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9 Ways Women Dominated The 2024 GRAMMYs
Taylor Swift, SZA and Lizzo attend the 66th GRAMMY Awards at Crypto.com Arena on February 04, 2024 in Los Angeles, California.

Photo by Johnny Nunez/Getty Images for The Recording Academy

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9 Ways Women Dominated The 2024 GRAMMYs

From Taylor Swift and Tyla's historic wins, to Miley Cyrus' first GRAMMYs and Joni Mitchell's first performance, the 66th GRAMMY Awards put ladies first.

GRAMMYs/Feb 6, 2024 - 12:01 am

Women shined particularly bright at Music's Biggest Night this year. As Trevor Noah put it in his monologue: "There’s a band that has already won today called boygenius, it’s three women. That’s how good a year it is for women."

Beyond boygenius' first GRAMMY wins, the conversation about female artists' legacy at the 2024 GRAMMYs had been building since the nominations were announced, when it was revealed that seven of the eight nominees for Album Of The Year were women. The majority of the performers for the 66th GRAMMY Awards were also women, including the legendary Joni Mitchell, Billie Eilish, SZA, and Dua Lipa. And several female artists were on the precipice of making history (chief among them, Taylor Swift, who later became the first ever four-time winner of Album Of The Year.

The results of the ceremony were no less centered on the ladies. At the Premiere Ceremony, Julien Baker, Phoebe Bridgers, and Lucy Dacus won three of the six Rock Categories for their work as boygenius. Lainey Wilson nabbed Best Country Album, Joni Mitchell won Best Folk Album, and Victoria Monét won Best R&B Album and Best New Artist. Gaby Moreno, Karol G and Tyla nabbed trophies as well.

As the night went on, that tally continued. In fact, other than Producer Of The Year and Songwriter Of Year, a woman won every category in the General Field, including Billie Eilish's "What Was I Made For?" winning Song of the Year and Taylor Swift's Midnights pulling off the big fourth Album Of The Year win.

From every corner of the room, Music’s Biggest Night was filled with powerful women taking the spotlight. Here are eight moments where women ruled the 2024 GRAMMYs — with no sign of this reign ending.

Taylor Swift Hits Lucky Number 13 (And 14, Too)

While it’s true that Taylor Swift’s name has been at the center of what feels like 98 percent of music in the past year, and that continued at the 2024 GRAMMYs. Much speculation ahead of the 66th GRAMMY Awards came down to whether she would make history by winning her fourth Album Of The Year award.

Adding to the excitement, the iconic Celine Dion surprised the world and took the stage to announce the winner for the night’s final award, and it happened: "Taylor Swift."

Rather than bask in her own glory, Swift seemed shocked, fumbling to get a high-five and hug connected with close friend and uber-producer Jack Antonoff. And her acceptance speech made it clear that while she appreciated and was honored by the award, she wasn’t about to rest on any laurels, no matter how massive they may be.

"I would love to tell you that this is the best moment of my life, but I feel this happy when I finish a song, or when I crack the code to a bridge I love, or when I'm shot-listing a music video, or when I'm rehearsing with my dancers or my band, or getting ready to go to Tokyo to play a show," she said. "For me the award is the work. All I wanna do is keep being able to do this. I love it so much, it makes me so happy."

True to that word, the evening also featured Swift announcing a new album — after Midnights won Best Pop Vocal Album (her lucky number 13th GRAMMY) earlier in the night, Swift made the surprise announcement that she’d be releasing her 11th studio album, The Tortured Poets Department, on April 19.

There was something inspiring, too, about the way Swift got to the stage — practically yanking Lana Del Rey from her seat at the same table, demanding she join her onstage. "I think so many female artists would not be where they are and would not have the inspiration they have if it weren’t for the work that she’s done," Swift told the assembly. "She’s a legacy artist, a legend in her prime right now."

Always a booster of other women in the industry, of course she had to share the spotlight even with her history-making fourth Album Of The Year award in hand.

Tracy Chapman Returns To The GRAMMY Stage

Sure, it was Luke Combs nominated for Best Country Solo Performance, but he made it crystal clear that he was there because of Tracy Chapman.

"That was my favorite song before I even knew what a favorite song was," he said in a video package prior to his performance, evocatively describing trips in his dad’s pickup truck, Chapman’s self-titled debut on the cassette player. Combs loved the song so much, he explained, that he wanted to put a cover of it on his 2023 album, Gettin' Old.

