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How Many "American Idol" Winners Have Won GRAMMYs? A Rundown Of Wins And Nominations For Kelly Clarkson, Carrie Underwood & More
As "American Idol" season 20 comes to a close, take a look at all of the "Idol" winners and contestants that have won or been nominated for GRAMMYs.
For the past 20 years, "American Idol" has helped discover some of the biggest names in pop, country, R&B and beyond. As “Idol” winners and contestants have had success in the music industry, many have been awarded with GRAMMY wins and nominations.
Season 20 wraps up with the finale on May 22, when HunterGirl, Leah Marlene and Noah Thompson will compete to be the latest "American Idol" winner. This season has seen several contestants who play instruments or are also songwriters; the talent has been touted as some of the best Katy Perry, Lionel Richie and Luke Bryan have seen in their five seasons as judges.
Will any of this year's finalists end up in the GRAMMY ranks with their "Idol" predecessors? Time will tell, but for now, see how many "American Idol" winners and contestants have scored GRAMMY Awards and GRAMMY nominations.
Season 1 winner Kelly Clarkson and Season 2 winner Ruben Studdard were the first "Idol" winners to be nominated for a GRAMMY, both receiving nominations in 2004. Clarkson became the first "Idol" winner to win a GRAMMY two years later, when she scooped up two awards: Best Pop Vocal Album for Breakaway, and Best Female Pop Vocal Performance for her smash "Since U Been Gone."
Clarkson became the first "Idol" contestant to win a GRAMMY for an album twice in 2013, when she won the Best Pop Vocal Album GRAMMY for 2011's Stronger. To date, Kelly Clarkson has won three GRAMMYs and has received 15 nominations.
Season 4 winner Carrie Underwood has won eight GRAMMYs and has received a total of 16 nominations, making her the "Idol" contestant with the most GRAMMY wins and nominations. Her most recent win came in 2022, when she won Best Roots Gospel Album for her 2021 release, My Savior.
Underwood is the only "Idol" winner (and contestant) to win Best New Artist. Until 2022, she was the only "Idol" alum to even be nominated for the coveted award, but her fellow country star Jimmie Allen joined that rare rank.
Along with Underwood, Clarkson and Studdard, Season 3 winner Fantasia Barrino and Season 6 champion Jordin Sparks are the only other winners to be nominated for a GRAMMY. Though Season 5 winner Taylor Hicks hasn't technically received a nomination, he was featured on Jimmy Fallon's 2012 album Blow Your Pants Off (on the track "Friday"), which won Best Comedy Album in 2013.
Season 8's Adam Lambert is the only "Idol" runner-up to be nominated for a GRAMMY. He was nominated for a Best Male Pop Vocal Performance GRAMMY for "Whataya Want From Me" in 2011.
Perhaps two of the most remarkable GRAMMY-winning "Idol" alums are Jennifer Hudson and Tori Kelly. Each have two GRAMMYs to their name, but clearly "Idol" viewers and judges didn't see the star within: Hudson placed seventh on Season 3, and Kelly was cut before the top 24 on Season 9.
Another GRAMMY-nominated finalist who finished outside of the top 3 is Chris Daughtry, who placed fourth on Season 5. Daughtry has been nominated for four GRAMMYs, all of which came in 2008 thanks to his eponymous debut album and its hits "It's Not Over" and "Home." (Fellow Season 5 contestant Ace Young co-wrote "It's Not Over," making him another GRAMMY-nominated "Idol" star, as the single earned a Best Rock Song nomination.)
Mandisa, who placed ninth on Daughtry's season, is also a GRAMMY-winning finalist, as her 2013 album, Overcomer, won a Best Contemporary Christian Music Album GRAMMY in 2014. (She has received five nominations overall.)
Season 8's third place contestant, Danny Gokey, has also had a successful career in Christian music. He has been nominated for three GRAMMYs, with two of his albums receiving Best Contemporary Christian Music Album nods and his song "Haven't Seen It Yet" earning a Best Contemporary Christian Music Performance/Song nom.
