meta-scriptBillie Eilish's Road To 'Happier Than Ever': How The Superstar Continues To Break Pop's Status Quo | GRAMMY.com
Billie Eilish's Road To 'Happier Than Ever': How The Superstar Continues To Break Pop's Status Quo

Billie Eilish

Photo: Kelia Anne MacCluskey

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Billie Eilish's Road To 'Happier Than Ever': How The Superstar Continues To Break Pop's Status Quo

With her revealing second album 'Happier Than Ever', Billie Eilish takes control of the narrative, following a year of misogyny, stalkers and toxic relationships

GRAMMYs/Aug 3, 2021 - 07:26 pm

It's daunting how quickly life can change in just two years. While most teenagers were spending sleepless nights studying for the SATs or picking out prom dresses, Billie Eilish had an opposite adolescence. The Los Angeles native went from plucking a ukulele in her bedroom to skyrocketing into one of this generation's most lauded artists, selling out arenas and collecting trophies with apparent nonchalance and ease.

It all began in 2016 when a 13-year-old Eilish uploaded "Ocean Eyes" to SoundCloud, which was written and produced by her brother, collaborator and confidant FINNEAS. The haunting ballad was meant to be a recording that Eilish's dance teacher could choreograph to, but turned Eilish into an overnight sensation (the song now has nearly 50 million SoundCloud streams) that led to an Interscope record deal.

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From there, Eilish dropped her 2017 debut EP Don't Smile at Me and followed up with 2019's monstrous, Billboard 200 chart-topping debut album: When We All Fall Asleep, Where Do We Go?. Drawing inspiration from Eilish's nightmares and bouts with depression, it captured an intimacy that could only be born out of FINNEAS' bedroom studio. 

Now, the pair has managed to double down on that vulnerability with Eilish's second album Happier Than Ever. Released on July 30, the album documents how she's coped with not only the demanding music industry but stalkers, toxic relationships and the misogyny that powers them both.

"There's so much pressure and so much expectation, and it's so public," FINNEAS told Billboard in 2019. "It's amazing that anyone has navigated it, especially someone as young as Billie." Eilish, who was preparing for her debut Coachella performance at the time, echoed it: "I'm in the good old days right now. Who knows if this is my peak and then I die or some s***? Or my career dies and I go away and no one cares. Or it gets crazier."

Her career trajectory has definitely gotten crazier. Following the release of When We All Fall Asleep, Where Do We Go?, Eilish became award season's golden child. She did an impressive clean sweep at the 2020 GRAMMY Awards, winning five of her six nominations while breaking age and gender-defying records throughout the night. 

Eilish was the second artist in GRAMMY history (following Christopher Cross in 1981) and the first woman to take home the Big Four awards: Album of the Year (When We All Fall Asleep, Where Do We Go?), Record and Song of the Year ("Bad Guy") and Best New Artist. The singer also won Best Pop Vocal Album. Then 18 years old, she was the youngest-ever winner for all categories in the Big Four. FINNEAS, then 22, also won big with Producer of the Year, Non-Classical (the youngest to do so) and Best Engineered Album, Non-Classical.

The snowball effect continued at the 2021 GRAMMY Awards, where 2019's "Everything I Wanted" single once again won Record of the Year. She also scored Best Song Written For Visual Media for her Bond theme song "No Time To Die," from the film of the same name.

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Eilish was heavily decorated before her 20th birthday. And as with every artist who experiences immediate ascension—from the conservatorship-controlled Britney Spears to Eilish's own idol Justin Bieber—daggers from naysayers and trolls will be thrown. It became more evident that the pressure was getting to Eilish, who's never shied from detailing every angle of her emotions.

On "Everything I Wanted," she summates how her brother helps her handle the internal pressures. The song was inspired by an unnerving nightmare where she committed suicide and no one—from family to dedicated fans—cared. Ultimately, it's the launching pad for Happier Than Ever. Here, in all her newly blonde glory (as seen on the Old Hollywood-inspired artwork), Eilish emerges from the cloudiness that engulfed When We All Fall Asleep, Where Do We Go? while navigating the trauma she's experienced since the album's release.

