBS Television Network and will be available to stream live and on demand on Paramount+.^ Prior to the Telecast, the GRAMMY Awards Premiere Ceremony will broadcast live from the Peacock Theater at 12:30 p.m. PT/3:30 p.m. ET and will be streamed live on live.GRAMMY.com. On GRAMMY Sunday, fans can access exclusive behind-the-scenes GRAMMY Awards content, including performances, acceptance speeches, interviews from the GRAMMY Live red-carpet special, and more via the Recording Academy's digital experience on live.GRAMMY.com. 

Two-time GRAMMY-nominated comedian, actor, author, podcast host, and former "The Daily Show" host Trevor Noah returns to host the 2024 GRAMMYs, marking his fourth consecutive year as host of Music's Biggest Night; Noah is currently nominated at the 2024 GRAMMYs in the Best Comedy Album Category for this 2022 Netflix comedy special, I Wish You Would.

Learn more about Burna Boy, Luke Combs and Travis Scott and their current GRAMMY nominations below.

Learn More: How To Watch The 2024 GRAMMYs Live: GRAMMY Nominations Announcement, Air Date, Red Carpet, Streaming Channel & More

GRAMMY Award winner Burna Boy is nominated for four GRAMMY Awards this year including Best Global Music Album (I Told Them...), the inaugural Best African Music Performance ("City Boys"), Best Global Music Performance ("Alone"), and Best Melodic Rap Performance ("Sittin' On Top Of The World").

Learn More: Here Are The Nominees For Best African Music Performance At The 2024 GRAMMYs

Past and current GRAMMY Award nominee Luke Combs is up for one this year for Best Country Solo Performance for his cover of Tracy Chapman's iconic, GRAMMY-winning song "Fast Car."

Read More: 6 Artists Influenced By Tracy Chapman: Luke Combs, Brandi Carlile, Tori Amos & More

Past and current GRAMMY Award nominee Travis Scott is nominated this year for Best Rap Album (Utopia).

Read More: 5 Takeaways From Travis Scott's New Album UTOPIA

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The 66th GRAMMY Awards are produced by Fulwell 73 Productions for the Recording Academy for the fourth consecutive year. Ben Winston, Raj Kapoor and Jesse Collins are executive producers. 

^Paramount+ with SHOWTIME subscribers will have access to stream live via the live feed of their local CBS affiliate on the service, as well as on demand in the United States. Paramount+ Essential subscribers will not have the option to stream live but will have access to on-demand the day after the special airs in the U.S. only.

2024 GRAMMYs Ticket Giveaway: Enter For A Chance To Attend The 66th GRAMMY Awards In Los Angeles

Charles Wesley Godwin never intended to play for audiences when he picked up a guitar for the first time in college. Now, the 30-year-old Godwin is a full-blown country star, playing stadium shows and prestigious music festivals as one of the genre's fastest rising talents.

Godwin's musical power and allure lie in the ability to inhabit both a superstar persona and family-man image. He's equally comfortable belting his raucous, anthemic "Cue Country Roads," and serenading his baby daughter in "Dance in Rain," a touching song about his vision for her future. Tapping into his West Virginia roots and family history, Godwin's authentic, raw storytelling hasn't just widely resonated — it's helped the singer realize his calling.

Known for his deep, piercing voice and intimate portraits of human experiences, Godwin first endeared himself to audiences with songs like "Hardwood Floors," a sweet love song to his wife, and "Seneca Creek," a ballad from his first album, 2019's Seneca. Across three studio albums thus far, Godwin mixes powerful vocals and relatable, heartfelt lyrics, aligning him with the likes of Zach Bryan, Tyler Childers, and Sturgill Simpson.

The son of a coal miner and a teacher, Godwin dreamed of playing professional football and attended West Virginia University to study finance. After moving on from college football dreams, he taught himself guitar, learning country classics to fill the football void.

But while studying abroad in Estonia, one of Godwin's roommates took his guitar to a club show and coaxed Godwin up on stage after the set. His cover of John Denver's "Take Me Home Country Roads" — Godwin's college theme song and current show closer — earned him his second gig, performing at a fashion show. He was hooked.