A number of "Idol" alums have proven you don't have to win "American Idol" to win a GRAMMY or earn a GRAMMY nomination. Whatever the outcome of Season 20, be sure to keep watch on your favorite contestants — you might just see them on the GRAMMY stage one day.
Carrie Underwood On Creating Her First Gospel Album, 'My Savior,' Working With CeCe Winans, & Making "Legacy Music"
Photo: Jonathan Weiner
Meet Me @ The Altar Reveal The 4 "Badass" Female Artists Who Inspired Their Debut Album, 'Past // Present // Future'
On the heels of releasing their electric debut LP, pop-punk trio Meet Me @ The Altar celebrate Kelly Clarkson, Demi Lovato, Alanis Morissette and Pink — and how those women played a role in the band's music today.
Long before Meet Me @ The Altar formed in 2015, the trio found inspiration from women who were doing exactly what they are now — breaking the mold for women in rock. So when it came time to name their debut album, there was a title no more fitting than Past // Present // Future.
"We're always going back to the music that inspired us in our childhood growing up and finding ways to make something modern out of that," bassist Téa Campbell tells GRAMMY.com.
While they initially bonded over Paramore — after Campbell and drummer Ada Juarez met on YouTube, they held auditions for a singer, and Edith Victoria won them over with a rendition of Paramore's "All I Wanted" — Meet Me @ The Altar had a separate set of influences in mind while creating their first LP: Demi Lovato, P!nk, Alanis Morissette, and Kelly Clarkson.
All of those artists' impacts are felt across Past // Present // Future, but Meet Me @ The Altar bring a youthful energy that makes the music feel less copycat and more well-informed. There's no denying they were kids of the pop-punk era, as apparent in the racing guitar melody of "Try" and their fearless shots at online trolls on lead single "Say It (To My Face)." Across the album's 11 tracks, it's clear that the MM@TA girls are simply having fun paying homage to the music they grew up on — but ultimately, making it their own.
Just before the album was released on March 10, Meet Me @ The Altar kicked off their first-ever headlining tour. Despite only being six shows in by the time they caught up with GRAMMY.com, the trio had already noticed that they're making a similar impact on fans that their heroes had on them. And with all three members being BIPOC and two queer, the band is serving the next generation in an even bigger way.
"We grew up not seeing people like us on stage — none that we directly saw ourselves reflected in — and we are that for a lot of people now," Campbell says. "That's something that we don't take lightly."
Below, hear from Campbell, Juarez and Victoria on how Demi Lovato, P!nk, Alanis Morissette, and Kelly Clarkson inspired Meet Me @ The Altar's debut LP.
Victoria: She's such a fantastic vocalist. She can sing literally anything — she can sing over a pop instrumental or over a rock Instrumental and she'll still sound fabulous.
Campbell: Demi was always a freakin' rock star. I just remember being like, 7, 8 years old, turning on the TV in my playroom. They would play the music videos in between the shows and stuff, and it was always so inspiring to see someone just, like, rocking out. Disney Channel doesn't get enough credit — they really made [everyone] look like rock stars. It was so iconic.
Victoria: The album that did it for me when I was really young was Don't Forget, with "Get Back" and all of that. I loved that record so much, because it was a fuse of pop and rock, and her badass voice over it was just amazing.
Campbell: Especially instrumentally, Demi's older stuff was a huge influence on this record. [On] "La La Land," the songwriting is really good. That's something I was really focused on with this album, having really good songwriting, because we really care about creating quality work.
"Here We Go Again" was also a main vibe that we wanted to go for, because it's a perfect amount of nostalgia. That's something that we wanted to emulate too.
For all of these artists, it's more vibes versus [trying] to copy their song, you know? We just really loved the energy that all these artists put out, and Demi's songs were just so solid and such good pop-rock songs. And we wanted to have that kind of iconic-ness about ours.
Juarez: Demi's music, since the beginning, has been really rock-based, and that's obviously something that we took into account with what we were doing with this album. We also worked with John Fields, who has produced some of Demi's albums.