Happier Than Ever feels like a heavy sigh, with Eilish sounding completely overwhelmed on nearly every song. Gone are the dentist drill effects, "Duh!" eyerolls or The Office sound bites that outlined the kooky teen angst of her debut. Happier Than Ever is both stronger and more subdued. The singer gives listeners just enough to be satisfied, almost as if to cheekily dump it all on us post-success: "Here's what you a**holes wanted!"

But Eilish is smarter than that, and the thoughtfulness she put behind the album's curation is evident. "I wanted to make a very timeless record. That wasn't just timeless in terms of what other people thought, but really just timeless for myself," she explained in a Vevo interview last month. "I gathered a lot of inspiration from a lot of older artists that I grew up loving. Mostly Julie London, and a lot of Frank SinatraPeggy Lee."

Billie Eilish. Photo: Kelia Anne MacCluskey​

The result is a jazzy 16-track confessional where she comes out of the other side with a more mature mindset. It's almost heartbreaking how quickly Eilish had to grow up. "Things I once enjoyed just keep me employed now," she grieves on the "Getting Older" opener, which might inspire waves of relatability for millennials forced to realize their youth has slipped away.

But the album still has sprinklings of that deadpan "zero f***s given" attitude—and most of it is targeted at a deadbeat ex-flame. The swagged-out "I Didn't Change My Number" nods to her debut album's wild sound effects, opening with what sounds like the growl of Eilish's pitbull, Shark"Lost Cause" also knocks down her ex's ego, condemning him as a jobless fool who couldn't even bother gifting her flowers. And that "Get my pretty name out of your mouth" line on her "Therefore I Am" single is heavenly sarcasm.

That said, misogyny's shackles have a tight hold on Happier Than Ever, as Eilish unravels the consequences of fame that more women are speaking up about. The spoken word "Not My Responsibility" debuted during the singer's March 2020 Where Do We Go? World Tour before the COVID-19 pandemic canceled it. It's a candid look at how society places women's bodies under a microscope and subjects them to unwarranted opinions. "The body I was born with / Is it not what you wanted?" she presses.

Eilish's curves—which she opts to cover with oversized clothing—were picked apart once the paparazzi caught her sporting a form-fitting top last fall. She later gave social media's body shamers the middle finger with her seductive British Vogue photoshoot. But naturally, as heard on "Overheated," she hasn't fully shaken off those thoughts. "And everybody said it was a letdown, I was only built like everybody else now," she half-raps over FINNEAS' chilling, futuristic production. "But I didn't get surgery to help out."

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Happier Than Ever also touches on more frightening themes, with "NDA" targeting Eilish's stalker. One of the few tracks that revisit the unnerving sonics that made critics brand her a pop prodigy, it's filled with plucky synths and distorted vocals reminiscent of Madonna's Music deep cut "Nobody's Perfect."

"I really don't like to be alone. I do like having anonymity, or autonomy, but I really am flipped out when I'm alone. I hate it," Eilish told The Guardian. "I have a lot of stalkers and I have people that want to do bad things to me. I also am freaked out by the dark and what's under beds and couches. I have a lot of weird, irrational fears. So I'm still at my parents' house a lot. I just love my parents and really like it here. It's very comforting."

That feeling of comfort is nonexistent on "Your Power," which spotlights abusive and predatory men. The stripped ballad, with Eilish's signature low decibel barely rising above a murmur, is devastating: "But you ruined her in a year, don't act like it was hard / And you swear you didn't know / No wonder why you didn't ask / She was sleepin' in your clothes but now she's got to get to class."

But the album's heaviness is balanced with a healthy dose of horniness, indicative of just how grown Eilish is becoming. "Billie Bossa Nova" is a sensual, hip-swaying tale of keeping her secret lover's identity hidden as they make love in a hotel room. 

And "Oxytocin" (titled after the "love hormone") can travel two ways: a head rush in a '90s London rave surrounded by sweat and hot beer breath, or a designer drug-fueled Crystal Castles concert in the mid-'00s. But Eilish's feral screams ("YOU SHOULD REALLY RUN AWAY!") are all her own.