After college, Godwin spent most of a decade touring relentlessly, crisscrossing the country to play bars and coffee houses. As he transitioned from covering favorite songs to writing his own, Godwin honed his writing chops and musical voice, intent on figuring out who he would be as a musician.

His latest studio album, 2023's aptly titled Family Ties, showcases the versatility and emotional depth that continues to make his songs resonate intensely. It includes upbeat country bangers like "Two Weeks Gone" and "Family Ties"; ruminations on deep generational connections to family, including his journey to understand his dad in "Miner Imperfections" and recounting his mother's heart-wrenching experience in "The Flood"; and raw, personal reflections on his love for his children, from "Gabriel" to "Tell the Babies I Love Them."

After signing his first major record label deal and opening for Zach Bryan in 2023, Godwin will spend 2024 headlining shows around the United States, also supporting Luke Combs on several dates and playing festivals like Stagecoach, Bonnaroo and Under the Big Sky.

Ahead of his tour launch on April 4, Godwin spoke with GRAMMY.com about his inspiration and writing, chasing his musical dreams, and his favorite career "pinch me" moments — so far.

How did you get started in music?

I watched the Avett Brothers in the 2011 GRAMMYs and was wowed by it, and thought maybe picking a guitar up would be a productive hobby to have. And then over time I began to realize I actually had the talent.

That hobby worked out okay.

I've always joked — even though people are like "Oh man, that's crazy, you didn't find it until you were in your 20s" — I'm like, "Well, at least I found my thing." I feel very fortunate. I feel like things could have easily gone a different way.

Was music of interest to you? What kind of music did your parents play when you were growing up?

My dad listened to oldies radio, a lot of pop music from the '60s and the '70s. I had a lot of the Beatles songs and CCR songs stuck in my head as a little kid.

I would casually consume whatever was put right in front of me, but I wasn't big into music. I was worried about sports. I wanted to be good at football.

What was it like for you picking up a guitar the first time?

It was frustrating. My fingers wouldn't go where I wanted them to. And it seemed very difficult. But I would just bite it off in 15-minute chunks each day. I wouldn't quit.

It wasn't until about a year into it that I could actually start stringing chords together. My dad had gotten a mining engineering degree, and to do some pretty high-level calculus, he always told me when I was growing up, "Math, it just clicks one day, as long as you don't give up on it."

Tell me more about your dad, for whom you wrote "Miner Imperfections." It sounds like you got your work ethic from him.

When he grew up, most of his friends were getting drafted to Vietnam. He had applied for the mines and he gave himself a timeline. He said, If the mines don't call within two weeks, I'm going to join the Air Force, because if I'm gonna get sent to Vietnam, I might as well join on my own terms. He ended up getting called by the mines and went underground in his early 20s. And worked his ass off.

He'd met my mom, and they created a better life for themselves. [They] were able to elevate themselves economically and give my brother and I a great life growing up, and the ability to chase our dreams.

He didn't love the mines, but he was good at it. And it was a way for him to make a good living. My dad had an amazing work ethic. He was very, very hard-nosed, independent, principled. And he taught me a lot of that.

As I've gotten older, I've grown to appreciate him more and more. And [my parents] gave me the mental tools I needed to be able to go through that whole crucible of going all across the country for a decade and sleeping in my car and playing in bars and restaurants and cafes, basically living well below the poverty line for many years, to make this dream of mine come true.

I think the very first song of yours I heard was "Seneca Creek." What's the story behind that song?

That's about my grandparents, on my mother's side. My mom's side of the family is from Seneca Rocks, West Virginia. They're part of the hillbilly highway, they moved up to Canton, Ohio. My granddad was working for Ford Motor Company. And he got drafted to go fight in Korea. So he went off and was a tank commander and fought in Korea for two years and went back to the Ford Motor Company when he got back.

They started a family and started building a life. They ended up moving back to West Virginia in the early '60s, and took over my great grandfather's General Store and farmed cattle. My grandmother was the postmaster.

