Photo: Emma McIntyre/Getty Images for The Recording Academy
Angelique Kidjo's 'Mother Nature' Wins Best Global Music Album | 2022 GRAMMYs
Angelique Kidjo's 'Mother Nature' wins the GRAMMY for Best Global Music Album at the 2022 GRAMMYs
Angelique Kidjo's Mother Nature wins Best Global Music Album at the 2022 GRAMMYs. This win is the Beninese singer's fifth of her career.
In her speech, Kidjo made sure to first highlight the young African musicians who collaborated with her on Mother Nature — including Yemi Alade, Burna Boy, Mr Eazi, and Shungudzo — that she said "are going to take the world by storm." After thanking the fans who listened "when we needed you," she closed with a powerful statement: "We are all Africans."
Rocky Dawuni's Voice Of Bunbon, Vol. 1, Daniel Ho & Friends' East West Players Presents: Daniel Ho & Friends Live In Concert, Femi Kuti And Made Kuti's Legacy +, and WizKid's Made In Lagos: Deluxe Edition were the other albums nominated in the category.
Check out the complete list of winners and nominees at the 2022 GRAMMYs.
Photo courtesy of the Recording Academy
Press Play: Watch Ibrahim Maalouf Spotlight His Improvisatory Powers In Energetic Performance of "Right Time"
Lebanese trumpeter Ibrahim Maalouf showcases his improvisation skills in this instrumental performance of "Right Time," a hip-hop track from his latest album, 'Capacity To Love.'
Since the initiation of his solo career, Lebanese instrumentalist Ibrahim Maalouf has strived to diversify music with his trumpeting.
The musician found his start performing at international jazz and classical competitions. After quickly becoming one of the most decorated trumpeters, Maalouf began his career as a soloist, where he could transcend the bounds of traditional genres. His skillful, unique improvisation caught the attention of artists globally, including Afrobeats singer Angélique Kidjo.
Together, they released Queen of Sheba, which snagged Maalouf his very first GRAMMY nomination in the Best Global Music Album category at the 2023 GRAMMYs and made him the first Lebanese instrumentalist to be nominated in GRAMMY history.
In this episode of Press Play, Maalouf performs an instrumental version of "Right Time," an upbeat hip-hop track on his latest album, Capacity to Love. Accompanied by an electric guitar and saxophone, Maalouf plays the track's melody, originally sung by Erick the Architect from the Flatbush Zombies.
Maalouf then trades off with the saxophonist, as the two musicians deliver an impressive, improvised solo.
Capacity to Love is Maalouf's fifteenth studio album and first self-produced project. The genre-bending release features collaborations with pop singer J.P. Cooper, rapper D Smoke, New Orleans funk band Tank & the Bangas, and more.
Press play on the video above to watch Ibrahim Maalouf's performance of "Right Time," and keep checking back to GRAMMY.com for more new episodes of Press Play.
Meet Kibrom Birhane, A Keyboardist & Vocalist Fusing Jazz With 1,000-Year-Old Ethiopian Tradition
Photo: Getty Images for the Recording Academy
8 Highlights From "Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon": Garth Brooks' & Trisha Yearwood's Charming Duet, Stevie Wonder' & Ledisi's Heartwarming Performance & More
Paul Simon's GRAMMYs tribute included moments of vulnerability, generation-straddling duets, and plenty of other surprises. Here are eight highlights from the magical night. The tribute re-airs on Wednesday, May 31, at 9 p.m. ET/PT on CBS.
Updated Monday, May 22, to include information about the re-air date for "Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon."
"Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon" will re-air on Wednesday, May 31, at 9 p.m. ET/PT on the CBS Television Network, and will be available to stream live and on demand on Paramount+.
Many tribute shows for legacy artists end in a plume of confetti and a feel-good singalong. But not Paul Simon's.
At the end of the songbook-spanning "Homeward Bound: A GRAMMY Tribute To Paul Simon," the only person on the darkened stage was the man of the hour. Sure, the audience had been baby-driven through the Simon and Garfunkel years, into the solo wilderness, through Graceland, and so forth. But all these roads led to darkness.