"There was flashing in my head when we made that. The color of whatever was in my brain while making it was dark, but also a flashing yellow," she told The Guardian of the track, which was birthed from her synaesthesia. "Honestly, the images I have for 'Oxytocin' were just sex. That's it. All different kinds and styles and colors and locations. That's really what was in my head. Sex."

Eilish's artistic prowess is best captured on the album's title track. Beginning with those familiar, dreamy ukulele plucks from her debut days, the second half is an electric guitar-ripping rock shocker. It's a raw therapy session as she gets over a shady ex: "I don't relate to you 'cause I'd never treat me this s***y / You made me hate this city."

About the title track, "Do you ever want to say something to somebody for a really long time? You don't really know what you want to say or how to say it," she explained to NPR. "Then maybe you have a conversation with somebody else, or you think a little bit about it, and you figure out what it is you've been trying to say for this entire period of time? That's how it felt: That was the entire writing process, that was the recording process. Everything involved in this song felt like how it feels when you finally find the words for something."

The singer, well known for her controlled soprano whispers, breaks her own boundary on "Happier Than Ever," allowing her voice to get loud, ugly and angry. It's the album's least restrained moment and the most relatable form of catharsis.

"I'm in love with my future / Can't wait to meet her," Eilish croons on "My Future." The single is a semblance of hope, which is tucked within an album by a woman ready to move on from the disappointments blocking the joys of her own womanhood.

But there will come times where you just want to scream your head off—and Eilish will provide the megaphone.

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(L-R) Usher and Alicia Keys during the Super Bowl LVIII halftime show.

Photo: L.E. Baskow/Las Vegas Review-Journal/Tribune News Service via Getty Images

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17 Love Songs That Have Won GRAMMYs: "I Will Always Love You," "Drunk In Love" & More

Over the GRAMMYs' 66-year history, artists from Frank Sinatra to Ed Sheeran have taken home golden gramophones for their heartfelt tunes. Take a look at some of the love songs that have won GRAMMYs.

GRAMMYs/Feb 14, 2024 - 09:42 pm

Editor's Note: This is an update to a story from 2017.

Without heart-bursting, world-shifting love songs, music wouldn't be the same. There are countless classic and chart-topping hits dedicated to love, and several of them have won GRAMMYs.

We're not looking at tunes that merely deal with shades of love or dwell in heartbreak. We're talking out-and-out, no-holds-barred musical expressions of affection — the kind of love that leaves you wobbly at the knees.

No matter how you're celebrating Valentine's Day (or not), take a look at 18 odes to that feel-good, mushy-gushy love that have taken home golden gramophones over the years.

Frank Sinatra, "Strangers In The Night"

Record Of The Year / Best Vocal Performance, Male, 1967

Ol' Blue Eyes offers but a glimmer of hope for the single crowd on Valentine's Day, gently ruminating about exchanging glances with a stranger and sharing love before the night is through.

Willie Nelson, "Always On My Mind"

Best Country Vocal Performance, Male, 1983

In this cover, Nelson sings to the woman in his life, lamenting over those small things he should have said and done, but never took the time. Don't find yourself in the same position this Valentine's Day.

Lionel Richie, "Truly"

Best Pop Vocal Performance, Male, 1983

"Truly" embodies true dedication to a loved one, and it's delivered with sincerity from the king of '80s romantic pop — who gave life to the timeless love-song classics "Endless Love," "Still" and "Three Times A Lady."

Roy Orbison, "Oh, Pretty Woman"

Best Pop Vocal Performance, Male, 1991

Orbison captures the essence of encountering a lovely woman for the first time, and offers helpful one-liners such as "No one could look as good as you" and "I couldn't help but see … you look as lovely as can be." Single men, take notes.

Whitney Houston, "I Will Always Love You"

Record Of The Year, Best Pop Vocal Performance, Female, 1994

Houston passionately delivers a message of love, remembrance and forgiveness on her version of this song, which was written by country sweetheart Dolly Parton and first nominated for a GRAMMY in 1982.

