Video-chatting through her phone, Wichita-based singer/songwriter Jordana Nye shows me a tattoo she recently got on her right forearm. Written in small red ink is a single word: "numb." "I feel like I've just been kind of numb throughout the whole thing—like my tattoo," she says. Laughing at herself, almost as an aside, she quickly adds, "The decisions you make when you're in quarantine."

The "whole thing" Nye is referencing is of course the increasingly fragile state of the music industry as a result of the coronavirus pandemic, a global health crisis that has in just a few short months forced the closure of concert venues across the country, the cancelation of festivals and tours, and manifested an overwhelming sense of uncertainty for the untold number of musical artists that make recording and performing songs their livelihood. While established, high-profile acts such as Bruce Springsteen, Lady Gaga, and BTS are fully capable of releasing a new album in the middle of a volatile and complicated environment and experience little to no impact on their financial bottom line and cultural cachet, those like Nye, who only just made her first steps into the industry with the release of her debut album Classical Notions of Happiness in March, are finding themselves mentally and professionally hobbled at the exact moment they are trying to introduce themselves to the greater music listening community.

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In addition to Nye (who has followed Classical Notions of Happiness with the EP Something to Say and has a second EP … To You scheduled for release in December), a variety of rising artists, including Christian Lee Hutson (Beginners), Anjimile (Giver Taker), Bartees Strange's Bartees Cox Jr. (Live Forever), and Nation of Language frontman Ian Devaney (introduction, Prescence) all sat down to discuss the unusual and inopportune circumstances of releasing a debut record during COVID, and what it takes to make the best of an impossible situation.

The Initial Shock

Jordana Nye: I kind of went through like the worst depression. I mean, you just gotta keep swimming. It's hard to sometimes. But you get medicine, get therapy, talk about stuff. That's what I did, and it helped a lot. I couldn't even do anything for maybe three months straight. It was the worst.

Ian Devaney: It was kind of disbelief, especially when I realized how long it would go on and I realized what that would do to small and mid-sized venues. I was like, even when we do come back from this, the landscape is just gonna be so totally different. What does this mean as far as these businesses as independent hubs in the community? But my brain also just zoomed out to the corporate consolidation of touring above the D.I.Y. level basically. Are the only people who are going to be able to keep their venues open the ones who aren't as artist-friendly?

Bartees Cox Jr.: After we released my EP Say Goodbye to Pretty Boy, it was crazy. We got invited to play this WNYC soundcheck live show thing on March 12. And then we also had a show in New York on March 13. And this was when the shit was really going down in New York. And we were there, we played the thing, and we were all like, "Dang, this looks like it's gonna get really serious." And then after the EP came out, my team and I were like, "Well, do we just not do anything for a year and a half? We have momentum now. We should just ride this and keep writing." And that was just it, let's just follow the wave. It's working right now. So why why stop, you know?

Read More: Anjimile Opens Up On 'Giver Taker,' Sobriety, Identifying As Trans & More

The Road Is Closed

Christian Lee Hutson: Just from my perspective, the thing that seems to help debut artists the most is supporting other artists on tour, and that element has been completely taken out of the picture. Having your name tied to whatever the act is you're opening for and getting a chance to be in front of new people that might not have heard you on whatever streaming playlist, that aspect is probably the most damaging.

Ian Devaney: I've always been someone who feels like Nation of Language captures more people through the live show. And so when it became clear that we weren't going to be touring for a long time, I was like, "Oh, I guess we're doomed. I guess we'll put these things out and maybe some people listen to them, and then it will just fade away and we'll get on with the next thing and wait. But I was very shocked and flattered that the record started doing much better than I ever thought. That was very exciting. I feel very grateful for that.

Bartees Cox Jr.: I'm glad that we put Live Forever out now, instead of right at the beginning of the pandemic, because I don't think people knew what the f**k was going on in March. I saw some bands, put some records out that were really good in February and January who had huge tours booked all summer. I feel like this really hit them in the chest. That just takes so much like gas and energy out of you.