We definitely wanted to sound, quality-wise, just like how she sounded in those albums. Those albums are so good.
Campbell: [John] had a bunch of photos and videos [of Demi] from that time when we were recording and stuff, so it was so crazy — especially thinking back to our 7/8/9-year-old selves. They would be freaking out!
Victoria: The melody for "Need Me" [on our album] reminds me a lot of that era. The "yeah, yeah"s were inspired by Demi because she loved her "yeah, yeah"s back in the day. The cadence reminds me of her a lot as well, and that Don't Forget period.
Campbell: "TMI" gives the most, like, Camp Rock-y kind of vibe. I can imagine Edith singing it by a lake, just looking out at the water.
Juarez: Also, just to say: As a person, Demi is amazing — how far they've come, where they are today and where they came from. Demi is definitely someone that I've looked up to for a very long time, to get to where they are today.
Victoria: All these people [inspire me] on a vocal scale, because they're so versatile and they kind of can sing anything, but my favorite parts of them was when they were singing over a rock instrumental. That really influenced me, and it made me realize I can have a more colorful voice than the basic pop-punk dude voice and still be able to sing over rock. Pink's poppier stuff is just as good as her rockier stuff, and I think it's really important to be able to be versatile in your voice like she is.
Juarez: The immediate thing that comes to mind is that P!nk is the best person in the entire f—ing world. She's so unapologetically herself, and always has been. Even how she raises her children today — P!nk is just, like, an angel.
Her music has always been really good. She's done many genres, and honestly, nailed them all. She's just one of those artists that, growing up, I always looked up to. There's never been a point in time where I didn't know that P!nk existed. I've always been like Wow, I want to be as influential as she is.
Campbell: P!nk has always been really inspiring in terms of just taking up space and having a voice. It's her way or the highway — she doesn't take anyone's crap. That mentality has really helped us navigate this whole thing, being young women in a scene that's very older male-dominated. It's hard to navigate sometimes, but having that inside of you, like, I'm just gonna do me and worry about what I got going on — that's something that I really took from P!nk. She's a badass, and that's how we want to be.
If you think about songs as a formula, she's got it down. That's something that we paid attention to. Her song structures are just perfect. It's that mix of that powerhouse voice with the real rock instrumentals. We also focused on more of a driving chorus for most of these songs — that's something that she did a lot and that was something that we really liked.
Juarez: She also has a lot of fun in her songs, and I feel like we get some of that from her. You don't have to take the song too seriously, you can still put your little spin on things.
Campbell: "Thx 4 Nothin" was heavily P!nk inspired.
Victoria: That was one where we were like, "We should write something that is very reminiscent of P!nk." We decided that before we went to the studio that day.
Edith: She's so unconventional and odd. I remember my mom used to play her all the time when I was growing up, and my mom was telling me that when Jagged Little Pill came out, people were so freaked out by her — they were like, "She's the devil" and all this stuff, just because she was a rock star and she sang a lot differently than what any other woman was doing at the time.
I love how unconventional she was and how unapologetic she was. I think that she carried all of that negativity and dealt with it with such grace, and she still just did what she had to do for her fans.
Juarez: I wasn't too familiar with Alanis Morissette for a really long time. But as I've gotten older and learned more about her, I've realized that she's always had her place in the rock scene — like, she played Woodstock '99! Taylor Hawkins was her drummer for the longest time. She's always had a name for herself, and that's something that we strive to do always in a male-centric genre.
Victoria: We cover "You Oughta Know" live, actually. It's one of my favorite songs ever — that whole album is one of my favorite albums ever, Jagged Little Pill. Her song "Thank You" is one of my favorites too.
"Kool" is a song that I wanted to be very kind of weird. That chorus melody is very Alanis-inspired with the way I'm moving my voice, because she moved her voice in a lot of odd ways too.