Celine Dion, "My Heart Will Go On (Love Theme From Titanic)"  

Record Of The Year, Best Female Pop Vocal Performance, 1999

This omnipresent theme song from the 1997 film Titanic was propelled to the No. 1 spot on the Billboard Hot 100 as the story of Jack and Rose (played by Leonardo DiCaprio and GRAMMY winner Kate Winslet) swept the country.

Shania Twain, "You're Still The One"

Best Female Country Vocal Performance, Best Country Song, 1999

Co-written with producer and then-husband Mutt Lange, Twain speaks of beating the odds with love and perseverance in lyrics such as, "I'm so glad we made it/Look how far we've come my baby," offering a fresh coat of optimism for couples of all ages.

Usher & Alicia Keys, "My Boo"

Best R&B Performance By A Duo Or Group With Vocals, 2005

"There's always that one person that will always have your heart," sings Usher in this duet with Keys, taking the listener back to that special first love. The chemistry between the longtime friends makes this ode to “My Boo” even more heartfelt, and the love was still palpable even 20 years later when they performed it on the Super Bowl halftime show stage.

Bruno Mars, "Just The Way You Are"

Best Male Pop Vocal Performance, 2011

Dating advice from Bruno Mars: If you think someone is beautiful, you should tell them every day. Whether or not it got Mars a date for Valentine's Day, it did get him a No. 1 hit on the Billboard Hot 100.

Cee Lo Green & Melanie Fiona, "Fool For You" 

Best Traditional R&B Performance, 2012

It's a far cry from his previous GRAMMY-winning song, "F*** You," but "Fool For You" had us yearning for "that deep, that burning/ That amazing unconditional, inseparable love."

Justin Timberlake, "Pusher Love Girl" 

Best R&B Song, 2014

Timberlake is so high on the love drug he's "on the ceiling, baby." Timberlake co-wrote the track with James Fauntleroy, Jerome Harmon and Timbaland, and it's featured on his 2013 album The 20/20 Experience, which flew high to No. 1 on the Billboard 200.

Beyoncé & Jay-Z, "Drunk In Love"

Best R&B Performance / Best R&B Song, 2015

While "Drunk In Love" wasn't the first love song that won Beyoncé and Jay-Z a GRAMMY — they won two GRAMMYs for "Crazy In Love" in 2004 — it is certainly the sexiest. This quintessential 2010s bop from one of music's most formidable couples captures why their alliance set the world's hearts aflame (and so did their steamy GRAMMYs performance of it).

Ed Sheeran, "Thinking Out Loud"

Song Of The Year / Best Pop Solo Performance, 2016

Along with his abundant talent, Sheeran's boy-next-door charm is what rocketed him to the top of the pop ranks. And with swooning lyrics and a waltzing melody, "Thinking Out Loud" is proof that he's a modern-day monarch of the love song.

Lady Gaga & Bradley Cooper, "Shallow"

Best Pop Duo/Group Performance / Best Song Written For Visual Media, 2019

A Star is Born's cachet has gone up and down with its various remakes, but the 2018 iteration was a smash hit. Not only is that thanks to moving performances from Lady Gaga and Bradley Cooper, but particularly thanks to their impassioned, belt-along duet "Shallow."

H.E.R. & Daniel Caesar, "Best Part"

Best R&B Performance, 2019

"If life is a movie/ Know you're the best part." Who among us besotted hasn't felt their emotions so widescreen, so thunderous? Clearly, H.E.R. and Daniel Caesar have — and they poured that feeling into the GRAMMY-winning ballad "Best Part."

Kacey Musgraves, "Butterflies"

Best Country Solo Performance, 2019

As Musgraves' Album Of The Year-winning LP Golden Hour shows, the country-pop star can zoom in or out at will, capturing numberless truths about the human experience. With its starry-eyed lyrics and swirling production, "Butterflies" perfectly encapsulates the flutter in your stomach that love can often spark.