Ian Devaney: We were three shows into a tour, when they were like, "OK, everyone has to go home." It wasn't just disbelief that a dangerous thing was happening, but disbelief from the whiplash of the fact that we were about to be on the road for a month. But now, I'm back in my apartment. There was confusion and then, yeah, just real sadness of not knowing when I'm gonna get to do this again.

Christian Lee Hutson: Doing my first real headline tour, that was supposed to happen. I was supposed to on it right now, actually. In June I was also going to tour with one of my favorite bands, The Magnetic Fields. I was excited to spend a month with them. Those are two things I feel like, "Oh, man, those would have been cool." And hopefully, in a world where we're safer, those things can still happen.

Read More: Bartees Strange On 'Live Forever' & Why "It Shouldn't Be Weird To See Black Rock Bands"

Ian Devaney: I was really looking forward to playing the Seattle show on our canceled tour. KEXP seemed like the first radio station that consistently was reaching out to us and playing us on a regular basis, and we kind of developed a close relationship with them. And to me they've always been sort of one of the gatekeepers of like, "Oh, I'm in this level now. KEXP knows about my band." And so, them just being excited for us to come and us getting the sense that people just driving around in their cars during the day were hearing our music—and that being such a strange thing to wrap our heads around—it felt like we were gonna show up and be like, "We've arrived."

Jordana Nye: I was going on my first tour. I felt unprepared. I was also really nervous. And then when the COVID stuff started, there was a surreal moment where I was like, "What? I was just about to do something that could impact my life in such a big way and now it's gone." I was told there was gonna be hotels.

Christian Lee Hutson: Not touring is a huge change in my life in general. I've been touring with other people or just on my own for the last 11 years in my life. So to not do it at the one time I've finally released an album and not be doing it feels hilarious.

Bartees Cox Jr.: I keep telling myself, "It's just delayed. You will get to play the record for years. It will always exist." It won't be the same, but I also think when shows open up, people are gonna be really hyped to go to shows. The bottom line is, it'll be okay. Again, I have no choice. It's hard to like dwell on that. I knew that would be the case, before I put it out.

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Fiscal Feasibility

Anjimile: I would describe it as not an ideal time, but I also have never monetized like my music career in a major way. It's not like, "Oh, no, all this money I usually make is gone!" [Laughs.]

Christian Lee Hutson: My wife and I are both living on unemployment and savings right now and just kind of hold on as long as we can, just hoping that touring can come back before we're in a crippling amount of debt.

Ian Devaney: The unemployment insurance is currently supporting me. When we left for tour the restaurant I was working at I said, "I understand if you won't have a space to me when I get back," but they were like, "We I think we'll be able to work the schedule," and I thought, "Perfect." But then the reason we came back was because everything was shutting down. And so I got an email suggesting we should all file for an appointment, and we'll see what happens.

Jordana Nye: At least I have my job back in Wichita. I work at a brewing company called Norton's. They're super involved in live music and it's a great place. I was like a barback during the summer. And now I'm a dishwasher. It's humbling.

Team Building and Content Alternatives

Bartees Cox Jr.: I just feel sometimes [as a new artist] you're the only one that knows that you have something special, and you just gotta build around it. And then all of a sudden people just show up around you. You have a team and you have a plan. But you got to make the first step.

Anjimile: It definitely changed the scope and nature of the promotional cycle. When it became apparent that touring was not happening I was like, "OK, so I guess we'll have to get creative and do other things to generate and maintain interest in this record."

Christian Lee Hutson: I think everyone was just flying by the seat of their pants, like, "We'll do the best that we can do and we're just gonna do everything that we can as we think of it." Those were really the kind of conversations that were had. The funny thing about all of this is all you can do is throw your hands up and just do it, surrender yourself to it. And I feel like everyone has a label and Phoebe and me and my management, everyone has been pretty good at just being like, "Alright, we're just gonna roll with it."

Anjimile: I'm also working on building a team. I now have a booking agent. And I'm talking with managers for the first time and that's super exciting. I'm doing all these behind the scenes team building stuff.

Ian Devaney: We've actually, in the middle of the pandemic, gotten booking agents. And they were like, "This is weird, but we an tell people about the band for when things open back up. We can get your name into circulation of who's being considered for what." You can get the sense that they are ready to just throw us intensely on the road, and we are ready to do that as well.