They had a remarkable life, full of highs and lows and it was a very, very human story. And I thought it translated well into song.

What experiences in your life have colored the kinds of stories you want to tell in your music?

I draw on my family, my wife and my kids. That's really some of the most profound experiences I've had.

My dad, when he was my age, was crawling in less than three feet of coal. So I don't want to write too much about "playing on the road was hard."

One strong point of mine is I can observe somebody else and find the little nuggets of humanity to put into song that can still seem very personal and moving to people.

But you've also got these deeper generational connections and stories, too.

I have a lot of interesting family members in the family tree that I've been able to pull from. My mom's side came over in the potato famine in the mid-1800s. My dad's side, a lot of them were even here before the United States was the United States.

There's a lot of interesting and rich family history to draw from — moonshiners on my mother's side, there's been soldiers, drunkards, teachers and miners. My great grandfather on my dad's side, he used to eat a raw potato in the mines every day for lunch until Italians came over and showed the Irish guys how to eat better.

You've talked about your music sounding like it's from West Virginia. What does that mean? What is West Virginia music to you?

Before I put my first record out, I understood that I needed to find what my natural voice was. And make sure that I wasn't just trying to mimic somebody else.

I would not be able to pull off sounding like I'm trying to sing rodeo country. But I can sound like I'm from West Virginia, because that is the truth.

I think it has to have some bluegrass, if we're talking country music. Because you [also] got [late West Virginia native] Bill Withers, who is one of the best soul singers ever.

Stories about rural places and working class people often get tokenized and stereotyped. When you're writing songs, how do you honor the people you're writing about instead of making them stereotypes?

I just try my best. There's been a lot of lines that when I'm working on songs over the years, I've been like, "that's not it," and then put a line through it and try to come up with something better or more positive or more honest.

I'd rather shine a light on the more admirable character traits, either people in my family that I'm writing about or made up characters. I also try not to make it too unrealistic. I have a lot of songs about regret, which is something that [is] very human. But I definitely don't want to go around glorifying things that aren't really good for society or community.

You've talked about how you felt stuck when you wrote your latest album, Family Ties.  What was that feeling? And how did you get out of that rut?

I had a bunch of people on payroll for the first time in my life. Labels had come into the picture; my wife was just about to have our second child; we had a house we just bought the year prior. I had all these things around me that I'd never had around me before. I was putting pressure on myself, because I wasn't just this broke guy anymore that only needed enough to fill up his gas tank.

I let that affect my mind and my creativity, and my productivity with the notebook. The way I got out of it was just realizing — this sounds so cliche, but it's true, and it's true with music, and so many other things in life — that you can only control the things that you can control.

I felt like writing about my family is what I wanted to do. Just because there's so much love and guilt that I was feeling at that time. The birth my children — my daughter just being born, my son was still really young, with my wife and, being gone for hundreds of days [in] years prior, but then I was home that whole pandemic year, which was this super special time, but also just so weird after all those years of being gone all the time, and then going back to being gone all the time.

Now that all of that hard work has started paying off, what have been some of your biggest "pinch me, I can't believe this is happening" moments?

Recently, I opened for Jason Isbell and for Turnpike Troubadours. Those were folks that I was listening to a decade ago, in the middle of the night, trying to drive home from some gig far away.

And throughout our tour this year, we're doing these Luke Combs dates, and the Avett Brothers are on two of them. The whole reason I picked up a guitar, here we are over a decade later, and I'm going to be shaking their hands before we play a stadium. And this whole thing started with me just sitting on a couch in college watching them at the GRAMMYs. So that's gonna be a "pinch me" moment, for sure.

8 Artists Bringing Traditional Country Music Back: Zach Top, Randall King, Emily Nenni & More On Why "What's Old Becomes Beloved Again"

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

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

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

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

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

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

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

This interview has been edited for clarity.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What do you think is the next step here?