Dan + Shay & Justin Bieber, "10,000 Hours"

Best Country Duo/Group Performance, 2021

When country hook-meisters Dan + Shay teamed up with pop phenom Justin Bieber, their love song powers were unstoppable. With more than 1 billion Spotify streams alone, "10,000 Hours" has become far more than an ode to just their respective wives; it's an anthem for any lover.

Lovesick Or Sick Of Love: Listen To GRAMMY.com's Valentine's Day Playlist Featuring Taylor Swift, Doja Cat, Playboi Carti, Olivia Rodrigo, FKA Twigs & More

I Was A Trophy Holder At The 2024 GRAMMYs Premiere Ceremony
GRAMMY U Representative Rachel Owen

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I Was A Trophy Holder At The 2024 GRAMMYs Premiere Ceremony

During the 66th GRAMMY Awards Premiere Ceremony, four GRAMMY U Representatives presented golden gramophones to Billie Eilish, boygenius, Tyla, and others. Read on to learn how GRAMMY U Reps were able to grace the stage on Music's Biggest Night.

GRAMMYs/Feb 8, 2024 - 07:33 pm

From lighting technicians to audio engineers to writers, hundreds of people make the GRAMMYs possible. Whether these professionals are on stage or working behind the curtain, all of these vital roles help produce Music’s Biggest Night.

Another vital role on GRAMMY night is that of trophy holder, where one is tasked with bringing out the physical golden gramphones and winner envelopes to presenters. Trophy holders then usher the award recipient off the stage after their speech. Representatives from GRAMMY U’s Atlanta (Jasmine Gordon), Texas (Pierson Livingston), Pacific Northwest (Chloe Sarmiento), and Chicago (Rachel Owen) Chapters were selected to be trophy holders at the 2024 GRAMMYs Premiere Ceremony, and went behind the scenes.

The real preparation actually commences before the show lands on screens back home. Prior to GRAMMY Sunday, the four representatives visited the Peacock Theater to get the rundown on stage positions, proper handling of the GRAMMY Award, proper attire for the event, and various other subtle details that would normally go unnoticed.

On the day of the show, trophy holders arrived for their 10 a.m. call time, receiving a final rehearsal of the show with the backing music and stage lights. Post-rehearsal, they headed into hair and makeup for final touch-ups to become camera-ready. From then, focus shifts to getting into place and calming restless nerves before the show kicks off at noon.

"At first there were so many nerves taking over my body," said Jasmine Gordon, Atlanta Chapter Rep. "But, as soon as I walked on stage there was a rush of excitement and happiness that took over."

This year, following an opening performance from Pentatonix, Jordin Sparks, Larkin Poe, J. Ivy, and Sheila E., host Justin Tranter introduced the GRAMMY U Representatives as they lined up on the stage. From there, the show commenced and winners were announced.

Before trophy holders take the stage, the envelopes are meticulously triple-checked to make sure they are representing the right category and a GRAMMY is placed in their hands. The envelope is given to the presenter to announce the winner. 

As the audience applauds and the winner makes their way to the stage from their seat, the presenter trades the envelope for the golden gramophone which they give to the winner. While the trophy holder typically stands in the shadows to the side of a presenter like Jimmy Jam or Natalia Lafourcade, they occupy a very important and visible place on the GRAMMY stage.

After an approximately 45-second acceptance speech, trophy holders escort the winner backstage for photos and media.  The trophy holders rinsed and repeated that routine dozens of times,handing off golden gramophones and escorting artists such as Billie Eilish, boygenius, and Tyla

Chicago GRAMMY U Rep Rachel Owen shared that one of her favorite moments included being on the side stage, standing right next to music icon Joni Mitchell when she won the GRAMMY for Best Folk Album.

"I’ll never ever forget the moment Joni Mitchell won for Best Folk Album. Everyone was cheering her on and she just got so happy, I feel so lucky to have witnessed that moment," Owen says. "I hadn’t realized before how close I would be to the winners; it was a great surprise."

Reflecting on the ceremony, the GRAMMY U Representatives shared how surreal the entire experience was for them and their professional development.

"Being right with artists as they win or right after they won was such a surreal experience," says Owen. "The overwhelming joy I got to witness from so many artists was contagious, I simply had an amazing time."