Bartees Cox Jr.: Will Yip, who runs memory music, was just like, "This thing is super fresh. It's good no matter what. You got to just trust us." I was the most apprehensive because no one's ever cared about my music or anything I've ever done. So I was like, "Well, OK, if this is what you think, I trust you guys." And they were all just so passionate about it and they just worked so f**king hard. My publicist Jamie and manager Tim, they just really pushed the record really, really hard. Teams are so important. I didn't know how important they were until really this year, how much how much it helps to have a label and a manager and a publicist that love you and love your record, and are going to put in extra hours and go the extra mile. That was the difference-maker. I think that's why it didn't matter what was happening around us because yes, it's an election year, yes the world was literally ending, yeah there's a pandemic. But this record is f**king good. And it's not the first time a great record has come out when things are really bad.

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Anjimile: I got hit up by a U.K. booking agency first, and they were like, "Hey, obviously, there's no touring happening right now, but we love your sound and we're looking into the future to see where you would fit in certain clubs, and we just want you on the team." The same thing happened with my new U.S. booking agent. She was like, "We've been following you for a couple years, seen your name everywhere. Booking doesn't really exists, but I want to work with you and get you on the team and we can talk about slowly building what a live Anjimile thing looks like."

Ian Devaney: I think part of it is letting fans know that we're not stopping. It often helps me emotionally invest in a band if I can believe that the band is really in it to keep moving. I don't know if that makes sense. People will email us or reach out through Bandcamp and things like that. And it's always just really nice to hear people's stories of how they've enjoyed the record.

Jordana Nye: My team taught me to just try to keep working and keep busy until we get a sense of what the hell is going to happen—and just release music because it's really all you can do. Anything you can do, you just have to do it.

Anjimile: I think the main idea for me is just galvanizing and continually engaging my social media presence. My social media numbers have climbed substantially as a result of this release, which is exciting. And not to sound like a f**king music industry business guy, but content is helpful, and so I'm just trying to create chill content without losing my mind. We're about to have a contest. We've got a video coming out. Hopefully people can sit at home and watch. I want to try and create content that folks can engage with at home. Part of our merch is boxers. We were like, "What about hats?" "Well, nobody's gonna see the hat." "What about fanny packs?" "Nobody's going anywhere." "OK. Boxers. People will be at home wearing them." We're just trying to be as creative as possible.

Jordana Nye: I've got some music video stuff in the works. There's a new one coming out that was filmed in my home of Wichita for "I Guess This is Life," and my best friend is in it with me. It's very, very sweet. And I can't wait for it to be out. But I'm also shooting a music video out here in L.A. for the track "Reason." It’s going to feature me walking an invisible dog on a leash. I'm f**king excited for that. I can't wait.

Ian Devaney: Our manager has been really kind of fantastic and diligent. In his mind there's still people who don't know the record. And so just because it came out in May, doesn't mean we're not going to keep working it as though everyone knows it, because they don't.

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Mental Health Whiplash

Christian Lee Hutson: It's like, for debut artists, what do you have to compare it to?

Bartees Cox Jr.: I almost feel like more people are listening to music now than they were before, like really listening through albums, and really interacting with them.

Christian Lee Hutson: I think it would make me crazy to sit around and just be like, "Damn it, I spent all this time on this and of course when my record comes out, this is what happens." I mean, I'm actually kind of encouraged by the response to the album just in general, because I feel like it's such a weird time for music to come out and I'm happy that anyone has found it at all considering it's come out in the most turbulent year in recent memory. That aspect I feel positive about, like it was weirdly worth it, even though I'm not doing all of the things that I thought I would be doing a year ago.

Bartees Cox Jr.: I mean I've never had fans like I do now, and I'm doing all this during a pandemic.

Ian Devaney: In a strange way, I'm glad we're putting music out now. I feel like we are, as much as anyone can, engaging with the madness and sort of being defiant in the face of the madness and not giving up on trying to be creative and trying to dream big about what we can do in the future.