He went on to laud its universal appeal, the way Chapman’s chorus gets full-throated sing-alongs no matter the listener’s background — a powerful message, considering that Combs’ recording winning the Country Music Awards' Song Of The Year award made Chapman the first Black woman to receive that honor. "To be associated with her in any way is super humbling for me," Combs said.

The show transitioned from that heartfelt praise directly to Chapman’s hand on her guitar neck, picking out that iconic acoustic riff. Thirty-five years after its initial release, there was Chapman again on the GRAMMYs stage, this time dueting with a country star clearly in awe of sharing her space, mouthing along with the lines he wasn’t singing. It was an unforgettable performance, astonishing in its ability to pull us all out of our bodies and into the spirit of music.

The Endless Allure Of SZA

"Nobody got more nominations this year than SZA," Trevor Noah announced during his opening monologue — and that was after the experimental R&B artist born Solana Rowe had already won two GRAMMYs at the Premiere Ceremony earlier in the evening.

SZA had many more special moments left in the night. She performed a section of the GRAMMY-nominated "Snooze" in a black trenchcoat and hat, and the blade-wielding rebuke triggered the transition to another smash hit from 2022’s SOS: "Kill Bill". The cinematic performance featured a squad of leather-clad woman assassins slicing and dicing a series of men in suits, as SZA effortlessly walked the stage to deliver the world’s sweetest anthem centered on homicide. (For the record, the sight of Phoebe Bridgers’ outright glee at the sight of a sword-wielding dancer standing on her table at the song’s outset has to go down as one of the night’s best moments.)

Later, she would take home the GRAMMY for Best R&B Song for "Snooze" — her tally of three awards tying for the second largest of any artist at the 66th GRAMMY Awards. SZA was handed the golden gramophone by Lizzo, the two women clearly sharing a special moment.

"Lizzo and I have been friends since 2013 when we were both on a tiny Red Bull tour, opening up in small rooms for like 100 people. And to be on the stage with her is so amazing, I’m so grateful," SZA said after sprinting onstage, having just changed out of her performance attire. The tearful, brief acceptance speech that followed showed the incredibly honest and passionate person — and performer — that she is.

Boygenius Win Their First GRAMMY Awards

For a trio of badasses like boygenius, one or two GRAMMYs just wouldn’t do. They needed an award apiece: Best Rock Performance, Best Alternative Music Album, and Best Rock Song (all handed to them by queer icon Rufus Wainwright, no less). Julien Baker, Phoebe Bridgers, and Lucy Dacus sprinted down the aisle in their matching white suits at the Premiere Ceremony, giddy, shocked, together.

Befitting the trio’s history — both together and separately — as brilliant writers and lyricists, each had their own memorable line. 

"Music saved my life. Everyone can be in a band, this band is my family," Baker said, beaming after they won the Best Rock Performance award. "We were all delusional enough as kids to think that this might happen to us one day," Dacus said with a laugh. But just two days after the public announcement that the band was going on hiatus to focus on their own solo projects, it was this quick aside from Bridgers during their acceptance for Best Rock Song that brought the warmth: "I owe these boys everything. I love you guys so much." 

Tyla Makes Africa Proud

Trevor Noah may have been the host, but he wasn't the only one bringing South African flavor to the 2024 GRAMMYs.

"What the heck!?" Tyla said earlier in the evening at the Premiere Ceremony, grinning as her Johannesburg accent dripping with gleeful shock. At just 22 years old and a month out from even releasing her debut studio album, the viral pop star was nominated in the stacked inaugural Category of Best African Music Performance, including Asake & Olamide, Burna Boy, Davido and Musa Keys, and Ayra Starr. But it was Tyla’s "Water" — an amapiano-driven pop instant classic — that took home the award.

The song had already made history, as the first South African single to reach the Billboard Hot 100 since jazz legend Hugh Masekela achieved that feat in 1968, not to mention that the song reaching number seven made Tyla the highest-charting African female solo musician in Billboard history. 

"If you don’t know me, my name is Tyla, I’m from South Africa, and last year God decided to change my whole life," she said, the glow of the GRAMMY gold radiating on her face.

Annie Lennox Knows We Are Never Forgotten

The In Memoriam segment inevitably provides some of the most touching moments of any GRAMMY Awards. But every once in a while, a truly special performance will stand out amidst the heartache. Such was the case with Annie Lenox’s tear-stained performance of "Nothing Compares 2 U" from the late Sinéad O’Connor. The Eurythmics vocalist sat piano-side, a tear-like streak of glitter applied below her left eye, delivering the Irish legend’s best-loved song with every ounce of gravitas the moment demanded — and then some.