Rewatch The 2024 GRAMMYs Premiere Ceremony In Full: Featuring Performances From Pentatonix, Jordin Sparks, Robert Glasper, Brandy Clark, Laufey & Many More

Watch All The Performances From The 2024 GRAMMYs: Tracy Chapman & Luke Combs, Billie Eilish, Olivia Rodrigo & More
Annie Lennox performs during the 66th GRAMMY Awards

Photos: Kevin Winter/Getty Images for The Recording Academy

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Watch All The Performances From The 2024 GRAMMYs: Tracy Chapman & Luke Combs, Billie Eilish, Olivia Rodrigo & More

The 66th GRAMMY Awards were full of memorable moments and incredible performances. Relive Music's Biggest Night with performance videos from Joni Mitchell, Annie Lennox, Gaby Moreno & David Aguilar, and more.

GRAMMYs/Feb 7, 2024 - 12:57 am

The 2024 GRAMMYs were marked by record-breaking wins, moving speeches and viral moments both on- and offstage. But what truly tied together Music's Biggest Night — beyond artistic excellence — was its slate of stunning and emotional performances.

From Dua Lipa's opening act and new song, to Joni Mitchell's first-ever performance on the GRAMMY stage and the tearjerking-yet-thrilling tribute to lost icons, the 66th GRAMMY Awards were a showcase of the best of the business. 

Press play on the videos below and relive the most exciting performances from the 66th GRAMMY Awards

Dua Lipa opened the 66th GRAMMY Awards with a medley of the first two singles from her upcoming album. Tracks "Houdini" and "Training Season" are the first two singles off Dua Lipa’s forthcoming third studio record, which follows her GRAMMY-winning 2020 LP Future Nostalgia. The 2024 GRAMMYs were a sneak peek of "Training Season," as the track officially arrives Feb. 15.

In a full-circle moment, Luke Combs perform his GRAMMY-nominated cover of "Fast Car" — with a suprise appearance from Tracy Chapman. "Fast Car" earned Chapman a GRAMMY for Best Female Pop Vocal Performance in 1989, when she took home the trophy. On the GRAMMY stage, the otherwise reclusive Chapman beamed as she strummed an acoustic guitar and duetted with Combs.

"Tracy is such an icon and, I mean, one of the best songwriters that I think any of us will ever be around to see," Combs said in the video introducing his performance.

Miley Cyrus had only performed "Flowers" twice before taking the GRAMMY-winning song to stage on Music’s Biggest Night. And while the hit track off Endless Summer Vacation was sure to be a showstopper, Cyrus’ performance was made even more special by winning her first GRAMMY moments before. After  eight nominations and many years in the industry, the singer’s exclamations of excitment were felt by everyone watching.

After winning the GRAMMY Award for Best Song Written For Visual Media at the Premiere Ceremony, Billie Eilish and brother FINNEAS performed the existential pop ballad from Barbie on the GRAMMY stage. "What Was I Made For?" would go on to win Song Of The Year, showing the world that Eilish certainly knows what she was made for.

Eighty-year-old icon ad 2022 MusiCares Person Of The Year Joni Mitchell performed for the first time at the GRAMMY Awrds — and there wasn’t a dry eye in the house. Seated in an elegant chair and surrounded by chandeliers, Mitchell offered an emotional performance of her 1969 hit "Both Sides Now." The legened was backed by Brandi Carlile, Allison Russell, Sistastrings, Lucius, Jacob Collier, and Blake Mills; earlier in the day, "Both Sides" took home the golden gramophone for Best Folk Album.

SZA went into the 2024 GRAMMYs as the most-nominated artist and took home awards for  Best Pop Duo/Group Performance and Best R&B Song. She then gave back to the audience, performing the GRAMMY-winning "Snooze," clad in a leather duster and wide-brimmed hat.

Olivia Rodrigo may not have taken home a golden gramophone, but she still left her all on the GRAMMYs stage. Donning an appropriately hued dress and just a dash of "blood" on her face, Rodrigo performed "vampire" as red liquid seeped from the walls behind her.