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Anjimile: It feels surreal, but at the same time I've released music locally in Boston over the years. And nothing has ever come of that. And so releasing an album nationally with a label, I think my expectations were actually pretty low. Usually when I put out music nobody cares, you know? Why should they really care? And this time some people cared, and I was like, "Holy f**k." Even that that was beyond my expectations. And so I don't know, I'm just kind of trying to go with it. Because even though things feel weird, and at times, unfair and strange I don't know what is going to happen in the next three months, six months, nine months, right? I'm just cautiously cautiously optimistic about what will happen next. Because I do think that so far, things have actually happened right on time. Even though shit is really weird right now, and I don't know what's going to happen next, maybe something positive in my career will occur. Who knows?

Bartees Cox Jr.: I was talking to a friend about this. You look at these areas in music, or in America, like Vietnam War era music or these other big social phenomenon and the music that came from it, I think that one day people will look back on this quarantine pandemic era and think, "All these records came out during this weird ass time are interesting because of it."

What Comes Next

Bartees Cox Jr.: I was thinking that bigger artists that need bigger studios are gonna kind of be hamstrung by this where more D.I.Y. people can just be like, "Yeah, I'll write another record."

Jordana Nye: Going on tour, getting experienced would have helped my career a lot in way. But working on new music is also helping it.

Ian Devaney: For Nation of Language, we're planning on putting out a seven inch either like, December or January. So we've been working on two songs, as well as songs for the second record.

Anjimile: At this point, in the year, I have a lot of songs written, some which I think might be good. And so I'm just stacking up demos at the moment, trying to make sure I have like the juiciest tunes available.

Jordana Nye: I'm still just making music and content, and it kind of tells me that I can pretty much do anything that I set my mind to, which is comforting, especially in dire times when I feel like I'm not doing anything at all, and I feel like I'm a loser. People are digging the new stuff so I'm super excited for that, and makes me want to do more with different genres and just play around with them.

Bartees Cox Jr.: I'm gonna really take my time. I put out two records this year. I don't feel like I gotta like, hustle. I just gonna just keep working try to make some money and hold it down.

Christian Lee Hutson: I'm honestly just writing a lot and I am recording a lot of stuff at home. Early on in quarantine, I was just like, "Alright, in order to tell the days apart, I'm gonna record a different cover song for fun every day." So I did that for a while until I got bored of that. And now I'm just demoing and recording new stuff. It's the only thing I really know how to do. And I'm grateful that there's a lot of time to do it. Something I noticed observing other friends' album cycles in the pre-COVID world is the amount of time that they had to actually write and follow up their debuts is actually pretty slim, which I feel like I have a lot of time to accomplish that.

Capturing Los Angeles' COVID-Closed Venues

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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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

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

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

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

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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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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Country music's evolution is well represented in the 2023 GRAMMY nominees for Best Country Solo Performance. From crossover pop hooks to red-dirt outlaw roots, the genre's most celebrated elements are on full display — thanks to rising stars, leading ladies and country icons.

Longtime hitmaker Miranda Lambert delivered a soulful performance on the rootsy ballad "In His Arms," an arrangement as sparing as the windswept west Texas highlands where she co-wrote the song. Viral newcomer Zach Bryan dug into similar organic territory on the Oklahoma side of the Red River for "Something in the Orange," his voice accompanied with little more than an acoustic guitar.

Two of country's 2010s breakout stars are clearly still shining, too, as Maren Morris and Kelsea Ballerini both received Best Country Solo Performance GRAMMY nods. Morris channeled the determination that drove her leap-of-faith move from Texas to Nashville for the playful clap-along "Circles Around This Town," while Ballerini brought poppy hooks with a country edge on the infectiously upbeat "HEARTFIRST."

Rounding out the category is the one and only Willie Nelson, who paid tribute to his late friend Billy Joe Shaver with a cover of "Live Forever" — a fitting sentiment for the 89-year-old legend, who is approaching his eighth decade in the business. 

As the excitement builds for the 2023 GRAMMYs on Feb. 5, 2023, let's take a closer look at this year's nominees for Best Country Solo Performance.