"Nothing compares/ Nothing compares to you," she sang with her eyes gazing skyward, before clenching them tight, her lips quivering. And as the song rounded to a finish, Lenox raised a fist, and spoke a simple, direct sentence that the outspoken activist O'Connor surely would have appreciated: "Artists for ceasefire, peace in the world."

Joni Mitchell Proves It's Never Too Late For Firsts

When word got out that Joni Mitchell would be making her first performance at the GRAMMYs, the global anticipation for the ceremony seemed to hit a boiling point. Since recovering from a brain aneurysm in 2015, Mitchell has been stepping into the spotlight more in recent years, but the thought of her onstage at the 66th GRAMMY Awards still felt miraculous.

But then there was Brandi Carlile, extolling Mitchell’s many virtues before introducing one of the greatest singer-songwriters of all time. "Joni just turned 80 my friends, but we all know she’s timeless," Carlile smiled, noting as well that "the matriarch of imagination" had already won a GRAMMY that same evening for Best Folk Album. 

And then the lights came up on Joni, seated in a gold-framed armchair, clutching a cane with a silver cat’s head on its hilt, singing the first lines of the all-time classic "Both Sides Now." Backed by a band of GRAMMY-winning heroes in their own right (Carlile, along with SistaStrings, Blake Mills, Lucius, Allison Russell, and Jacob Collier), it seems impossible that any eye in the room could have remained dry, let alone focused anywhere except right on Mitchell, with her beating heart and sky-scraping lyricism. Even Carlile, seated at her left, couldn’t stop looking up from her guitar to smile in awe.

"Well something's lost, but something's gained/ In living every day," she sang with a soft hint of a smile, before the well of strings, clarinet, guitars, and piano brought the final chorus in. 

Miley Finally Gets Her Flowers 

With what appeared to be four outfit changes between the red carpet and the stage and a sky-high, Dolly Parton-inspired brown bouffant, pop superstar Miley Cyrus delivered her fair share of memorable moments throughout the evening. Cyrus arrived at the 66th GRAMMY Awards without any GRAMMYs to her name, despite two previous nominations, a slew of hit albums, and 11 Top 10 singles dating back 17 years — which made her two wins even more noteworthy.

The GRAMMY drought ended thanks to smash single “Flowers,"which won Best Pop Solo Performance and Record Of The Year, solidifying Cyrus’ place both in GRAMMY history and as one of the year’s most celebrated pop stars. 

The former teen star took the stage at the 66th GRAMMY Awards as well, delivering “Flowers” to a star-studded — a daunting task for anyone, even a seasoned star. But it should have come as no surprise that Cyrus would be comfortable in that spotlight, as evidenced by her joking question for the entire room (and, it seemed, viewers at home, too): "Why are you acting like you don't know this song?" 

Despite her glowing near-speechlessness at finally earning a GRAMMY, the comfortable quips didn’t stop there. "I don't think I forgot anyone, but I might've forgotten underwear... bye!" she exclaimed before zipping offstage with her brand new GRAMMY hardware.

Celine & Mariah: Presenters Make History, Too

Even when just presenting awards, powerful women were at the forefront at the 66th GRAMMY Awards. The evening’s first presenter was Mariah Carey, onstage just three days after receiving the Impact Award from the Recording Academy’s Black Music Collective. The five-time GRAMMY-winner received the honor for her art’s influence and her inspirational legacy of service — and considering the ovation in the room, that impact was felt by her peers as well as the fans watching along at home.

Carey was presenting for Best Pop Solo Performance, and used her inimitable falsetto to deliver the ecstatic announcement: "And yes, this year all five nominees are women!" The sight of Carey handing Miley Cyrus her first GRAMMY (in honor of disco-tinged bop "Flowers") was, as Miley aptly put it, "too iconic."

While that opening set the stage for women dominating the show, the other bookend to the evening’s awards proved perhaps even more tear-jerking. At the end of 2023, the update came that Celine Dion’s battle with the rare neurological disorder "stiff person syndrome" had left the legendary vocalist without full control of her muscles, sometimes causing trouble walking or even using her vocal cords. As such, the sight of her walking down the golden tunnel and up to the microphone to announce the nominees for Album Of The Year felt like a special honor in and of itself.

"When I say that I’m happy to be here, I really mean it from my heart," she said. "Those who have been blessed enough to be here at the GRAMMY Awards must never take for granted the tremendous love and joy that music brings to our lives and to people all around the world."

Dion offering those lines — that positivity and beauty in the face of unprecedented difficulty — before presenting the award that would make history for Taylor Swift felt so fitting, emblematic of the powerful women who made the evening what it was.