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

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

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

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

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

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

Billy Joel's Biggest Songs: 15 Tracks That Best Showcase The Piano Man's Storytelling And Pop Hooks

Thanks to United Airlines' partnership with the Recording Academy, the students traveled from all over the country to Los Angeles and met in person for the first time. In past years, GRAMMY U Reps have only been able to attend a few select events in addition to the GRAMMY Awards on Sunday. But because of United Airlines, these National and Chapter Reps were able to experience the music industry’s most exhilarating week.

Come with the GRAMMY U Reps as they experience Music’s Biggest Night, behind-the-scenes tours, and events highlighting various initiatives within the music industry during GRAMMY Week 2024. Learn how to apply to GRAMMY U here.

Tuesday: Travel Day

The GRAMMY U group chat was exploding with excited messages as we arrived at the airport early Tuesday morning. Each Rep was about to meet their co-workers — many of whom had only connected virtually — and gain the experience of a lifetime. 

United flew all 14 Reps to Los Angeles with exceptional timing, service, and care — even though we were traveling to work at GRAMMY Week, it felt like we were getting celebrity treatment. Once we touched down in L.A., we ran to the United baggage claim to hug our friends and capture the experience to share with fellow GRAMMY U members.

Philly Rep Tamara Tondreau and Nashville Rep Della Anderson┃GRAMMY U

After grabbing lunch near our hotel in downtown L.A., we made it to the Recording Academy Los Angeles Chapter Office in Santa Monica for our first in-person team meeting. Sporting new custom GRAMMY U jackets, T-shirts, and hats, we prepared for our signature GRAMMY Week event, a Masterclass with actress/GRAMMY-nominated R&B artist Halle Bailey. 

Reps were briefed on plans for the week, then took an office tour where we spotted multiple golden gramophones. Since we work remotely year-round, this was our first time getting to see where all the magic happens.

Wednesday: Behind-The-Scenes & Behind The Music

On Wednesday, we were up bright and early to explore the Crypto.com Arena and learn about the behind-the-scenes preparation it takes to host the GRAMMY Awards each year. 

Jody Kolozsvari, Associate Producer of the GRAMMYs and a GRAMMY U alum, guided us around the arena. He also introduced us to the incredible audio, mixing, communications, and production teams as well as Recording Academy CEO Harvey Mason Jr. 

"Walking intoCrypto.com Arena and seeing the GRAMMY stage being built was a very surreal moment," said Sara Hudson, GRAMMY U's New York Chapter Rep. "Meeting so many of the people behind the show and witnessing the hard work that is put into producing the GRAMMY Awards made my passion for working in live music grow even more."

Later that night, Philadelphia Chapter Rep Tamara Tondreau and Los Angeles Chapter Rep Jade Bacon worked as GRAMMY U press at the A Celebration of Craft event, a collaboration between the Recording Academy Producers and Engineers Wing and Songwriters and Composers Wing. This was the very first time GRAMMY U Reps were invited to this exclusive event; Tamara, a songwriter herself, called this event "unforgettable."

"Since songwriting sparked my interest in the music industry, it was inspiring to be in the room with so many talented creatives," Tamara says. "Networking with professionals who hold multiple roles in the industry encouraged me and reaffirmed my goal of maintaining both business and creative aspects in my career."

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Thursday: Fostering Community & Culture

Hosted at GRAMMY House, Thursday morning started with a beautiful luncheon at the inaugural A Celebration of Women in the Mix. This event made space for women in the music industry to gather and support one another, recognizing all of the strides made in a male-dominated field. 

Twelve of the 14 Reps identify as women, and this was a special moment to meet some of the industry leaders that we look up to as role models. Networking with female artists, managers, and producers who are laying the groundwork for our generation was a powerful moment we will never forget.

After delivering the keynote speech, Ty Stiklorius, the founder of management company Friends at Work, spoke with some of the GRAMMY U Reps.

"Having a conversation with such an established female in the music industry was incredibly inspiring," says Memphis Rep. Shannon Conte. "After this moment of mentorship and encouragement, I left the event feeling much more confident in my ability to one day succeed in becoming an artist manager."