Because Simon then played the song that he wrote alone, in a bathroom, after JFK was shot.
It doesn't matter that Simon always ends gigs with "The Sound of Silence." After this commensurately cuddly and incisive tribute show, it was bracing to watch him render his entire career an ouroboros.
That "The Sound of Silence" felt like such a fitting cap to a night of jubilation speaks to Simon's multitudes. The Jonas Brothers coolly gliding through "50 Ways to Leave Your Lover," juxtaposed with the ache of Garth Brooks and Trisha Yearwood's "The Boxer," rubbing up against Dave Matthews getting goofy and kinetic with "You Can Call Me Al," and so on and so forth.
The intoxicating jumble of emotions onstage at "Homeward Bound: A GRAMMY Tribute To Paul Simon" did justice to his songbook's emotional landscape — sometimes smooth, other times turbulent, defined by distance and longing as much as intimacy and fraternity.
Here were eight highlights from the telecast — which will re-air on Wednesday, May 31, at 9 p.m. ET/PT on the CBS Television Network, and will be available to stream live and on demand on Paramount+.
Read More: Watch Jonas Brothers, Brad Paisley, Billy Porter, Shaggy & More Discuss The Legacy And Impact Of Paul Simon Backstage At "Homeward Bound: A GRAMMY Salute To Paul Simon"
Woody Harrelson's Lovably Bumbling Speech
After Brad Paisley's rollicking opening with "Kodachrome," the momentum cheekily ground to a halt as Harrelson dove into a rambling, weirdly moving monologue.
"The songs of Paul Simon really are like old friends," the cowboy-hatted "The Hunger Games" star remarked, interpolating one of his song titles and crooning the opening verse.
Harrelson went on to recount a melancholic story from college, where the spiritually unmoored future star clung to Simon songs like a liferaft. We can all relate, Woody.
Garth Brooks & Trisha Yearwood's Pitch-Perfect "The Boxer"
Brooks has always been one of the most humble megastars in the business, praising his wife Trisha Yearwood — and his forebears — a country mile more than his own. (Speaking to GRAMMY.com, he described being "married to somebody 10 times more talented than you.")
The crack ensemble could have made "The Boxer" into a spectacle and gotten away with it, but Brooks wisely demurred.
Instead, the pair stripped down the proceedings to guitar and two voices; Brooks provided an aching counterpoint to Yearwood.
Billy Porter's Heart-Rending "Loves Me Like A Rock"
The "Pose" star blew the roof off of Joni Mitchell's MusiCares Person Of The Year gala in 2022 with "Both Sides Now," so it was clear he would bring napalm for a Simon party.
Given the gospel-ish intro, one would think he was about to destroy the universe with "Bridge Over Troubled Water."
Instead, he picked a song of tremendous personal significance, "Loves Me Like a Rock," and dedicated it to his mother. The universe: destroyed anyway.
Stevie Wonder & Ledisi's "Bridge Over Troubled Water"
The question remained: who would get dibs on the still-astonishing "Bridge Over Troubled Water"? A song of that magnitude is not to be treated lightly.
So the producers gave it to generational genius Wonder, who'd bridged numberless troubled waters with socially conscious masterpieces like Songs in the Key of Life.
But he wouldn't do it alone: R&B great Ledisi brought the vocal pyrotechnics, imbuing "Bridge Over Troubled Water" with the grandiosity it needed to take off.
Jimmy Cliff & Shaggy Brought Jamaican Vibes With "Mother & Child Reunion"
Simon embraced the sounds of South Africa with his 1986 blockbuster Graceland, yet his island connection is criminally underdiscussed; since the '60s, Jamaican artists have enthusiastically covered his songs.
For instance, it's impossible to imagine a "Mother and Child Reunion" not recorded in Kingston, pulsing with the energy of Simon's surroundings.
Enter genre luminaries Jimmy Cliff and Shaggy, who flipped the tribute into a bona fide reggae party.