Check Out The Full Winners & Nominees List For The 2024 GRAMMYs

Freddy Wexler On Helping Billy Joel "Turn The Lights Back On" — At The 2024 GRAMMYs And Beyond
Photo: Lester Cohen/Getty Images for The Recording Academy

(L-R) Billy Joel, Freddy Wexler

interview

Freddy Wexler On Helping Billy Joel "Turn The Lights Back On" — At The 2024 GRAMMYs And Beyond

"Part of what was so beautiful for me to see on GRAMMY night was the respect and adoration that people of all ages and from all genres have for Billy Joel," Wexler says of Joel's 2024 GRAMMYs performance of their co-written "Turn The Lights Back On."

GRAMMYs/Feb 26, 2024 - 09:11 pm

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

GRAMMY U Reps Experience GRAMMY Week Like Never Before Thanks To The Recording Academy & United Airlines
GRAMMY U Reps and staff walk the red carpet at the 2024 GRAMMYs

Photo: Andrew Sankovich

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GRAMMY U Reps Experience GRAMMY Week Like Never Before Thanks To The Recording Academy & United Airlines

United Airlines flew the GRAMMY U Representatives out to L.A. for an unforgettable 2024 GRAMMY Week. The trip provided significant professional development in music, and the Reps savored every moment. Take a look at the GRAMMY U Reps’ inspirational week.

GRAMMYs/Feb 22, 2024 - 10:38 pm

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

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."

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."

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. 

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

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!"

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

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.)

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

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

South African Singer Tyla Won The Inaugural Best African Music Performance Category At The 2024 GRAMMYs. What Does It Mean For African Music On The Global Stage?
Tyla with her golden gramophone

Photo: Jason Armond / Los Angeles Times via Getty Images

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South African Singer Tyla Won The Inaugural Best African Music Performance Category At The 2024 GRAMMYs. What Does It Mean For African Music On The Global Stage?

While Afrobeats and amapiano are certainly crossing over in America, Tyla’s win reflects how Western influence is often necessary for African music to transcend the continent. Is "Water" what African music needs to blossom?

GRAMMYs/Feb 12, 2024 - 10:43 pm

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

How The Latin GRAMMYS Brought Latin Music Excellence To The 2024 GRAMMYs
Peso Pluma attends the 2024 GRAMMYs

Photo:  Lester Cohen/Getty Images for The Recording Academy

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How The Latin GRAMMYS Brought Latin Music Excellence To The 2024 GRAMMYs

Latin music was celebrated throughout GRAMMY Week and on Music's Biggest Night. Read on for the many ways Latin music excellence was showcased at the 204 GRAMMYs.

GRAMMYs/Feb 9, 2024 - 09:56 pm

The 2023 Latin GRAMMYs may have occurred months ago and thousands of miles away, but the leading lights in Latin music also shined at the 66th GRAMMY Awards. From historic wins and meaningful nominations, to electric performances and interesting installations, Latin music excellence was everywhere. 

In anticipation of the 25th anniversary of the Latin GRAMMYs in 2024, the exclusive GRAMMY House — the site of multiple GRAMMY Week events — included a significant installation dedicated to the Biggest Night In Latin Music.

The cylindrical display showcased some of the biggest moments in Latin GRAMMY history, including images, facts, and even a real Latin GRAMMY award. 

The celebration of Latin music continued throughout GRAMMY Week, with several Latin GRAMMY-winning artists also winning on the GRAMMY stage. Among the major moments at the 2024 GRAMMYs, Karol G won her first golden gramophone for her 2023 LP Mañana Será Bonito. "This is my first time at GRAMMYs, and this is my first time holding my own GRAMMY," the Colombian songstress exclaimed during her acceptance speech. 

Música Mexicana star Peso Pluma also took home his first GRAMMY; his album GÉNESIS won in the Best Música Mexicana Album (Including Tejano) Category.

Premiere Ceremony presenter Natalia Lafourcade — whose Todas Las Flores won big at the 2023 Latin GRAMMYs — also took home the GRAMMY Award for Best Latin Rock or Alternative Album. She tied in the Category with Juanes

Premiere Ceremony performer Gabby Moreno also took home a GRAMMY Award for Best Latin Pop Album for her album X Mí (Vol. 1)

Beyond the stage, Latin artists graced the red carpet and the nominations list. For example, producer and songwriter Edgar Barrera was the only Latino nominated in the Songwriter Of The Year, Non-Classical Category.

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