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Dressing up in our finest suits and gowns, we hit the town to attend the exclusive Black Music Collective’s 2024 Recording Academy Honors event, where legends Mariah Carey and Lenny Kravitz accepted Global Impact Awards. Sitting in the same room as these superstars was awe-inspiring, and it was an honor to see how the Black community was celebrated during GRAMMY Week.

GRAMMY U Reps Shaneel Young, Jade Bacon, and Chloe Sarmiento hosted interviews for our social media, highlighting the fashion of dozens of high-profile attendees including Adam Blackstone, Jordin Sparks, Flavor Flav, and Erica Campbell as they walked the signature black carpet. The excitement of the press line on the black carpet provided Reps with first-hand experience of what a career in press and publicity could look like. 

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GRAMMY U DC Rep Shaneel Young aspires to work in music marketing. "Interviewing some of the most influential people in the industry about my passions: music, fashion, and culture, will be a moment I remember for the rest of my career," she reflects.

Reps at Black Music Collective’s Recording Academy Honors┃GRAMMY U

These two spectacular events immersed us in the initiatives the Recording Academy has implemented to celebrate diversity and representation in music, and we are so honored to be a part of the company’s continued mission.

Friday: Work Hard, Play Hard

After months spent planning our signature GRAMMY Week event, the GRAMMY U Masterclass with Halle Bailey, presented by Mastercard, we finally saw the fruits of our labor come to life. This year, we welcomed over 500 attendees in person, with members from every Chapter flying in to experience the event together at GRAMMY House.

GRAMMY U PNW Rep Chloe Sarmiento worked as talent lead and interacted directly with Halle Bailey and her team. "It was incredibly fulfilling to see the event come together on-site in Los Angeles after weeks of working on it from home," Chloe says. "Halle and her team were so great to work with, and I couldn’t have asked for a better speaker for the Masterclass!"

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Working with experienced Recording Academy staff onsite further enlightened us about all things event production. From talent handling and partnerships to working radios and managing the stage, we were excited to execute a large-scale event with all of the Reps at GRAMMY House.

After a successful Masterclass, the Reps split up for the evening to conquer even more GRAMMY Week events. Half the group went to the #GRAMMYsNextGen party to spread the word about membership, host a photobooth, and interact with influencers and emerging performers. We met hip-hop duo Flyana Boss, and some of our other celebrity sightings included Laura Marano and Milo Manheim. It was inspiring to see other young professionals who have established themselves in the entertainment industry so early in their careers.

Mastercard surprised us with an entire seated table at the exclusive MusiCares Person Of The Year Gala honoring Jon Bon Jovi. It was an outstanding evening honoring the rock icon and the many ways he has given back to the music community. Following a live auction, Brandy Clark, Lainey Wilson, Jelly Roll, Shania Twain, and others performed some of Bon Jovi’s biggest hits — Bon Jovi even graced the stage with Bruce Springsteen for a special rendition of "Who Says You Can’t Go Home." 

The Reps were incredibly grateful to United and Mastercard for granting us the opportunity to witness these exclusive live performances. To see the music community come together to honor a legend while giving back and furthering the mission of MusiCares is a heartwarming aspect of the music industry we don’t get to witness every day.

Reps with Sabrina Carpenter at the Person of the Year Gala┃GRAMMY U

GRAMMY U Chicago Rep Rachel Owen was one of the lucky attendees able to watch the thrilling performances while mingling in the crowd with other musicians like Sabrina Carpenter and David Archuleta.

"To even be in the same room as Shania Twain is an honor, she’s timeless and more exquisite than I could've even imagined," Owen says. "To see her perform live to Jon Bon Jovi is the type of moment you just never take for granted."

Saturday: Divide & Conquer

Saturday was jam-packed with events. Back again at GRAMMY House, a group of Reps attended the Best New Artist Spotlight, where nominees discussed their breakthrough years and what it means to be considered a "new artist." From upstarts Ice Spice and Gracie Abrams to the long musical journey of Victoria Monét, The War and Treaty, and Jelly Roll, these diverse perspectives all stressed that each person has a unique career timeline and reminded us as students to practice perseverance and patience as we navigate this industry. 