Take 6 Dug Deep With "Homeless"
Leave it to the Recording Academy to avoid superficiality in these events: Mitchell's aforementioned MusiCares tribute included beyond-deep cuts like "Urge for Going" and "If."
Most remember "Homeless" as Ladysmith Black Mambazo unaccompanied vocal cooldown after bangers like "You Can Call Me Al"; eight-time GRAMMY-winning vocal group Take 6 did a radiant, affectionate rendition.
When Simon took the stage at the end of the night, he was visibly blown away. Touchingly, he shouted out his late guitarist, Joseph Shabalala, who founded Ladysmith Black Mambazo.
"Imagine a guy born in Ladysmith, South Africa, [who] writes a song in Zulu and it's sung here by an American group, singing his words in his language," Simon remarked. "It would have brought tears to his eyes."
Angélique Kidjo & Dave Matthews' Love Letter To Africa
Graceland was Simon's commercial zenith, so it was only appropriate that it be the energetic apogee of this tribute show.
Doubly so, that this section be helmed by two African artists: Angélique Kidjo, hailing from Benin, and Dave Matthews, born in Johannesburg.
"Under African Skies," which Simon originally sang with Linda Ronstadt is a natural choice — not only simply as a regional ode, but due to its still-evocative melody and poeticism.
"This is the story of how we begin to remember/ This is the powerful pulsing of love in the vein" drew new power from Kidjo's lungs.
Afterward, Matthews — a quintessential ham — threw his whole body into Simon's wonderful, strange hit, "You Can Call Me Al."
The Master Himself Took The Stage
With his still-gleaming tenor and still-undersung acoustic guitar mastery, Simon brought the night home with "Graceland," a Rhiannon Giddens-assisted "American Tune" and "The Sound of Silence."
At 81, Simon remains a magnetic performer; even though this is something of a stock sequence for when he plays brief one-off sets, it's simply a pleasure to watch the master work.
Then, the sobering conclusion: "Hello darkness, my old friend," Simon sang, stark and weary. With the world's usual litany of darknesses raging outside, he remains the best shepherd through nightmares we've got.
And as the audience beheld Simon, they seemed to silently say: Talk with us again.
15 Essential Tracks By Paul Simon: In A Burst Of Glory, Sound Becomes A Song
Photo: Kevin Mazur/Getty Images for The Recording Academy
Watch Jonas Brothers, Brad Paisley, Billy Porter, Shaggy & More Discuss The Legacy And Impact Of Paul Simon Backstage At "Homeward Bound: A GRAMMY Salute To Paul Simon"
Performers at the star-studded tribute from the Jonas Brothers to Brad Paisley to Angélique Kidjo explain why Simon deserves the highest praise in the echelon of American singer/songwriters.
Updated Monday, May 22, to include information about the re-air date for "Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon."
"Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon" will re-air on Wednesday, May 31, at 9 p.m. ET/PT on the CBS Television Network, and will be available to stream on demand on Paramount+.
Paul Simon may have won 16 GRAMMYs throughout his illustrious career, but he's getting another honor from the Recording Academy — something much bigger than a golden gramophone.
On May 22 "Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon," a two-hour special illuminating the 16-time GRAMMY winner's songbook, will re-air on Wednesday, May 31, at 9 p.m. ET/PT on the CBS Television Network, and will be available to stream live and on demand on Paramount+.
The concert features Garth Brooks and Trisha Yearwood, Eric Church, Rhiannon Giddens, Susanna Hoffs, Jonas Brothers, Angélique Kidjo, Ledisi, Little Big Town, Dave Matthews, Brad Paisley, Billy Porter, Sting, Take 6, Irma Thomas, Shaggy and Jimmy Cliff, Trombone Shorty and Stevie Wonder.
Additionally, Sofia Carson, Herbie Hancock, Woody Harrelson, Dustin Hoffman, Elton John, Folake Olowofoyeku, and Oprah Winfrey also make special appearances.
Below, watch exclusive clips where many of these artists express what Simon, a leading light of singing and songwriting, means to them.
The Jonas Brothers
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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