Billy Joel performed twice at the 66th GRAMMY Awards, treating audiences to one familiar tune and one brand-new track. Joel shared his newest offering, "Turn the Lights Back On," just before Album Of The Year was announced. His first release since 2007, "Turn the Lights Back On" marked his first time playing on the GRAMMYs stage in more than 20 years.

Burna Boy brought a piece of his homeland to the GRAMMYs, dancing among throngs of colorfully-dressed performers and equally colorful buildings. The Nigerian Afrobeats star performed "On Form," "City Boys" and "Sitting On Top Of The World," iwth special appearances by Brandy and 21 Savage.

U2 took the GRAMMY audience on a quick trip to Las Vegas, performing "Atomic City" live from the Sphere. The swirling, psychedelic and high-tech performance was the first live broadcast from Sin City venue, which the 22-time GRAMMY winners are currently doing a residency.

During the moving In Memoriam segment of the 2024 GRAMMYs, Eurythmics singer Annie Lennox was joined by Wendy Melvoin and Lisa Coleman to pay tribute to Sinead O'Connor. Together, they offered an emotional cover of the late Irish pioneer's "Nothing Compares 2 U."

Further honoring the lives of incredible individuals that the music world lost in 2023, Fantasia Barrino made Tina Turner proud with a high-energy performance of "Proud Mary." The performance and tribute were introduced by Oprah Winfrey, who called Turner "a towering figure. She is our forever goddess of rock and roll who inspired millions, a moving symbol of grace and grit, soul and power…And as those big wheels of time keep on turnin’, Tina’s voice continues to speak to all of us." 

Continuing the In Memoriam tribute, Global Impact Award honoree Lenny Kravitz paid respect to Clarence Avant as the "Godfather of Black Music" with a tribute that included a performance of "Ain't No Sunshine" and "Lean on Me" by Album Of The Year nominee Jon Batiste.

During the Premiere Ceremony, Gaby Moreno & El David Aguilar performed a harmonious and haunting “Luna de Xelaju.” Their take on the popular Guatemalan waltz composed by Paco Pérez was set against a video of falling rose petals, highlighting the romanticism of the duo’s voices.

The Premiere Ceremony kicked off the 2024 GRAMMYs with an exciting performance from Pentatonix, Jordin Sparks, Larkin Poe, J. Ivy, and Sheila E., who welcomed audiences to a day-long celebration of musical excellence.

10 Acceptance Speeches That Made Us Laugh, Cry, & Smile At The 2024 GRAMMYs

2024 GRAMMYs: Miley Cyrus Wins The GRAMMY For Record Of The Year for "Flowers"
Miley Cyrus at the 2024 GRAMMYs

Photo: Valerie Macon / AFP) (Photo by VALERIE MACON/AFP via Getty Images

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2024 GRAMMYs: Miley Cyrus Wins The GRAMMY For Record Of The Year for "Flowers"

2024 GRAMMYs: Miley Cyrus Wins The GRAMMY for Record Of The Year for "Flowers"

GRAMMYs/Feb 5, 2024 - 04:44 am

Miley Cyrus has won Record of the Year at the 2024 GRAMMYs for her hit “Flowers.”

Accepting the award with her production team, Cyrus was irreverent and self-effacing, especially after having already won her first ever Golden Gramophone for Best Pop Solo Performance earlier in the evening.

“This award is amazing, but I really hope it doesn’t change anything, because my life was beautiful yesterday,” Cyrus said.

The pop singer beat out Lana Del Rey, Taylor Swift, Jon Batiste, Dua Lipa, SZA, Olivia Rodrigo, and Billie Eilish for the award, which was presented by Mark Ronson and his mother-in-law, the actress Meryl Streep. “Flowers” was a massive commercial hit, debuting at Number One on the Billboard Hot 100 and spending eight consecutive weeks in the top spot.

As she finished her speech, during which she thanked her collaborators, their partners, and her fans, Cyrus said “I don’t think I’ve forgotten anyone, but I might’ve forgotten underwear.”

Keep checking this space for more updates from Music’s Biggest Night!

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