Various Reps continued at GRAMMY House, some working as press at the #GRAMMYsNextGen Ambassador Power Brunch and the first-ever Academy Proud event, celebrating LGBTQIA+ voices.

A handful of us worked as GRAMMY U press at the Special Merit Awards ceremony and subsequent celebration. Being a part of these exclusive events and witnessing historic moments like the presentation of Lifetime Achievement Awards was truly impactful. We interviewed nominees at the celebration, including boygenius engineer Owen Lantz (the supergroup would win their first three GRAMMYs the very next day.)

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Hundreds of nominees attended the Special Merit Awards and Celebration, proudly displaying their blue medallions and glowing as they took their official GRAMMY nominee photos; the hopeful and energetic spirit of the event fueled our drive to succeed in this industry even more.

Sunday: And The GRAMMY Goes To…

Sunday morning was the day everyone had all been waiting for: the 66th GRAMMY Awards! After getting our glam on, the GRAMMY U Reps got to walk the red carpet for the first time ever. We took tons of photos and videos to commemorate this special moment and share our experience with friends and family.

While most of the Reps were posing on the carpet, Pierson, Jasmine, Rachel, and Chloe had the honor of being trophy presenters during the GRAMMY Premiere Ceremony. This was the first time GRAMMY U Reps from across the country were given the honor of being up close and personal during artists' career-defining moments.

Reps on the GRAMMYs Red Carpet┃Andrew Sankovich 

Moving into Crypto.com Arena to be seated for the telecast portion of the evening, the GRAMMY U Reps were ecstatic to watch the ceremony in person. As legends like Joni Mitchell, Billy Joel, Tracy Chapman, and Stevie Wonder blazed on stage, all the Reps were singing and dancing along, thrilled to be a part of Music’s Biggest Night. Phenomenal performances from nominees SZA, Billie Eilish, Olivia Rodrigo, Dua Lipa, Miley Cyrus, and Luke Combs were equally captivating. 

Witnessing the live telecast after experiencing so much behind-the-scenes production exemplified how rewarding the music industry can be, and how prestigious winning a GRAMMY truly is. The quiet suspense before a winner was announced and the roars that followed created a rollercoaster of emotions that took our breath away.

Immediately afterward, we were off to enjoy the official GRAMMYs After-Party  — and not even the constant showers could not rain on our parade. The Reps hit the dancefloor as soon as NE-YO took the stage, and hearing "Time of Our Lives" felt especially relatable. 

As we headed back home on our United flights, we reflected on an exhilarating GRAMMY Week. Not only were we able to be part of exclusive events, but we also interacted with artists, learned from experts, and grew exponentially. Experiencing these moments with the other Reps brought our team closer, while meeting members and peers showed the expansive community GRAMMY U is cultivating. 

Because of United, we witnessed all the Recording Academy does for the music industry. After GRAMMY Week, we feel more inspired and empowered than ever to lead the next generation of the music industry.

With additional reporting from Pierson Livingston.

2024 GRAMMYs: See The Full Winners & Nominees List

As the first recipient of the inaugural Best African Music Performance GRAMMY Award, South African songstress Tyla has officially etched her name into history. At the 2024 GRAMMYs, the 22-year-old's amapiano-infused Afro pop hit "Water" beat out several long-established names in African music.

While Tyla's success on Music's Biggest Night stresses the Recording Academy's continued efforts to showcase diverse African music, her victory is more of a one-armed hug rather than a full, legs-off-the-ground embrace of African music. 

This is chiefly because "Water" was successful and marketable for its use of Western pop influences. While Afrobeats and amapiano are certainly crossing over in America, bestowing a golden gramophone upon an artist whose work reflects familiar sounds is a curious step forward for African music. Still, Tyla's win may foster a greater embrace of the African sound, and the virality and pervasiveness of "Water" propelled the Johannesburg-born singer/songwriter to unheard of heights. 