Victoria: I didn't recognize how much Kelly influenced me, because I was so young listening to all her hits on the radio that I didn't process who it was, I just knew I liked the song and the singer. "Miss Independent" and "Breakaway" — that whole album, I had it on CD, and I used to play it, like, every single day, but I didn't know who the heck Kelly Clarkson was!
When we started this album, and then I went back and I realized, "Oh my gosh, all of these songs are Kelly Clarkson. And they're all so good!"
She is one of my favorite vocalists ever. She's so versatile and her voice is so powerful. She's just amazing.
Campbell: Kelly Clarkson was one of the first people who made me realize how powerful music can be in the context of movies. The Princess Diaries — I think that might have been the first time I ever heard Kelly Clarkson. It made me feel so much.
It's just so cool what music can do. I think that's something that all of these artists opened our eyes to. Especially nowadays, we always find ourselves going back to that time period, because music today just does not feel the same.
All of these artists were songwriters too, and you could tell that their truth was in these songs, and it made you feel something. That's something that is super inspiring, and Kelly is so great at that.
Juarez: Kelly Clarkson — in particular, it was "Breakaway," but honestly that whole album, and even like "Since U Been Gone" and "Behind These Hazel Eyes" — that was one of the first times I felt that nostalgia emotion. Specifically "Breakaway" — I was like 4 or something — like, it would play at the YMCA, that's where I remember hearing it. It always stuck out to me.
Victoria: The melody for "Same Language," but specifically the post-chorus, reminds me so much of her. It's super high, it's super open. It's like a slap in your face in the best way. I can hear singing that part of the chorus so easily.
Campbell: I feel like a lot of our songs, vocally, have the same kind of vibe as "My Life Would Suck Without You." It's just up there and it's just like, goin'.
Juarez: I love that the music we make gives me the same feeling that "Breakaway" gave me when I first listened to it. It's, like, a vibe thing. And also Kelly Clarkson is like, the best person in the world. I think she can do no wrong.
Victoria: She's a ray of sunshine. I'm so happy we're able to be on her show, because that was very full-circle for all of us.
Juarez: We didn't get to meet her though, it was all pre-recorded. One day!
Victoria: I want to get all these people to know who we are so bad. I think they would really like us!
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Listen: Get Jolly With New Holiday Music From Dolly Parton, Phoebe Bridgers, Pentatonix, Alicia Keys & More
This year saw several new holiday albums and singles from artists of all genres, from Backstreet Boys to Gloria Estefan. Get in the spirit with this festive 30-song playlist.
As we're all stringing up colorful lights and scrambling to buy last-minute gifts, music shines as the one constant in our lives amid the rush of the holiday season.
Some playlists have been bursting with holiday music since early autumn, with releases such as Dolly Parton's "A Smoky Mountain Christmas" dropping back in August and Joss Stone's Merry Christmas, Love releasing in September. Since then, several more holiday albums arrived, whether they were new projects from artists such as Alicia Keys and Thomas Rhett or polished deluxe editions from the likes of Reba McEntire and Norah Jones.
Beyond releasing albums, many artists have also found their holiday spirit by releasing festive singles. Remi Wolf brings her bubbly personality to warm covers of "Last Christmas" and "Winter Wonderland," Dan + Shay remind us to throw a "Holiday Party" with loved ones, and Phoebe Bridgers shares her annual holiday cover, this year a rendition of the Handsome Family's "So Much Wine." And even stars such as RuPaul, Jimmy Fallon and Ryan Reynolds surprised with holiday singles this season.
Groups such as Pentatonix and Backstreet Boys joined in on the fun with their own cheery holiday albums, and Gloria Estefan and her family capture the joys of love in a snowglobe on Estefan Family Christmas. Collaborations sparkle with holiday magic as well; Ingrid Michaelson and A Great Big World team up for "It's Almost Christmas," and Kelly Clarkson and Ariana Grande perform "Santa, Can't You Hear Me" in a thrilling live version.
So bundle up, grab some hot cocoa, and listen to some new holiday music in this very merry playlist — check it out on Pandora, Spotify, Apple Music, and Amazon Music.
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.
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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].
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