Kelsea Ballerini — "HEARTFIRST"

In the tradition of Shania Twain, Faith Hill and Carrie Underwood, Kelsea Ballerini represents Nashville's sunnier side — and her single "HEARTFIRST" is a slice of bright, uptempo, confectionary country-pop for the ages.

Ballerini sings about leaning into a carefree crush with her heart on her sleeve, pushing aside her reservations and taking a risk on love at first sight. The scene plays out in a bar room and a back seat, as she sweeps nimbly through the verses and into a shimmering chorus, when the narrator decides she's ready to "wake up in your T-shirt." 

There are enough steel guitar licks to let you know you're listening to a country song, but the story and melody are universal. "HEARTFIRST" is Ballerini's third GRAMMY nod, but first in the Best Country Solo Performance category.

Zach Bryan — "Something In The Orange"

Zach Bryan blew into Music City seemingly from nowhere in 2017, when his original song "Heading South" — recorded on an iPhone — went viral. Then an active officer in the U.S. Navy, the Oklahoma native chased his muse through music during his downtime, striking a chord with country music fans on stark songs led by his acoustic guitar and affecting vocals.

After his honorable discharge in 2021, Bryan began his music career in earnest, and in 2022 released "Something in the Orange," a haunting ballad that stakes a convincing claim to the territory between Tyler Childers and Jason Isbell in both sonics and songwriting. Slashing slide guitar drives home the song's heartbreak, as Bryan pines for a lover whose tail lights have long since vanished over the horizon. 

"Something In The Orange" marks Bryan's first-ever GRAMMY nomination.

Miranda Lambert — "In His Arms"

Miranda Lambert is the rare, chart-topping contemporary country artist who does more than pay lip service to the genre's rural American roots. "In His Arms" originally surfaced on 2021's The Marfa Tapes, a casual recording Lambert made with Jack Ingram and Jon Randall in Marfa, Texas — a tiny arts enclave in the middle of the west Texas high desert.

In this proper studio version — recorded for her 2022 album, Palomino — Lambert retains the structure and organic feel of the mostly acoustic song; light percussion and soothing atmospherics keep her emotive vocals front and center. A native Texan herself, Lambert sounds fully at home on "In His Arms."

Lambert is the only Best Country Solo Performance nominee who is nominated in all four Country Field categories in 2023. To date, Miranda Lambert has won 3 GRAMMYs and received 27 nominations overall. 

Maren Morris — "Circles Around This Town"

When Maren Morris found herself uninspired and dealing with writer's block, she went back to what inspired her to move to Nashville nearly a decade ago — and out came "Circles Around This Town," the lead single from her 2022 album Humble Quest.

Written in one of her first in-person songwriting sessions since the pandemic, Morris has called "Circles Around This Town" her "most autobiographical song" to date; she even recreated her own teenage bedroom for the song's video. As she looks back to her Texas beginnings and the life she left for Nashville, Morris' voice soars over anthemic, yet easygoing production. 

Morris last won a GRAMMY for Best Country Solo Performance in 2017, when her song "My Church" earned the singer her first GRAMMY. To date, Maren Morris has won one GRAMMY and received 17 nominations overall.

Willie Nelson — "Live Forever"

Country music icon Willie Nelson is no stranger to the GRAMMYs, and this year he aims to add to his collection of 10 gramophones. He earned another three nominations for 2023 — bringing his career total to 56 — including a Best Country Solo Performance nod for "Live Forever."

Nelson's performance of "Live Forever," the lead track of the 2022 tribute album Live Forever: A Tribute to Billy Joe Shaver, is a faithful rendition of Shaver's signature song. Still, Nelson puts his own twist on the tune, recruiting Lucinda Williams for backing vocals and echoing the melody with the inimitable tone of his nylon-string Martin guitar. 

Shaver, an outlaw country pioneer who passed in 2020 at 81 years old, never had any hits of his own during his lifetime. But plenty of his songs were still heard, thanks to stars like Elvis Presley, Kris Kristofferson and Waylon Jennings. Nelson was a longtime friend and frequent collaborator of Shaver's — and now has a GRAMMY nom to show for it.

2023 GRAMMY Nominations: See The Complete Nominees List