"Water" hit No. 1 on the Billboard U.S. Afrobeats Songs and Hip-Hop/R&B charts, and became the first African song to enter the Billboard Hot 100 since 1968. The track peaked at No. 7, making Tyla the highest-charting African female solo musician in Billboard history. The "Water" dance challenge on TikTok further pushed the track into the global sphere, and the song has been featured in over 1.5 million videos.

The widespread appeal of "Water" is a culmination of elements, notably a fusion of Western pop with subtler amapiano influences. The song melds sleek American R&B and pop compositions with the log drums and piano trails synonymous with the South African amapiano genre. 

Read more: 10 African GRAMMY Winners Through The Years: From Miriam Makeba To Angélique Kidjo & Burna Boy

Indeed, most musical genres (regardless of continent of origin) draw inspiration from and contribute back to each other. The resulting music transcends regional boundaries and appeals globally — and Tyla's "Water" is proof of this resonance. Yet it also reflects how a major Western influence is often necessary for African music to transcend the continent. 

The Recording Academy's new Category was designed to highlight "strong elements of African cultural significance," said Shawn Thwaites, Recording Academy Awards Project Manager and author of the Category. In describing eligibility for the Best African Music Performance Category, Thwaites noted that songs must feature "a stylistic intention, song structure, lyrical content and/or musical representation found in Africa and the African diaspora." 

Still, when it comes to recognizing lesser known genres — from South Africa's gqom to Tanzania’s singeli and Ghana’s asakaa — the global audience still has a long way to go.

"We need to go deeper and in more detail within different genres of music. We know there are multiple different types of music — hundreds of genres, in fact — coming from Africa and from all 54 countries on the continent," Recording Academy CEO Harvey Mason Jr. told GRAMMY.com after his three trips to the vibrant continent. "I'd love to see us be able to honor even more music from Africa and other areas of the world."

Thwaites hopes that celebrating the diversity of African music will also lead to greater cultural exchange. Eventually, this could lead to "more collaborations between artists of different genres and more artist relations between labels and executives in America," he said. 

But for this progression to happen correctly, there has to be a cultural education about the music within the continent and it's something Ghazi Shami, CEO/Founder of Empire Records, Distribution and Publishing — who consulted with the Recording Academy on the new Category — is looking forward to watching develop. 

"I think we'll see expanded categories in African music in the years to come, but this is a great start toward recognizing the merits and impact of African music," he told GRAMMY.com prior to the ceremony. 

Tyla's GRAMMY win is an exceptional achievement — particularly so for a young African woman. Popular African music has often been skewed towards male artists. At the 2023 GRAMMYs, Tems became the only female solo artist currently living in Nigeria to win a GRAMMY. (Sade, who was born in Nigeria, has won four GRAMMYs but lives in the U.K.)

A similar trend is observed in South Africa, where Miriam Makeba was both Africa's first GRAMMY winner and the country's solo female vocalist to win prior to Tyla. 

Tyla's win is a beacon to other young female performers in Africa — including fellow Category nominee Ayra Starr and singer/songwriter and producer Bloody Civilian — proving that female artists can and will be recognized, regardless of their country of origin. It also demonstrates how the distance between African artists and international prestige has been shortened, thus furthering the likelihood of artistic innovation.

Her win is also notable in a Category stacked with Nigerian artists. Of the five nominated works, "Water" is the only one not created by an artist of Nigerian descent or currently living in Nigeria. (Though South African producer Musa Keys is featured on Davido's nominated "UNAVAILABLE.") Although South Africa has a lengthy history at the GRAMMY Awards, Tyla is proof the world is listening to what her country has to offer. 

While her fellow nominees — Starr, Burna Boy, Davido, ASAKE & Olamide  — and artists such as Wizkid have also shouldered the responsibility for the globalization of popular African music, there is still a long road ahead. 

Tyla’s win holds significant promise for African music as pop music. While "Water" certainly has noticeable South African elements, its Western appeal may partially lay in its use of familiar sounds. For Africa to truly win, the world has to embrace African music for what it is, and not for what it's trying to be. 

Big First Wins At The 2024 GRAMMYs: Karol G, Lainey Wilson, Victoria Monét & More